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Although my practice had always been con-nected to social justice, to “collective” liberation, it had not included race or how my racial identity was part of the injustice. I started to use the process and inquiry of Yoga to loosen the epigenetic fas-cial refex of my racial his tory, i. Alt-hough my workshops are motivated by theoretical political discourse, they are ultimately an embodi-ment practice that uses asana as a psycho-so matic process for unmasking internalized and institu tional-ized racism, creating a kind of “woke” refex. Movement Research in collaboration with the New Museum hosted various events to celebrate the oc casion. One public discussion was ti-tled, “A Pluralistic 64 View of the Judson Dance Theater Legacy” and featured Yvonne Rainer, Aileen Passlof and Wendy Perron. At about 51:00 into the conversation, Wendy asks Yvonne about Judson Dance Theater’s relationship to race and her tone reveals that she is somewhat irritated by the underlying assumption of racism as inte-gral to the Judson legacy. Wendy Perron: I have another question, because in all this planning about Judson this fall one of the questions that has come up about, or almost accusations, is like, either Judson was all white, or it wasn’t all white and where were the people of color? The programs were organized by a nom-inated committee of three people, I was on one of them or two of them. I mean the free dom bus rides, voter registration in the south, this was about to happen…I must say for myself, I was not very tuned into that. We did not do outreach to bring diferent ethnic, ethnici-ties in…people of color into our orbit, we were kind of oblivious. Racial amnesia or in this case, racial oblivion, can only operate for white people within the logic of white supremacy, which I think is one of the reasons why it 65 is so difcult for whites to contend with their racial entitlement. If white supremacy is relegated to the Ku Klux Klan or tiki torch wielding neo-klan members and not to the founding institution of American Democracy, then it is easy to disassoci-ate whiteness from white supremacy. But if we look at our spaces, at the history of our spaces, we have to account for the dynamics of ex-clu sion. And rather than be annoyed by the accusation of the post-modern dance experiment being enmeshed in whiteness, a more fruitful conver sation would have been to acknowledge the implicit racism that America has al-ways operated within, from genocide and slavery to the new Jim Crow, and to begin to deconstruct the racial order that everything about ourselves is lodged in, including our dance form. While white artists in 2012 were having difculty even beginning an honest conversation about race in con temporary dance, artists of color had already under taken the labor of desegregating Movement Research. Trajal Harrel, who explored the intersection of race and postmodern dance in his seminal choreography, Twenty Looks or Paris is Burning at the Judson Church, began quietly curating artists of color into the Monday night Judson Church performance series in 2000. From 2009 until 2011, Trajal curated the curators, inviting artists of color 66 to continue to carve out space for other artist of color in the Monday night performance series. In 2012, he transferred this curatorial responsibility to Tara Aisha Willis, who is now associate curator of performance at the Museum of Contemporary Art in Chicago. After years of curation by artists of color to integrate artists of color, an autonomous group was forged within the umbrella of Movement Research. In October 2016, after a sixteen-year process, the artists went public with an event titled, Diversity and Accountability: A Conversation with the Movement Research Artists of Color Council. The council aspires to increase visibility, opportunities, and engagement with resources for artists of color within the feld. In relationship to the Artists of Color Council, the Movement Research’s Board created an Undoing Racism Committee to learn and address how structural racism was embedded in the operation of their organization. Movement Research, as a non-proft, was also cho sen for a long term, city-wide training conducted by RaceForward to help dismantle racial inequality and create equitable solutions through-out Movement Research’s framework. This includes staf at Movement Research undergoing mandato-ry anti-racism training. I’m encouraged by the work that is happening at Movement Research and would like to amplify its process, so that other arts organizations can implement anti-racism into the core of their structural iden-tity. In emailing with members of the staf and Artists of Color Council, it is clear the procedure of breaking down dominant racial order, especially in existing institutions is challenging—there is white fragility, hostility, igno rance and even apathy. Often there is not the same shared political urgen cy to create equitable relations, which leaves artists of 68 color burdened with a kind of uni-lateral responsibility for the labor of change. Without the Artists of Color Council insisting upon forging equitable access to Movement Research, It is hard to know how long the white dance community would have continued its “we don’t exclude” self-image. While problems are posed in order to be resolved in composition, and procedures applied to technically shape a process, poetical princi ples direct the thought of creation toward imagination into futurity often leading to a poetic usage of language. This text will explore elements of contemporary per formance poetics in which imagination gains ground.

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I sit a bit towards the front of the seat, connecting my sit bones with the seat of the chair. My feet are on the foor, and my knees in a right angle above my feet, aligned with my hips. My body is almost shaped like the chair, with my head on top of the spine, above the sit bones, knees in a right angle in front of my hips, so that the upper leg, or thighs, makes a parallel line with the foor. If I would make a drawing in profle the chair would almost trace my body like a shadow, or a visual echo, a sort of scafold, an exterior skeleton to 101 my body, a supportive structure. My weight is equal-ly distributed between my two feet and my two sit bones, which are connected to the ground through the legs of the chair. I lean a bit back from my computer, my neck moves down and I can now see my two feet on the foor, my shoes, they are white with 1984 written in dark blue. The spine follows the movement of the neck and my whole back curves, as I am rolling over my sit bones and my weight is now press-ing towards the back of the sit bones. I look straight in front into the mirror again, and feel myself sitting upright, on top of my sit bones, connect ing into the seat of the chair. I repeat this movement, rolling down and up again, a couple of times, keeping the connection to my feet on the ground, and distrib uting the weight equally between my feet and sit bones. I can feel how my hips are moving, and as I am rolling up and down, my sit bones are moving a bit back and forwards again. After doing this gentle bounce a couple of times, and as the movement becomes a bit smoother and easier, it also becomes clearer and more precise, then smaller, until I stop. In sitting, I look at myself in front of me, and I shift my weight a bit forwards and back, moving closer to the mirror and further away. Then, moving from side 102 to side, I stop looking, but my eyes are open, shifting the weight from left to right, not so far, but just enough to feel that the weight shifts from one sit bone to the other, feeling how it is pressing into the chair, perhaps diferently on one side than the other. I move a bit around like this, only shifting the weight, making small circles, in one direction and then the other. I try to feel the connection of the sit bone to the chair, to feel the shape of this bone, and to see if I can fnd where the middle is, remembering to keep the weight also sup ported by the feet on the foor. Is there a movement in my upper body, in my ribs, my head, am I moving my head, or can I remain quiet and only focus on the sit bones and the weight shifting? The chair feels hard to the bone, even if there is the softness of skin, fesh and muscles in between the two. I place my right hand under the sit bone on the right side, so that I am sitting in the palm of my hand, or more precisely on my fngers. I can feel the fatter, middle part of the bone more dis tinctly, like there is a plateau or a surface. For the front of the hand, how-ever, the knuckles of my fngers, it’s a bit painful, as it is being pressed into the hardness of the chair, and I gently remove my hand from under 103 my sit bone and bring it to rest on the thigh in front of the hip. As I sit back on the chair, now with the hand removed, I feel my right sit bone expanding into the seat of the chair, as if I am sitting further into the chair on that side, that my right side is widening and mak ing me sit more grounded and also with greater ease and comfort. I want to be complete so I immediately do the same exploration on the other side, sitting now on my left hand, until the left sit bone also expands into the seat of the chair, bringing my whole left side more or less in balance with the right. I observe diferences between my right and left side, the usual things when I have not been tuning in with myself like this for a while, or just because it’s early in the morning. Still, and even if a mountain is not exactly the image of softness, I feel grounded like a mountain, sitting in the chair, I could sit like this for a thousand years, without any efort, just there, solid, calm. Yes, this gets closer to the 104 feeling of sinking into the chair, the soft-ness of this sponge like texture. I get up to wash my hands, which are now full of grapefruit juice, so I cannot continue writing on my computer. I make two or three steps around in the room, and then I stand still and close my eyes. If there are some places I feel heavier than others, if there are some parts of my body that catch my attention. I feel my feet on the ground, how is my right foot in relation to my left, how much distance is there be tween my two feet, how do I feel my knees, are they soft or is there ten-sion around my knees, at the back of my knees. Where under the feet do I feel my weight, more to-wards the back and the heels of the foot, on the inside or outside of the foot, towards the front, or the toes—are the toes grasping the foor, or just there, relaxed, and is this diferent on the right and the left side? How is my breathing, is my breathing circulating through my whole body, or are there parts where no air is entering? Can I feel any movement in my ribs, the ribs on both sides, towards the back of the ribs as well?

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He would also go through periods of elevated mood where everything was moving too fast for comfort. The difference at his stage of life was that Keith was connected to a strong, healthy and enduring support system. He also had seen the same psychiatrist over the last 10 years time and all involved through key roles in his life were able to make necessary adjustments as needed. The impact of Keith’s bipolar disorder wasn’t inconsequential, but at the same time it didn’t turn into a major disability. And on those isolated occasions where he went beyond that limit, he usually paid for it by having difficulty awakening in time to arrive at his office when his work day started. If Keith were being honest, he would acknowledge that his occasional slips into too much alcohol were never worth it. At these times he would feel fatigued, cranky and on edge for much the following day. And he also rarely found that there was anything extraordinary about his alcohol-related experience from the night before. You see, Keith was more connected to the life satisfaction that he found through structure, stability and abstinence as opposed to the excitement he had found through his previous college substance use. He was at point in his life where the entire equation for satisfaction and stability was different. Keith realized that the cost benefit analysis, which he finally understood, pointed toward minimal or no alcohol use. Keith’s story is not unusual as it pertains to the differences between young adulthood and the mid-life years (or later). That is, alcohol use during adolescence and early adulthood for most bipolar disordered individuals is too risky. The importance of maximizing mood stability during the early course of the disorder is critical. Later in life, the risk of bipolar destabilization from moderate alcohol use is much less due to the many other factors that augment stability and have us less vulnerable to the seduction of social conformity and excitement seeking. There is one very important caveat here: there are There are some who some who find they have no success with find they have no moderation. And once that train has left the station it becomes very difficult to get things back on track without the destructive Instead, you’ll find consequences of relapsing into excessive use. And again, if you’re at an earlier point in the lifecycle, then the very process of discovery is also fraught with danger. When we broaden the focus to include the wider range of popular drugs (stimulants, opiates and hallucinogens) then we are back to the 69 slippery slope and our advice is that of strong caution. Stimulants Stimulants represent is a broad category of drugs spanning the range from an innocuous cup of coffee to smoking crack or injecting meth into one’s veins. The effects are not unlike the continuum of symptoms from very mild hypomania to full manic psychosis. There are some with bipolar disorder who don’t do well with even mild chemical stimulation. Caffeine or energy drinks, even in low quantities can be a powerful catalyst for these individuals. For others, a morning cup of coffee or two, or a mid-day energy drink is no big deal. Apart from the very mild feeling of activation, a small degree of chemical stimulation is just that. The task of the bipolar individual is to figure out where he or she is on this continuum. Do one or two cups of coffee represent a light lift or are they more like lighting a fuse? If the conclusion is that very moderate use of light stimulants is benign, it’s important to remain mindful of their danger, especially in today’s youth culture where caffeine and/or energy drinks are the chemical supports which facilitate academic all-nighters or even the experience of “raging” until the early morning hours. Eight or ten cups of coffee in a day or five red bull drinks at night are not innocuous and the outcome can be much more than bargained for. Anything with mind, Precisely because caffeine or herbal stimulants are mood and energy perceived as benign, their risk of overuse is strong. When you apply dangerous this to the stronger substances like cocaine, crack or methamphetamine then the conclusion is clear.

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All the children join in chorus together with the teacher and thus “help” the actors, who suggest that reading is pleasant and easy. Note: the day before the performance the children read an illustrated book in chorus, together with the teacher. Short poems already learnt by heart by the children and made up primarily of words already familiar and of a pleasant nature are read in chorus and individually. The children must follow the place in the text with their first finger, even when the word is unknown to them. For several days the children read their first book, which has been compiled so as to be entertaining on the basis of the pictures and contains mostly words and sentences which the children already know. The children read other books and texts adapted to their level of knowledge and which contain not only familiar but also unfamiliar words. The reading is in chorus, but the teacher stops 107 from time to time and waits for the children to continue by themselves. Sometimes the teacher only lowers his/her voice and then raises it again as soon as he/she notices that the children need his/her support. The aim is to teach children how to read quickly, fusing the short words with the long ones and avoiding breaking the words up unto syllables. Each text is read at most only twice so that in this way the pupils are prevented from memorizing it. After they have read the text the children retell what they have read very briefly to avoid mechanical reading. There should be no reading of texts which the children show little or no interest in. After reading the beginners’ series of booklets we pass on to reading suitable booklets available in the bookshops. The children’s attention is not fixed on one book for any length of time and the teachers keep going on quickly to the next one. Conditions are created for bringing more variety into the repetition by continual introduction of more and new material for reading. Those pupils who are already well advanced can be left to do quiet individual reading of more difficult booklets, the content of which they can narrate afterwards to the class. General survey: the method here described for learning to read has at a first glance features in common with the method for learning whole words. We can list a number of features in which the method for learning to read differs essentially from this method. Primarily, suggestopaedic teaching and learning to read differs from the whole words method in the unity of the three principles of teaching and learning. The following more essential differentiating traits should be noted: a) In Suggestopaedia the pooling of the material in words and short sentences is always harmonised in unison with the psychological and artistic means. Assimilation is achieved by reading or singing memorised passages as well as through the children’s opera and theatrical performances, created for this purpose. The initial letters of the words are incorporated in the pictures as a hidden element of them. The visual-auditory analysis goes to the second plane simultaneously with the cognitive stimulus of the first plane – the word or short sentence as a unit full of meaning. In a word, suggestopaedic teaching and learning to read is a natural method, which in many respects is similar to the processes by which small children learn to speak. On the first day, without realising how it happens, they can read a number of words and know all the letters. The different phases in suggestopaedic acquisition of reading that we have enumerated and especially those with desuggestive orientation will not give the desired results unless the teacher applies the necessary psychological approach. First and foremost the teacher should love the children and play together with them. The transition from phase to phase should be 108 smooth, like in a game, not an exam.

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After loading the computer with the assembler that Dennis wrote, you could write programs in this simpler symbolic form, and wait smugly while the computer did the translation into binary for you. The value of this was incalculable: it enabled programmers to write in something that looked like code, rather than an endless, dizzying series of ones and zeros. The other program that Dennis worked on with Stockman was something even newer a debugger. But it had terrible problems for one thing, it only accepted typed-in code that used the octal numeric system. Peter Samson hacked the night away on a program that would instantly convert Arabic numbers to Roman numerals, and Jack Dennis, after admiring the skill with which Samson had accomplished this feat, said, "My God, why would anyone want to do such a thing? There was ample justification in the feeling of power and accomplishment Samson got when he fed in the paper tape, monitored the lights and switches, and saw what were once plain old blackboard Arabic numbers coming back as the numerals the Romans had hacked with. So Samson set about writing programs that varied the binary numbers in that slot in different ways to produce different pitches. At that time, only a few people in the country had been experimenting with using a computer to output any kind of music, and the methods they had been using required massive computations before the machine would so much as utter a note. Samson, who reacted with impatience to those who warned he was attempting the impossible, wanted a computer playing music right away. So he learned to control that one bit in the accumulator so adeptly that he could command it with the authority of Charlie Parker on the saxophone. In a later version of this music compiler, Samson rigged it so that if you made an error in your programming syntax, the Flexowriter would switch to a red ribbon and print "To err is human to forgive divine. It was no use to explain to these outsiders that Peter Samson had virtually bypassed the process by which music had been made for eons. You could spend hours staring at the code, and not be able to divine where the music was. So it was that a computer program was not only metapliorically a musical composition it was literally a musical composition! It looked like and was the same kind of program which yielded complex arithmetical computations and statistical analyses. These digits that Samson had jammed into the computer were a universal language which could produce anything a Bach fugue or an antiaircraft system. Nor did the hackers themselves discuss this it is not even clear that they analyzed the phenomenon in such cosmic terms. Peter Samson did it, and his colleagues appreciated it, because it was obviously a neat hack. Saunders had grown up in the suburbs of Chicago, and for as long as he could remember the workings of electricity and telephone circuitry had fascinated him. He would spend eight blissful hours with soldering iron and pliers in hand, working in the bowels of various systems, an idyll broken by lunch hours spent in deep study of phone company manuals. Other people were off studying, spending their days up on four-floor buildings making obnoxious vapors or off in the physics lab throwing particles at things or whatever it is they do. And we were simply not paying attention to what other folks were doing because we had no interest in it. They were studying what they were studying and we were studying what we were studying. And the fact that much of it was not on the officially approved curriculum was by and large immaterial. During the day, Saunders would usually manage to make an appearance in a class or two. Then some time spent performing "basic maintenance" things like eating and going to the bathroom. He would go over some of the programs of the night before, printed on the nine-and-a-half-inch-wide paper that the Flexowriter used. He would annotate and modify the listing to update the code to whatever he considered the next stage of operation. When the hour was over someone already itching to get on the machine after him Saunders would be ready to spend the next few hours figuring out what the heck had made the program go belly-up. The peak hour itself was tremendously intense, but during the hours before, and even during the hours afterward, a hacker attained a state of pure concentration. When you programmed a computer, you had to be aware of where all the thousands of bits of information were going from one instruction to the next, and be able to predict and exploit the effect of all that movement. When you had all that information glued to your cerebral being, it was almost as if your own mind had merged into the environment of the computer.