OpenLLM-France/wikimedia huggingface dataset:
# Scienceshow/Guides/Ion Spray
## Purpose

This is a template for new guides and recipes. Make a brief statement about the purpose of this specific guide you're making. Remember that no copyrighted material can be added to this book without the authors explicit accept and please ackowledge sources of information and ideas with links to websites and references.
Status for this guide: Finished, Not yet finished, Check recipes...(leave the appropriate)

## Safety
### Safety Class

Choose a fitting safety class for this description
* Too dangerous! (We do not make this experiment because …)
* Very dangerous (Should only be attempted after careful training)
* Dangerous - Please be aware of this or the other thing... (Untrained people can do this experiment under supervision and guidance)
* Harmless (The most dangerous thing is this insignificant little petitesse)

### Required Safety Equipment

* The show performer: Glasses / Lab coat / Nothing / Fire extinguisher / Wet towel and a bucket of water / Eye flushing bottle
* Audience/participants: Safety screens / Hearing protection (a finger in the ear is often a help).

## Materials

You'll need the following - make a list
* item 1: formula, CAS number, supplier , Safety issues (describe the most important ones), Storage, link to safety datasheet

## Procedure

Preparation time, Performance time, Clean-up time.

### Step by step

* Start by…
* End with explaining how to properly get rid of waste products

### Alternative methods

Other ways to do the experiment

### Dangers

Now the reader knows the experiment, give a closer description of possible dangers.
* Important, be aware of…
* Consider the…

### Other Factors

What other things can sometimes affect the result of the experiment. Maybe the humidity or cleanliness of the glass ware is an issue.

### Show notes

What to consider when preparing. How to make it more spectacular. What can be difficult to achieve 'on stage' that normally is easy when practising.
What other experiments are good to that have in relation to this one?
What should you beware of that can make the experiment boring?

## Explanation
### What's taking place

Here you can give a more quantitative and mathematical description of what happens. What fundamental laws are involved or demonstrated by this experiment etc. Remember to explain jargon/expressions from the laboratory.

### In the real world

Do you meet things like this in daily life - give examples!

### Uanswered Questions

Things we do not yet know and should find an answer to - maybe how it actually works etc.

### More Information

* Websites with more info the end.

## Remember

This is just a guide and it can contain both errors and omissions. Always make experiments in small versions before proceeding to larger quantities where things could become dangerous. Ask around if you have any doubts before starting and do not start on a procedure you do not feel you understand and is qualified to perform.
# Scienceshow/Guides/Magnetic Induction in Copper Plates
## Purpose

This is a template for new guides and recipes. Make a brief statement about the purpose of this specific guide you're making. Remember that no copyrighted material can be added to this book without the authors explicit accept and please acknowledge sources of information and ideas with links to websites and references.
Status for this guide: Finished, Not yet finished, Check recipes...(leave the appropriate)

## Safety
### Safety Class

Choose a fitting safety class for this description
* Too dangerous! (We do not make this experiment because …)
* Very dangerous (Should only be attempted after careful training)
* Dangerous - Please be aware of this or the other thing... (Untrained people can do this experiment under supervision and guidance)
* Harmless (The most dangerous thing is this insignificant little petitesse)

### Required Safety Equipment

* The show performer: Glasses / Lab coat / Nothing / Fire extinguisher / Wet towel and a bucket of water / Eye flushing bottle
* Audience/participants: Safety screens / Hearing protection (a finger in the ear is often a help).

## Materials

You'll need the following - make a list
* item 1: formula, CAS number, supplier , Safety issues (describe the most important ones), Storage, link to safety datasheet

## Procedure

Preparation time, Performance time, Clean-up time.

### Step by step

* Start by…
* End with explaining how to properly get rid of waste products

### Alternative methods

Other ways to do the experiment

### Dangers

Now the reader knows the experiment, give a closer description of possible dangers.
* Important, be aware of…
* Consider the…

### Other Factors

What other things can sometimes affect the result of the experiment. Maybe the humidity or cleanliness of the glass ware is an issue.

### Show notes

What to consider when preparing. How to make it more spectacular. What can be difficult to achieve 'on stage' that normally is easy when practising.
What other experiments are good to that have in relation to this one?
What should you beware of that can make the experiment boring?

## Explanation
### What's taking place

Here you can give a more quantitative and mathematical description of what happens. What fundamental laws are involved or demonstrated by this experiment etc. Remember to explain jargon/expressions from the laboratory.

### In the real world

Do you meet things like this in daily life - give examples!

### Unanswered Questions

Things we do not yet know and should find an answer to - maybe how it actually works etc.

### More Information

* Websites with more info the end.

## Remember

This is just a guide and it can contain both errors and omissions. Always make experiments in small versions before proceeding to larger quantities where things could become dangerous. Ask around if you have any doubts before starting and do not start on a procedure you do not feel you understand and is qualified to perform.
# Saxophone/Articulation
### Classical Articulation

Classical articulation strives to be as unobtrusive as possible creating a clean start to a note and enabling speed and facility. Ways to think of it include touching the tongue to the tip of the reed and taking the tongue off the reed rather than putting it on. While correctly articulating, the air stream should be supported and steady, the tongue should move only a tiny amount and the jaw should not move at all. When articulating the start of a phrase, be careful that the note is started with the breathing apparatus not the tongue and that the tongue only adds clarity to the attack. To practice this, think about the note before you play, inhale, set your embouchure, imagine the start and then begin with the tiniest touch from the tongue. If a breathy ‘fffwwwaa’ noise pre-empts the note, then air support and voicing were not correctly aligned at the beginning. If a ‘thwack’ noise is made, then too much tongue was used.
As if often the case, tiny indiscrepencies in embouchure and tongue movement can be revealed by playing on just the mouthpiece. Practice holding a concert A then articulating without changing the note. If the note splits or varies in pitch you are probably moving either your jaw or too much of your tongue, i.e. the back part. Practice making a single clear articulation without distorting the pitch. Once that is secure, try speeding up your articulation and playing bursts followed by a continuous concert A.
It is sometimes said to use the tip of the tongue to articulate but usually classical saxophonists articulate a little further back on the tongue depending on how physically large the tongue is. To get accustomed to which part of the tongue is most efficient for you to articulate try playing a normal note then approaching the tongue as close as possible to the reed without actually touching it. Of course the tongue will touch the reed and this is ok but try to focus on holding it just a hair away from where you would articulate. This may be higher in the mouth that you would usually hold it for a long note for the sake of tone colour but when tonguing a fast passage it is useful to have that mental reference.
Only by tonguing efficiently and lightly can a saxophonist tongue quickly. Therefore, learning to tongue quickly can be a way to learn to tongue efficiently in all circumstances. Practice the following articulation patterns with a metronome on a variety of notes across the register challenging yourself to increase speed. Around crotchet = 120 is the minimum professional speed of tonguing.
These exercises are good ones to practice on just the gooseneck while at the television or computer as there they will become instinctive and second nature. Once you have practiced these try synchronising tonguing and fingering by practicing scale segments:
# Saxophone/Flat notes and sharp notes
## C#

The next and easiest sharp note to learn is C#. To play it, leave all of your fingers open. This note is frequently very sharp and hard to tune

## D#

The D# (or E-Flat) appears in scales of the key of E. This is played by holding down all six of the left and right buttons and the first of the right hand lower keys with the little finger. Also I can't find it
R1

## A#

The A# (or B-Flat) is played by holding the top two left hand main keys as for an A natural and the lower of the right hand palm keys.
# Saxophone/First notes
## Holding the Saxophone

The saxophone should be held as follows. Place your left thumb on the thumb rest under the octave key (the key that's facing towards you and controls the pad on the neck of the saxophone). You should be able to easily slide your thumb upwards and press the octave key. Place your first three fingers on the B, A, and G keys (respectively). In the right hand, place your thumb under the thumb rest so that some of the weight of the instrument rests on your thumb. Then place your first three fingers on the F, E and D keys (respectively).

## Playing a B

The common first note on any woodwind is a B, which is fingered by pressing down the second pearl key finger of the left hand (note that the first key is not where the first finger goes). Practice long tones on this note.

## Playing an A

The next logical move from B is A, which is fingered by pressing down the second and fourth pearl note (the "little button" is skipped). Practice long tones on this note, then practice moving between B and A and vice versa.

## Playing a G

A G is fingered by pressing down the second, fourth, and fifth fingers. Practice long tones, moving between B, A, and G in all combinations, then become proficient at the following:

## Playing a C

In order to play a C, first place your thumb on the back button,then go two keys down and press.

## Playing a D

This is a tricky note on saxophone. To play a D, hold down the octave key (which is just above your thumb on your left hand) and push down the first three fingers of your left hand and the first three of your right hand. The note will probably not come out on the first try. Keep trying until it works. It takes a more focused air stream. Once you can consistently get the D out, practice long tones and moving from C to D. This is a fairly difficult jump. Once you have mastered this, play the following until you are proficient:

## Playing an E

Once you have mastered the D, the E should be simple. Finger a D and lift the third finger of the right hand. The same type of air stream is required. Again, practice long tones and moving to E from the other notes.

## Playing an F

To play an F, hold the octave key and finger an E, removing the second finger on the right hand. Again, the air stream should be focused. Practice long tones and moving between all of the notes. Practice the following exercise:
# Saxophone/Breathing
## Breathing

It is important to breathe efficiently in all pieces. This includes taking a deep lungful in a short space of time and using that air effectively.
Many exercises and teachers focus on the intake of breath which is perhaps where people most often struggle. A breath in should be relaxed and with an open, wide throat. I have heard many people swear by ‘breathing down low’ in your belly and thinking about using the diaphragm. Other descriptions include breathing with your lower back muscles or thinking about pouring water into a jug – it fills from the base up. Personally I found the most effective ‘body advice’ was to keep the chest open and the sternum raised (The sternum is the bony plate that connects the ribs at the front of the torso). This is tied into relaxed and confident stage posture. To feel what an open chest involves stretch both hands above your head then lower them slowly keeping your chest in the same position.
When you snatch a breath between phrases on the saxophone drop your lower jaw away from the reed rather than breathing through your teeth or from the sides of your mouth. Not only does this open your mouth to allow more air in, it also briefly relieves the pressure on your lower lip lessening muscle fatigue. Your throat should be open and relaxed like a deep ‘oh’ vowel. I have heard this likened to the intake of breath at a ‘pleasant surprise.’ Try to breathe quietly rather than noisily.
To learn how to effectively intake breath it is useful to try cardiac exercise such as jogging or swimming. In swimming especially try to see how many freestyle arm stokes you can do in one breath and then try to increase the number. This will also improve your ability to consciously relax. With any exercise, once you get worn out your body will automatically start to breathe as efficiently as possible. Try to remember what this feels like and apply it to saxophone.

### Soft Palate Air Leak

Velopharyngeal insufficiency (VPI) is when the soft palate at the back of the throat collapses causing air to escape out of the nose. It causes a gurgling noise in the back or your throat and is mildly painful. In rare instances it can develop into a serious medical problem.
# Saxophone/Embouchure

A saxophone embouchure is formed by placing the top teeth about mid-way on the mouthpiece and applying the lower lip as a cushion on the reed (lower part of the mouthpiece). The upper lip muscle is then pulled downwards around the mouthpiece. Think of the upper lip as a clamp and the lower lip as the control. The saxophone embouchure may be described as an "O" shape. Note that the jaw should be dropped and the throat open. Practice this by singing a very low note, this is similar to how your embouchure will be while playing. For a better tone, practice keeping the corners of your mouth drawn in an "O" shape around the mouthpiece, sealing the air from all sides. This may not feel natural at first, but with practice it will become second nature.
One common practice technique for embouchure is called Long Tones. The idea is to play long controlled notes. While doing this it is helpful to imagine the air leaving your mouth and traveling through the saxophone to your listener. One good LT exercice is to start on the mid-c# then D the expand with each following note, C#-D, C-Eb and so on until you have played through the full range of the saxophone, then reverse until you're back a the C#.
There are other embouchures that can be used to produce multiphonic sounds.
Breathing is extremely important in sound production. Breath with your stomach region, using the abdominal muscles to assist in the blowing. When taking a breath, breathe through the corners of your mouth so as not to disturb your embouchure.

## External Resources

Sax on the Web Saxophone Embouchure and Mouthpiece.
Sax Music Plus Saxophone Embouchure Advice.
# Saxophone/Extending the range

The generally accepted range of the saxophone (transposed) is Bb to F two octves and a fifth above. The most comfortable range for playing is somewhere in the middle. A competent player however can play with ease throughout the range, and even above, into the altissimo range. The first step is to breathe from the diaphragm. The are a few ways to learn diaphragm breathing. Breathe as if filling up a bucket, ie. from the bottom of your lungs. To do this keep your shoulders level, and as your diaphragm lowers you should feel your stomach sink and your ribcage expand. Another way to learn is to visualise sleeping. You breathe from your diaphragm when sleeping, so try practising saxophone while asleep to achieve positive breathing technique. Another step to achieving ease throughout the saxophone's range, is a solid embouchure. Many beginner saxophone players, automatically tense their lips when playing up high, and drop their jaw and loosen their lips when playing low. However this creates intonation problems. To overcome this use the same embouchure and lip strength from low Bb up to high F. This may make the lowest notes harder to play, and the higher notes sound weak. So when playing very low or high (especially below C or above Eb) use a strong stream of air to sound the notes. Using a stable embouchure will fix most intonation problems, and keep your saxophone in tune throughout your range.
To increase proficiency in playing below low C try these exercises.
1. hold low C 2. play C#, B and Bb in turn, playing low C in between each (play each note as a quaver or eighth note, creating an eighth note pattern within bar of 3/4) 3. check intonation with a tuner 4. start by playing slow and gradually increase the speed by playing with a metronome
To increase proficiency in playing above high D.
1. hold high D 2. play Eb, E, F and F# in turn, playing high D in between each (play each note as a quaver or eighth note, creating and eighth note pattern within a bar of 4/4) 3. check intonation with a tuner 4. start by playing slow and gradually increasing the speed by playing with a metronome
# Saxophone/Improvisation, pentatonic and blues scales

Improvisation is a skill that requires the musician to take melodic ideas that they've learned and to then spontaneously and artistically construct the melodic lines in a way the expresses a mood or feeling. Often, musicians will find a favorite solo from a song to transcribe and then transpose into different keys. The process of doing this serves to enhance a musician's "melodic vocabulary". By learning someone else's solo, such John Coltrane or Michael Brecker, the musician can now dissect the melodic ideas and re-arrange the ideas in a way they can best express themselves.
When first learning to improvise, most musicians begin with learning both the major and minor pentatonic scales. Lets begin with the major pentatonic scale. The C major pentatonic scale, for example, is obtained from playing specific notes from the C major diatonic scale. Simply remove the 4th and 7th note of any Major diatonic scale and then you have the Major pentatonic scale.
C Major Scale C D E F G A B C 1 2 3 4 5 6 7 8(1)
C Pentatoic Scale C D E F G A B C 1 2 3 4 5 6 7 8(1)
As well, the Minor pentatonic scale is constructed from eliminating notes from the Minor diatonic scale. For example, the C Minor pentatoic scale is created by removing the 2nd and 6th note of the C Minor diatonic scale
C Minor diatonic scale C D Eb F G A Bb C 1 2 3 4 5 6 7 8(1)
C Minor pentatonic scale C D Eb F G Ab Bb C 1 2 3 4 5 6 7 8(1)
# Radiation Oncology/Fatigue

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Fatigue
* Most frequent symptom in advanced cancer patients
* No data exist about frequency of fatigue in different tumors
* Etiology is unclear; autonomic failure has been implicated
* Management includes treatment of reversible causes (e.g. mood disorders, anemia)
* No pharmacologic trials have shown improvement in cancer-related fatigue

## Anti-cholinergics

Donepezil (Aricept)
* MD Anderson; 2007 PMID 17687152 -- "Donepezil for cancer fatigue: a double-blind, randomized, placebo-controlled trial." (Bruera E, J Clin Oncol. 2007 Aug 10;25(23):3475-81.)
** Randomized. 103/142 patients with fatigue score >=4 (scale 0-10) for more than 1 week. Treated with 1) donepezil 5mg x 7days vs. 2) placebo. Everyone donepezil open label second week
** Outcome: No difference by FACIT-F or ESAS
** Conclusion: No difference from placebo

## Psychostimulants

Methylphenidate (Ritalin)
* MD Anderson; 2006 - PMID 16648508 — "Patient-Controlled Methylphenidate for Cancer Fatigue: A Double-Blind, Randomized, Placebo-Controlled Trial." Bruera E et al. JCO May 1 2006: 2073–2078.
** Randomized to 5 mg methylphenidate q2h as needed (patient controlled) vs placebo.
** No significant difference from placebo.

## Antidepresants

Paroxetine (Paxil)
* Rochester; 2003 PMID 14673053 -- "Differential effects of paroxetine on fatigue and depression: a randomized, double-blind trial from the University of Rochester Cancer Center Community Clinical Oncology Program." (Morrow GR, J Clin Oncol. 2003 Dec 15;21(24):4635-41.)
** Randomized. 479/549 patients undergoing chemo for the first time, and reported fatigue at their 2nd cycle. Treated with 1) oral paroxetine 20mg qd x8 weeks vs. 2) placebo
** Outcome: No difference in fatigue between groups; but benefit in depression score
** Conclusion: No impact on fatigue
# Radiation Oncology/GI

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Gastrointestinal Tumors
* Esophagus
* Stomach
* Gastrointestinal stromal tumors (GIST)
* Pancreas
* Bile duct (Cholangiocarcinoma)
* Ampulla of Vater
* Gall bladder
* Liver
* Small intestine
* Colon
* Appendiceal carcinoma
* Carcinoid tumors
* Rectum
* Anal canal
# Radiation Oncology/GU

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Genitourinary Tumors
* Prostate
* Bladder
* Kidney
* Renal pelvis and ureter
* Urethra
* Testis
* Penis
* Peyronie's Disease
# Radiation Oncology/GYN

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Gynecologic Tumors
* Vulva
* Vagina
* Cervix
* Uterus
** Endometrial carcinoma
** Uterine sarcomas
* Fallopian tube
* Ovary
* Gestational trophoblastic disease (GTD)
# Radiation Oncology/Gastrointestinal symptoms

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials
Gastrointestinal Symptoms Management
* Nausea and vomiting
* Esophagitis
* Diarrhea
* Proctitis
# Radiation Oncology/Fallopian tube

* Front Page: Radiation Oncology | RTOG Trials | Randomized Trials

## Staging

AJCC 7th Edition (2009)
Primary Tumor: (FIGO stage in parentheses)
* T1 (I) - limited to the fallopian tubes
** T1a (IA) - limited to one tube, without penetrating the serosal surface; no ascites
** T1b (IB) - limited to both tubes, without penetrating the serosal surface; no ascites
** T1c (IC) - limited to one or both tubes with extension onto or through the tubal serosa; or with malignant cells in ascites or washings
* T2 (II) - pelvic extension
** T2a (IIA) - extension and/or metastasis to the uterus and/or ovaries
** T2b (IIB) - extension to other pelvic structures
** T2c (IIC) - pelvic extension with malignant cells in ascites or washings
* T3 (III) - peritoneal implants outside the pelvis
** T3a (IIIA) - microscopic peritoneal metastasis outside the pelvis
** T3b (IIIB) - macroscopic peritoneal metastasis outside the pelvis, 2cm or less
** T3c (IIIC) - peritoneal metastasis outside the pelvis, more than 2 cm
Regional Lymph Nodes: include pelvic, paraaortic, inguinal
* N0 - no
* N1 (IIIC) - yes
Distant Metastases:
* M0 - no
* M1 (IV) - yes
Stage Grouping:
    Follows FIGO stage above (in parentheses). T3c and N1 are both IIIC.

### Older staging editions

AJCC 6th Edition (2002)
* No changes compared to 7th edition

## Risk Factors

* Harvard; 2007 (1999-2007) PMID 17761984 -- "Primary fallopian tube malignancies in BRCA-positive women undergoing surgery for ovarian cancer risk reduction." (Callahan MJ, J Clin Oncol. 2007 Sep 1;25(25):3985-90.)
** Retrospective. 122 BRCA+ patients with prophylactic ovarian CA surgery. Median age 46 years
** Outcome: 6% early malignancy, 100% (n=7) originated in distal fallopian tube, 2 surface implants on the ovary
** Conclusion: Distal fallopian tube dominant site of origin for BRCA+ women at risk for GYN carcinomas

## Retrospective

* PMID 9422560 (1960 - 1995) — "Adenocarcinoma of the fallopian tube: results of a multi-institutional retrospective analysis of 72 patients." Wolfson AH et al. Int J Radiat Oncol Biol Phys. 1998 Jan 1;40(1):71-6.
** Multicenter. 72 pts.