A lower risk of moderate exacerbations was observed with the FDC compared to formoterol but not with the FDC compared with aclidinium. There was no difference between the FDC and monotherapy or placebo for hospital admissions, mortality, and non-fatal adverse events. Quality of life (SGRQ) was better with the combination compared to formoterol or placebo. In a systematic review of seven trials ( Ni 2018), the aclidinium/formoterol fixed dose combination (FDC) was found to improve dyspnoea and lung function compared to the monocomponents or placebo. Aclidinium/formoterol reduced the rate of moderate to severe exacerbations by 29%, when compared to placebo, but not when compared to aclidinium or formoterol alone ( Bateman 2015). There were some improvements in dyspnoea and health-related quality of life (HRQoL), measured by St George’s Respiratory Questionnaire (SGRQ). glycopyrronium/indacaterol (Breezhaler)Īclidinium/formoterol: Twice daily aclidinium/formoterol had greater bronchodilation over placebo (mean FEV 1 up to 143 ml greater), and to a lesser extent, versus formoterol (mean FEV 1 53 ml greater) or aclidinium (small differences at various timepoints) ( Bateman 2015, D’Urzo 2014, Singh 2014b).O1.2.3 Long-acting bronchodilator combinations (LAMA/LABA)Ī number of LAMA/LABA fixed dose combinations in a single inhaler are available in Australia, which are delivered via a range of devices: All Papers Considered for Citation in COPD-X.Appendix 6: Table of Systematic Reviews Evaluating the Effect of Self-Management in COPD.Appendix 5 – Table of Minimum Clinically Important Differences (MCID).Appendix 4 – Strategies that may assist in reminding people to reduce sedentary time.Appendix 2 – Explanation of inhaler devices.Appendix 1 – Use and doses of long-term inhaled bronchodilator and corticosteroids determined in response trials.Uptake and impact of guidelines for exacerbations X3.5 Develop post-discharge plan and follow-up.X3.2.1 Humidified nasal high flow therapy (hNHF).Refer appropriately to prevent further deterioration (‘P’) X2.2.4 Combined systemic corticosteroids and antibiotics for treatment of exacerbation.X2.2.3 Antibiotics for treatment of exacerbations.X2.2.2 Systemic corticosteroids for treatment of exacerbations.X2.2.1 Inhaled bronchodilators for treatment of exacerbations.X2.1 Confirm exacerbation and categorise severity.Assessment and management of anxiety and depression D1.7 Clinical psychologist/psychiatrist.D1.3 GP practice nurse/ nurse practitioner/ respiratory educator/ respiratory nurse.P11 Long-term home non-invasive ventilation.Humidification therapy and nasal high flow (NHF) therapy P2.3 Haemophilus influenzae immunisation.P1.2.5 Electronic cigarettes (e-cigarettes).P1.2.2 Nicotine Receptor Partial Agonists.O10.3 Palliative oxygen therapy for dyspnoea.O9.2 Lung volume reduction surgery and bronchoscopic interventions.O8.1 Treatment of hypoxaemia and pulmonary hypertension.O7.13 Testosterone deficiencies and supplementation.O7.11 Combined pulmonary fibrosis and emphysema.O7.8 Gastro-oesophageal reflux disease (GORD).O7.2.5 Coronary revascularisation procedures.O7.1 Increased risks from comorbidities in the presence of COPD.O6.8 Chest physiotherapy (Airway clearance techniques).O6.5 Physical activity and sedentary behaviour.O6.4 Neuromuscular Electrical Stimulation.O4.2.1 Eosinophil count and inhaled corticosteroids.O4.2 Inhaled corticosteroids and long-acting beta2-agonists and long-acting antimuscarinics in combination.O4.1 Inhaled corticosteroids and long-acting beta2-agonists in combination (ICS/LABA).O3.3 Inhaled corticosteroids versus long-acting beta2-agonists.O2.2 Phosphodiesterase type-4 inhibitors.O1.3 Assessment of response and continuation of bronchodilator therapy.O1.2.3 Long-acting bronchodilator combinations (LAMA/LABA).O1.2.2 Long-acting beta2-agonists (LABA).O1.2.1 Long-acting muscarinic antagonists (LAMA).O1.1.3 Short-acting bronchodilator combinations.O1.1.2 Short-acting muscarinic antagonist (SAMA).O1.1.1 Short-acting beta2-agonists (SABA). C5.11 Electrocardiography and echocardiography.C5.5 High resolution computed tomography.Assessing acute response to bronchodilators Key Recommendations of the COPD-X Guidelines.COPD Guidelines Committee – Past and Present.Summary of the Changes from the previous three versions of COPD-X.Summary of the major changes – Version 2.71, July 2023.
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Those are in order of preference, and also the order of most work to install. It will either be a swinging jib crane (mounted next to the air compressor), a traveling crane that covers most of the work area, a simple beam with a trolly on it or even just a mobile A-frame type. I sketched in the area for the two post lift, but am still undecided on the type of crane to go with. With that said, I've attached a rough layout of what I'm envisioning the shop to be setup like. I will probably be installing a 2-post lift and some type of overhead crane (chain fall.) Both of which may need some additional concrete work in the initial stages. So in the construction of the building there are a few things I am trying to plan ahead for. Already got started on that, more on that later. Basically all I have to do for site work is cut the bank back a little behind the building, strip off the sod and do some minor leveling. There is a small shed there that will be torn down before the actual construction starts. The site was already mostly level from an old building that came down years ago. It was at a decommissioned RJ Reynolds plant in NC and my FIL, BIL and myself took it down for basically scrap prices (It was originally 40x120, FIL is building the other half at his place.) It will be built on concrete piers for the posts to sit on and will only have a concrete floor in the shop portion. I already have the building, it's a 40圆0x12 metal building that was built in 1956. Within the next month or two I'll be starting to build a shop for our farm. It felt like provocation for a lot of people. A lot of the early stuff was rejected at the time, at least by certain mainstream critiques. “That always trips me out, I’ve gotta say. ” Although his work has often proven somewhat too taboo for the mainstream film industry, it has gone on to provide inspiration for Gucci campaigns, art direction, Supreme T-shirts and films. For example, he too can see Julia Fox, who starred in a Supreme campaign he shot, as someone “who you can imagine would have worked back then. Korine’s catalog of work has an unparalleled ability to reflect the contemporary zeitgeist. “That’s interesting to me.”įrom left to right, producer Cary Woods, director Larry Clark and writer, actor and director Harmony Korine on their way to promote their film Kids at the Cannes Film Festival in France, May 1995. Life is his mood board, and the characters he portrays mirror what he sees in the real world, describing day-to-day life as a “large science fiction fishbowl experiment.” By examining the so-called “fishbowl,” Korine mixes the romanticization of his observations with his depiction of reality in what he likens to “chemical experimentation.” “The idea that you can put different elements into a bottle and shake them up and document an explosion,” he says. What surrounds him is what surrounds us, but he looks deeper. Korine doesn’t take himself, or anything for that matter, too seriously. “I just wanted to make a sequel to Caddyshack,” he adds. “I guess it’s controversial,” he said of the film, through an awkward smile. In 1995, aged just 19, he joined the Late Show with David Letterman’s sofa as part of a Kids media junket. Self-deprecating candor and vague mystique appear to be Korine’s default when it comes to interviews. “I’m slow to make movies and I haven’t really made that many,” says Harmony Korine, the American filmmaker responsible for Gummo, Julien Donkey-Boy, Mister Lonely, Spring Breakers, Trash Humpers, The Beach Bum, and of course, the screenplay for Larry Clark’s Kids – a film clouded in controversy thanks to its hedonistic nonchalance and irreverence. The Site, including this page, may contain other proprietary notices and copyright information, the terms of which must be observed and followed. The information and materials contained at the Site may not otherwise be copied, transmitted, displayed, distributed, downloaded, licensed, modified, published, posted, reproduced, used, sold, transmitted, used to create a derivative work or otherwise used for commercial or public purposes without Capital One's prior written consent. 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This Agreement governs your access and use of the materials on Capital One’s website and any of its pages (the “Site”). It starts off relatively motionless, frozen in time by all the tension in Swift’s voice, as if by keeping absolutely still she might not fall for the song’s subject. They bloom beneath the skin of “Holy Ground,” a song where Swift discovers a brief connection so glowing and true that she skips over the end of the relationship because it’s not important: “And I guess we fell apart in the usual way/And the story’s got dust on every page.” “Treacherous,” which she co-wrote with Semisonic’s Dan Wilson, initially sounds like an old Taylor Swift song, but it deepens over time like none of her songs before or since, a masterclass in dynamics from arrangement to lyric. She wanted the drum sounds that Jeff Bhasker brought to Fun.’s 2012 pop album Some Nights, hushed, cottony throbs that sound cobwebbed over. So she sought out different producers and collaborators to give shape to these kinds of missing. Swift knew this she described Red in Billboard as being about “all the different ways that you have to say goodbye to someone.… Every different kind of missing someone, every kind of loss-it all sounds different to me.” But real stories have a way of ending in places uneasy and uncertain, and what seemed to be the most enduring relationships splinter off into loose ends and glass shards. Many of Swift’s earlier, fantasy-driven songs, like “Love Story” and “Mine,” end neatly both resolved with marriage. In a counterpoint to the musical wanderlust on display, there’s a newfound patience to Swift’s observations, a knowledge that narratives form out of brokenness and frustrated communication more often than they do out of ease or any emotional clarity. Red is also the first record where Swift directly echoes Mitchell’s writing, a once potential and hazy inspiration now coming into view. It’s her somewhat obvious way of referencing the front cover of Joni Mitchell’s 1971 album Blue, where a photograph of Mitchell’s face is submerged in a blue-black lake of shadow. Even on the album cover, Swift is partially disappeared, her downcast eyes swallowed by a lip of shadow falling from a wide-brimmed hat. Red is an album of disappearances, of things that have gone or are just about to go missing-lost relationships, old sounds, previous Taylor Swifts, each photographed just as they’re receding out of frame. It was as if she had finally found a musical backdrop sharp as her lyrics-the lakes and backroads of Tennessee and Georgia disappear, replaced with formations of jagged crystal, a perfect environment for a song about falling in love with someone you know will hurt you and leave you feeling empty as a canyon. Synths scream behind Swift’s voice like mechanical saws. One of the other Swift/Martin/Shellback collaborations on Red, “I Knew You Were Trouble,” starts as a pop-rock song but its edges mimic the queasy wobble of dubstep. Martin and Shellback were aware of these shifts in pop’s geography they incorporated many of them into Femme Fatale, the Britney Spears album from the previous year. Pop was just beginning to mingle its DNA with EDM dubstep, a once varied and relatively new branch of dance music, had been reduced to the stomach-flip of the drop just as its popularity in America crested. Swift was trying to push her music outside of its traditional boundaries, to stray into the interzone between pop and country. It sounded like a new version of her, being fitfully born. It didn’t sound like the old Taylor Swift, the one who wrote 20 new Taylor Swift songs for a new Taylor Swift album. A chord thrums from an acoustic guitar which then turns inside out as it plays, as if caught in the neck of a vacuum. You can hear it immediately in the first song she wrote in collaboration with pop gurus Max Martin and Shellback, “We Are Never Ever Getting Back Together”-a mutation is happening. 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We did a breakthrough 'speed test' in quantum tunnelling, and here's why that's exciting They compared the velocities over time when there was no measurement device present to those when there was, and so determined the change in the velocities as a result of the measurement. In our latest experiment, scientists in China followed a technique suggested by me in 2007 to reconstruct the hypothesised motion of the quantum particles, from many different possible starting points across both slits, and for both results of the measurement. In fact, the theory behind our experiment was one in which both wave and particle nature are manifest - the wave guides the motion of the particle according to the interpretation introduced by theoretical physicist David Bohm, a generation after Heisenberg. How is this possible? Well, because quantum particles are not really just particles. Rather it is delayed until the particle is well past the slits, on the way towards the far field. We saw what others have missed because this velocity disturbance doesn’t happen as the particle goes through the measurement device. We don’t have to get into what they claimed was the mechanism for destroying interference, because our experiment has shown there is an effect on the velocity of the particle, of just the size Heisenberg predicted. Hence, they argued, it is not Heisenberg’s Uncertainty Principle that explains the loss of interference, but some other mechanism. Any measurement that gives different results depending on which slit the particle goes through will do.Īnd they came up with a device whose effect on the particle is not that of a random velocity kick as it goes through. What the eminent quantum physicists realised is that finding out which slit the particle goes through doesn’t require a position measurement as such. We know the answer is no, and Heisenberg’s explanation was that if the position measurement is accurate enough to tell which slit the particle goes through, it will give a random disturbance to its velocity just large enough to affect where it ends up in the far field, and thus wash out the ripples of interference. Wikimedia/NekoJaNekoJa/Johannes Kalliauer, CC BY-SAīut what if we put a measuring device near the barrier to find out which slit the particle goes through? Will we still see the interference pattern? There are bands (dark) where they are more likely to show up separated by bands (light) where they are less likely to show up. Particles going through two slits at once form an interference pattern on a screen in the far field. The signature of this is the so-called “interference pattern”: ripples in the distribution of where the particle is likely to be found at a screen in the far field beyond the slits, meaning a long way (often several metres) past the slits. Since we can’t know which slit the particle goes through, it acts as if it goes through both slits. We also have a quantum particle with a position uncertainty large enough to cover both slits if it is fired at the barrier. In this type of experiment there is a barrier with two holes or slits. We show a velocity disturbance - of the size expected from the Uncertainty Principle - always exists, in a certain sense.īut before getting into the details we need to explain briefly about the two-slit experiment. Heisenberg used the Uncertainty Principle to explain how measurement would destroy that classic feature of quantum mechanics, the two-slit interference pattern (more on this below).īut back in the 1990s, some eminent quantum physicists claimed to have proved it is possible to determine which of the two slits a particle goes through, without significantly disturbing its velocity.ĭoes that mean Heisenberg’s explanation must be wrong? In work just published in Science Advances, my experimental colleagues and I have shown that it would be unwise to jump to that conclusion. But this measurement would necessarily disturb its velocity, by an amount inversely proportional to the accuracy of the position measurement. For example, measuring the particle’s position would allow us to know its position. It also gives the musicians and bands you most listen to part of your subscription when paying for the top-tier plan (Hi-Fi Plus). It offers a high-end sound quality with lossless compression audio streaming. Tidal targets more musicians and audiophiles that love the detail of music and audio production. Here is a sum of what we think is the major difference between the two services: In a hurry and want to go straight to the point? We got you! What is the major difference between Tidal and Spotify? So you can make an informed choice when it comes to two of the major streaming services available today. And see what differences and similarities there are between the two. We will look at the youngest streaming service among the most popular ones, Tidal, and compare it with the giant in the field, Spotify. So, you’ve got to choose the right music streaming platform that works best for you, and we are here to help you in this journey! Spotify, or Deezer, another big name in the market, with Spotify. We understand it’s hard to compare these music services services, such as App l e Music vs. But investing in a music platform takes time and effort. You can access millions of songs, albums, and sometimes podcasts by signing up for platforms like Spotify, Apple music, or Tidal. Having a streaming service to help you get the tune you love at any time is beneficial, but the question is, which one to choose? And getting access to the music you love has never been easier. Whether you’re young, old, or somewhere in the middle. Paris-based Deezer, which is strong in continental Europe, says it has six million paying subscribers while Rhapsody, the streaming pioneer established in 2001, had 3.5 million as of December.Music. Spotify has previously said it has more than 75 million users when including its advertising-backed free tier, which is controversial among artists.Īpple Music, launched in June by the tech giant, has quickly become the second leading force in streaming, and said last month it had 11 million subscribers. Spotify, based in Sweden, is by far the largest streaming site and last week said it had reached 30 million paying subscribers worldwide. Tidal offers music on more advanced Flac files, but at $19.99 a month in the United States, the subscription for the high-end tier is twice the cost of most streaming sites. Whatever the public relations struggle, Tidal insisted it has made good on its promises and that it has featured 1,000 tracks by unsigned artists. Tidal vowed to change streaming to benefit artists, although the press conference was led by some of the richest names in music such as Madonna, West and Jay-Z's wife Beyonce. Tidal, which last revealed its subscription base at one million in September, said in a statement marking its one-year anniversary that it now has three million members in 46 countries.Īimed at taking a slice of the booming market for streaming, which offers unlimited, on-demand music, Tidal has sought to differentiate itself from rivals led by Spotify by offering exclusives, higher-quality audio files and video content.Īmong its successes, Tidal exclusively released the latest album by rap superstar Kanye West and has become the primary online home for Prince, who has delighted in the newfound artistic control.īut Tidal was widely derided for the optics of the Mapress conference that announced the relaunch of the service, which Jay-Z bought for $56 million from Swedish-listed company Aspiro. See Protecting app access to user data for ways that macOS can help protect user data from malware, and Operating system integrity for ways macOS can limit the actions malware can take on the system. There are additional protections, particularly on a Mac with Apple silicon, to limit the potential damage of malware that does manage to execute. These protections, further described below, combine to support best-practice protection from viruses and malware. XProtect adds to this defense, along with Gatekeeper and Notarization.įinally, XProtect acts to remediate malware that has managed to successfully execute. You can also view reports, alerts, and policies for your. The next layer of defense is to help ensure that if malware appears on any Mac, it’s quickly identified and blocked, both to halt spread and to remediate the Mac systems it’s already gained a foothold on. Access your Malwarebytes cloud account to manage your security products, devices, subscriptions, and billing. The first layer of defense is designed to inhibit the distribution of malware, and prevent it from launching even once-this is the goal of the App Store, and Gatekeeper combined with Notarization. Remediate malware that has executed: XProtect Block malware from running on customer systems: Gatekeeper, Notarization, and XProtectģ. Prevent launch or execution of malware: App Store, or Gatekeeper combined with NotarizationĢ. Malware defenses are structured in three layers:ġ. iPhone Text Message Forwarding security.2CO.COMMALWAREBYTES 9040 ROSWELL ATLANTA 840. AVANGATE INC Purchase (AXP) w/ Bal Return & AVS. How iMessage sends and receives messages If your credit card statement has a charge like the following, it should be a legitimate charge for Malwarebytes.Adding transit and eMoney cards to Apple Wallet.Rendering cards unusable with Apple Pay.Adding credit or debit cards to Apple Pay.How Apple Pay keeps users’ purchases protected.Intro to app security for iOS and iPadOS.Protecting access to user’s health data.How Apple protects users’ personal data.Activating data connections securely in iOS and iPadOS.Protecting user data in the face of attack.Protecting keys in alternate boot modes.About Us Contact Us Get Support Careers News and Press. Encryption and Data Protection overview How can we help you Looking for Business support Visit Business support.UEFI firmware security in an Intel-based Mac.Additional macOS system security capabilities.recoveryOS and diagnostics environments. Contents of a LocalPolicy file for a Mac with Apple silicon.LocalPolicy signing-key creation and management.Find our emails in your Junk or Spam folder, and mark them as safe by selecting Not Junk, Not Spam, or the available similar option. Boot process for iOS and iPadOS devices Verification emails are sent from this address, and adding it to your contact list indicates it is a valid address.Secure intent and connections to the Secure Enclave.Face ID, Touch ID, passcodes, and passwords. For example, If the myapp folder is located inside your desktop/python directory, traverse (cd desktop/python) to the folder on terminal/cmd and run the bokeh serve command. For the plot to appear, run the bokeh serve from the directory where your myapp folder is placed. Now run the bokeh server using bokeh serve –show myapp. add_layout ( labels ) layout = column ( row ( plot )) #add plot to layoutĬurdoc (). Labels = LabelSet ( x = 'x', y = 'y', text = 'player_id', level = 'glyph', x_offset =- 5, y_offset =- 7, source = source, render_mode = 'canvas', text_color = 'white', text_font_size = "10pt" ) plot. scatter ( 'x', 'y', source = source, size = 20, fill_color = 'color' ) #Add labels to the scatter plot visible = False #Plot the player coordinates image_url ( url =, x =- 52.5, y =- 34, w = 105, h = 68, anchor = "bottom_left" ) #x,y,w,h are given based on STATS definition of the dataset Plot = figure ( name = 'base', plot_height = 600, plot_width = 800, title = "Game Animation", tools = "reset,save", x_range =, y_range =, toolbar_location = "below" ) plot. Once the player and team tags are added, we’d have the data as below Once you’ve the data file ready, create the below folder directory, which would be needed to run the bokeh server. Also, an similar dataset can be used (for any sports) as long as you’ve the below columns. Once you get the dataset and have doubts on adding team/player tags, do contact me on twitter/mail. I’m not going to explain in depth about the data cleaning process. Note that I’ve already done some pre-processing to clean the raw data since the data from STATS doesn’t have player/team tags and we’d have to manually add them. The data used in the viz is not available for public use. You can submit an online request to obtain the dataset from them. The dataset used in the post is from STATS. I could write a separate blog post to outline the process in Matplotlib. But the features of bokeh (compared to matplotlib) makes it a better choice, for this purpose alone. I’ve also tried the same with Matplotlib and it was successful. Bokeh gives a good looking viz in the browser and also provides smooth interface for animation. Also, this post explains the steps to create a toggle button, to show/hide the convex hull plot of the teams. This blog post looks at creating an animation slider (with Play and Pause buttons) to plot 2D coordinates of player movement in a soccer game. |
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