Dead Space 2 100 Save

[Berenice Pretlow]

Whenyou draw up 0.30 mL of fluid into a syringe, you are actually drawing up 0.38 mL; the extra 0.08 mL in the dead space amounts to about 20% of vaccine material being discarded. If using the new high-efficiency low dead space syringe recommended by Pfizer-BioNTech, which has a dead space volume of 0.035 mL, that is still about an 11% loss for a 0.30 mL injection [Figure 1].

The Moderna vaccine is injected in 0.5 mL increments using the standard injection syringes/needles and methods, which requires drawing up 0.58 mL of fluid (this includes 0.08 mL in the dead space). The fluid left in the dead space amounts to about 14% being discarded.

Here is a simple example of how to measure the dead volume. When you load a syringe to 0.30 mL, you are actually drawing back 0.38 mL. Fill the syringe to the 0.30 mL mark, clear any air from the syringe/needle, then simply eject the 0.30 mL. Next, draw air back into the syringe and note the amount of dead space fluid volume you drew back into the syringe. A 25 g 1.5 inch needle will hold 0.08 mL [Figures 2, 3].

For the Moderna, AstraZeneca, Johnson & Johnson, and Novavax vaccines, which inject 0.50 mL, the technique is the same. Draw up 0.42 mL of vaccine into the syringe, draw another 0.2 mL or so of air, which pulls the dead space vaccine into the syringe barrel for a total 0.50 mL of vaccine with air tapped to the top. Inject downward so the air flushes the dead space into the muscle. This method can be used with any combination of needles and syringes. If using a needle/syringe different than the version discussed above, calculate the dead space volume for the specific syringe type in order to determine how much vaccine to draw into the syringe.

Figure 1. The usual withdrawal of 0.30 mL of fluid (red wine in this illustration) into a standard 25 g 1.5 inch syringe/needle leaves 0.08 mL in the dead space of the needle housing.

Figure 5. Shows the image in Figure 4 with the addition of about 0.2 mL of air drawn into the syringe and tapped to the top of the barrel. This air flushes the entire 0.30 mL into the intramuscular space.

But maybe the default should be the KSP 1 version of one vessel at a time (save vessel only, no workspace), with being able to turn on workspace as an advanced mode instead. When you get started with the game, workspaces are mainly making the situation more complex than needed. You won't care about them at the start, but they may confuse you.

I chose the running order based on the character of the passages and the dynamic flow of the whole. Segues were mostly impossible, but fade-outs where needed worked out fine. There are a few deliberate jump cuts, but otherwise all tracks stand alone.

Cover art: Holt School Mathematics textbook cover detail (8th grade volume), circa 1976. Graphically, this Holt School series was very nice, each volume iterating on the same abstracted composition of the four basic math functions (addition, subtraction, multiplication, division), which I think adequately reflects the philosophy of this mixtape.

These are not bass solos (other players present), but Phil steps beyond the normal zones of 1973-1974 collective abstraction to establish his own soundscape plots - dropping bombs, embracing distortion, shifting an octave, firing off drones and tones. The band generally steps back to give him a canvas, with much of the accompaniment minimal and often gentle. It is paradoxically violent and soothing music.

In this period, there is a decisive moment when - or a brief transitional period during which - the climactic Terrapin riff gives way to a breezier space. Instead of grinding the Terrapin riff out forever, the band turns a corner into a different zone.

And Jerry Fucking Garcia, genius lead guitarist, operating in a wide-open space - unencumbered by rote requirements - laying down spellbinding narratives. He employed many tones, natural and MIDI, not just changing channels for novelty but seeing the next place he wanted to take things and paying it off.

In June 1980, the Grateful Dead went to a very nice high school gym in Anchorage, Alaska, for three nights that included the summer solstice. The venue had previously hosted artists such as Dave Brubeck and Leonard Bernstein, and it held 2,000 people. The promoter sweetened the gig offer with a hunting and fishing trip for the band.

The Alaska run (June 19-21) came five days after the band dashed through Portland, Seattle, and Spokane on consecutive nights (June 12-14). A week after Alaska, the band performed in LA and San Diego and then took six weeks off.

The vocals are very forward, and every voice and instrument is clearly separated, while blending nicely. The resulting sound experience is very detailed and intimate-feeling, while also having plenty of oomph.

When the band got together after a break (for a new year or a new tour), the joy of their reunion as an exploratory musical collective was often palpable and measurable in magic minutes. Early 1981 is one of those events, and these mixes focus on that jammier material.

The seven albums Zappa released in 1973 through mid-1978 contained almost no instrumental compositions/performances. This was the period when his vocal music found chart success and established his permanent reputation as a joke song guy (dental floss, yellow snow, STDs, etc.).

However, Zappa's longstanding instrumental ambition, reawakened in 1972 on two studio albums and tours with 20- and 10-piece live units, continued through 1973-1975 and is highly rewarding. Zappa wrote and recorded many new instrumental compositions and re-arranged his old and recent oeuvre for varied ensembles, including a proper orchestral approach in 1975.

Instrumental Zappa over these few years was wildly heterogeneous and greater for that. The composer and bandleader were occupying this space half the time. I have left everything in the order it appeared on the releases used for this mix, aside from shunting 1973 rehearsals and soundcheck recordings to the end - a fascinating but separate trip. This playlist is an ocean, not a take.

Phil got this idea to honor the seven ancient planets. He wrote all of this incredible music and we decided to hire this guy, John Dwork, and have him have a vision of what this could be. Every show we were going to do one of these pieces that would be a special honoring and it would involve the audience and take place during the whole day. It was supposed to be this spectacular tour and somehow it imploded. What we were left with was this big circle Candace Brightman had built, you see them at dead shows... it's like a canvas with lighting.

Each day, we would come out on stage and see a symbol for one of the planets and we knew, that day we would be playing that specific music. But nobody in the audience was hip to what the f*** was going on. We were playing this crazy music but (the audience) didn't understand. In a way, I don't understand why we went through the motions without actually making it happen. It was so bizarre, but the music Phil wrote... Jimmy has said it many times, he said, 'That was the coolest s*** Phil ever wrote.' It was very deep and every single tune was different and really cool.

Phil is a great composer, he really is. This was written music, we actually had to read that s***. Phil's not the most prolific composer, but think about the body of his work, it's pretty impressive. Just think about "Box of Rain" and "Unbroken Chain" alone.

This mix is a sequel to the Save Your Face PLQ Jazz 1" mix. Posted here. Streaming here. Thank you to Josh Klay for introducing me to The Planet Jams and serving up the perfect concept for volume 2 of the series.

I need to take an image and save it after some process. The figure looks fine when I display it, but after saving the figure, I got some white space around the saved image. I have tried the 'tight' option for savefig method, did not work either. The code:

I have tried to deactivate different parts of this, but this always lead to a white margin somewhere. You may even have modify this to keep fat lines near the limits of the figure from being shaved by the lack of margins.

So the solution depend on whether you adjust the subplot. If you specify plt.subplots_adjust (top, bottom, right, left), you don't want to use the kwargs of bbox_inches='tight' with plt.savefig, as it paradoxically creates whitespace padding. It also allows you to save the image as the same dims as the input image (600x600 input image saves as 600x600 pixel output image).

When playing the PS5 version of Dead Space Remake, you may experience a problem with saving your progress - the game will not create new saves. On this page of our guide, we discuss when this problem can occur and how to solve it so that you can save your progress again.

In the course of Dead Space Remake on PS5 you may receive a message when attempting to save your progress that the game cannot create any more saves. This message may appear during manual saving or when the game makes an automatic save.

This problem is limited to the console versions of the game - PC version is safe. There is a chance that the bug may also appear on Xbox Series X and Series S consoles. The core of the problem is exceeding the allowed limit of taken disk space by saves from a single playthrough. In our case, the error appeared when Dead Space Remake saves took up more than 1GB on the console's hard drive. One of the sources of the problem is the frequent creating of new manual saves (rather than overwriting existing saves).

When it comes to the PS5 version, the only solution to the problem is to manually delete some of the saves. Select Load Game from the main or the pause menu. Highlight saves that you want to delete and confirm the action (Square on PS5). Make sure to delete the oldest saves first i.e. those at the bottom of the list. Delete at least 5 to 10 saves so that the error message and inability to save do not appear again in the near future.

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