關於 sort stability ，我們在網路上蒐集到這些相關的討論、資訊與評價

防疫不停學：線上學習包

It's difficult to focus on anything during this outbreak. Many of us feel lost, angry, or hopeless. Will our families be safe? What will happen to us? Will Taiwan be ok?

此刻疫情爆發，讓人難以專注於其他事務。許多人感到失落、憤怒或無望。人們想著，自己的家人能安全嗎？生活將會如何？台灣能度過難關嗎？

★★★★★★★★★★★★

The desperate search for answers is a natural way to seek out stability and control. However, in the face of the global pandemic, there is just so much out of our control, and seeking to find these impossible solutions often leaves us feeling helpless.

人們為尋求穩定與掌控力，自然會不顧一切地尋求答案。然而，面對全球疫情的大流行，有太多事物在我們的掌控之外，而致力於尋求那些無法企及的解方，往往使我們備感無助。

★★★★★★★★★★★★

A way out of such helplessness is figuring out what you CANNOT and CAN control. When you are upset about things you have no control over, take a few deep breaths, and be mindful of what's stressing you out.

Then, focus on things WITHIN YOUR CONTROL and work to solve these problems. This will provide you with a sense of agency and reinvigorate you to tackle the next problem. Do not try to solve all your problems at once. Sort them out and break them down. Conquer them one at a time with the smallest task first.

擺脫這道難題的方式，是了解事情的可控與不可控。當你感到不安，先深呼吸，並注意何事帶來壓力。然後，專注在可以掌控的事物上，努力解決問題。這會予你以掌控感，振作起來去解決下個問題。別試圖一次解決所有問題，將問題分類並拆解，從最簡單的問題開始逐一擊破。

★★★★★★★★★★★★

The pandemic is not a blessing in disguise. It is a global catastrophe, plain and simple. But that does not mean we have to feel helpless all day. We can all fight back in our own ways. For all of us, it's taking preventive measures, but we can also work on self-improvement.

疫情大流行並非塞翁失馬。顯而易見，這是一場全球的災難。但這並不意味著要成天感到無助。我們能以自己的方式予以反擊。對大家而言，是盡己所能，落實防疫措施，並持續自我提升。

★★★★★★★★★★★★

Below is a list of free online courses that can help you continue to learn. Do you want to practice your English conversation skills? Learn how to code? Or take organic chemistry (no one really wants to take org chem)? Take these classes with your friends and classmates. Learn together and achieve your goals step by step with your peers!

以下是一份免費線上課程連結的清單，它能幫助你繼續學習。想要練習會話技巧？想學寫程式？ 或想上有機化學課（沒人會真的想上有機化學）？與朋友、同學們一起上課，一起學習並按步就班實現你的目標！

★★★★★★★★★★★★

It's ok to feel helpless at times, but know that you can gradually take charge. Time to study and make a change.

此刻感到無助是人之常情，但要知道，你可以逐漸掌控情況。現在，是時候開始學習了。

★★★★★★★★★★★★

📖 耶魯「快樂學」線上課程
https://bit.ly/3eTlwUL

📖 全球名校免費線上課程 (MOOCs)
https://bit.ly/3wcJq3m

📖 免費英文課程
https://bit.ly/3oojQpF

📖 TESOL課程
https://bit.ly/30H8Ytc

📖 英文學習資源大全
https://bit.ly/3n5Kq6i

📖 學習的動力
http://bit.ly/2RjscPb

📖 學習如何學習
https://bit.ly/3eVRorX

★★★★★★★★★★★★

圖片出處: https://nyti.ms/3w0oaOa

【踮起腳尖痛，腳踝也會有夾擠問題？】

(這次文章內容稍長，若懶得看文字內容可直接觀看影片)

大家應該對於肩夾擠、髖夾擠這兩個名詞不陌生，但你有聽過腳踝夾擠嗎？夾擠指的是我們的骨頭過度擠壓到周遭的軟組織，可能是肌腱、韌帶或是滑液膜等等，造成疼痛或角度受限。夾擠是一個症候群，並非一個特定的病症，夾擠症候群底這個名詞底下，可能夾到的組織不同，造成的原因歧異度也非常大，造成評估上其實並不是那麼容易。腳踝夾擠雖然沒有像肩夾擠一樣有被正式分類成不同的夾擠類型，但仍能根據症狀呈現的方式跟解剖構造簡單分為前夾擠跟後夾擠，若還要再細分還會分前內側、前外側夾擠，以及後內側、後外側夾擠。

前側夾擠的症狀主要出現在腳踝背屈末端角度的時候，脛距關節 (Tibiotalar joint) 前側的組織受到擠壓。腳踝前側的有不少脂肪、滑囊組織，正常情況，這些組織會在腳踝背屈15度過後受到擠壓，但如果在遠端脛骨前側或是距骨頸有增生的骨頭的話，便可能限縮前側的空間，讓組織提早受到壓迫。如果長期在這角度下活動，就可能進一步造成慢性的發炎，或是造成關節囊韌帶的增生。除此之外，如果腳踝曾經扭過傷，造成韌帶或皺襞增厚的話，也是可能造成前側夾擠的原因之一。

雖然這些解剖構造上的變化已有多篇文章有所描述。但造成這些組織增生的原因卻仍不是很清楚。因為運動員有比較高的比例有這樣的問題，有些學者認為前側夾擠可能是因為頻繁地做出大角度的背屈，或是因為運動過程中受到的外力，讓前側軟骨邊緣反覆受到衝擊所造成。也有些學者認為，踝關節的不穩定，造成關節有不正常的微小滑動，也是一個可能造成骨質增生、或是軟組織受到夾擠的的原因。另外在比較早期的文章，一開始學者認為前側的骨質增生可能是來自於頻繁地蹠屈，牽拉到關節囊，進而造成關節處的增生，只是這樣的假設被後來的研究給推翻了。

因為前側夾擠症狀大多是在腳踝背屈的末端角度下出現，上樓梯、跑步、走上坡、爬梯還有深蹲是幾個比較容易會加劇前側疼痛的活動。若未接受妥善治療，在症狀後期可能會因為組織的增生或疼痛，造成更進一步的活動度受限、夾擠和周圍組織的傷害，再回頭限制關節活動度與功能，形成惡性循環。

後側夾擠的症狀主要出現在腳踝蹠屈到末端角度的時候，脛距關節與距跟關節後側的組織受到擠壓。後側夾擠常出現在需要頻繁把腳踝往下壓的人身上，像是芭蕾舞者、需要頻繁跳躍的運動員等等。與前側夾擠雷同，後側夾擠可能是骨質或是軟組織的夾擠，或是兩者同時存在。距骨後外側 (trigonal process) 的骨質增生是比較常被認為導致後側夾擠的原因。除此之外，頻繁的將腳板大幅度的往下踩，可能會導致後側關節囊、後下脛腓韌帶、三角韌帶的後側韌帶發炎，產生疤痕組織，進而造成組織增厚。另外我們的屈足拇長肌的肌腱經過距骨後側的內、外骨突中間的凹槽，也很容易因為過度使用，或是周遭骨質的增生，造成肌腱病變，像是肌腱或腱鞘炎的問題。

與前側夾擠的疼痛大多較為淺層、可觸摸的到相反，後側夾擠的症狀通常較為模糊，比較難有一個特定的單點疼痛，而且位置較深，通常落在阿基里斯腱底下。這也讓後側夾擠不容易和阿基里斯腱或是腓骨長肌的問題做區分。因為症狀出現在腳踝往下踩的時候，走下坡、下樓梯或是穿鞋跟較高的鞋子是幾個容易誘發症狀出現的活動。芭蕾舞者之所以比較容易出現這樣的症狀，被認為是因為需要頻繁的做出踮腳站，承重在前足的關係。

雖然影像檢查出來的骨質、軟組織的病變被認為是可能導致腳踝夾擠的原因之一，但實際上研究還是有提到，我們仍然不能光靠這些影像結果證據就判斷踝關節是否夾擠。影像檢查與我們的症狀表現之間的相關程度有限，仍需要結合其他理學檢查做綜合判斷才行。針對踝關節夾擠的介入，目前比較常見的作法仍是先採取保守治療，若在急性疼痛期，需要先避免會造成疼痛的動作，有必要的話也會使用消炎藥來控制疼痛。在非急性期，甚至是已經是慢性問題的個案，我們則需要著重在踝關節穩定、本體感覺的訓練上，畢竟前面有提到，踝關節不穩、扭傷都是可能造成夾擠的原因之一。與其他肌肉骨骼問題一樣，即使解剖構造上的異常也會被認為是造成踝關節夾擠的原因，但大多數的個案都能在不開刀的情況下有很好的進步。若有類似的狀況，一樣記得先找醫療人員的協助，避免症狀隨著時間越變越嚴重。底下的影片 (6:52) 將跟大家分享幾個簡單的踝關節穩定與本體感覺的訓練。

Impingement syndrome is a common musculoskeletal problem in shoulder and hip joints. But have you ever heard of ankle impingement? Impingement syndrome refers to abnormal contact of bony structures or soft tissue, e.g., tendon, ligament, synovial tissue, resulting in pain and restriction. Through different causes of impingement syndrome, it includes different medical signs or symptoms. Therefore, causes of impingement syndrome differ from person to person, making it more difficult to make a right diagnosis. Although ankle impingement is not officially classified into different types like shoulder impingement, researchers still sort it into anterior and posterior impingement according to anatomical structures are involved. More specifically, it can be classified into anteriomedial, anteriolateral, posteriomedial and posteriolateral impingement.

Symptoms of anterior ankle impingement are generally induced by compression of anterior margin of tibiotalar joint in terminal dorsiflexion. There are adipose and synovial tissues in the anterior joint space. Normally, these tissues are compressed after 15 degree of dorsiflexion in healthy individuals. However, if there is osteophyte at anterior distal tibia or talus neck, it will take up the space and limit ankle movement, causing early compression. This will result in chronic inflammation, synovitis, and capsuloligamentous hypertrophy. Apart from this, ankle sprain, thickened anterior tibiofibular ligament and synovial plica are also possible causative factors.

Even though structural pathologies are well described in much research, their exact etiologies are still less understood. Research showed that athletes are tend to affected by anterior impingement, and it led to hypothesis that pathologies are caused by repetitive impact injury to anterior chondral margin from hyper-dorsiflexion or direct impact during sports. Chronic ankle instability has also been hypothesized to be the causative factor of anterior impingement, because abnormal repetitive micromotion may develop bony and soft tissue lesions. In addition, early research hypothesized anterior osteophyte is caused by traction to the anterior capsule during repetitive plantar flexion, but this theory was disproved by later anatomic studies.

Anterior impingement symptom typically presents as anterior ankle pain during terminal dorsiflexion. Climbing stairs, running, walking up hills, ascending ladders and deep squat are common aggravating activities. If anterior impingement doesn’t get treated well, in the later stage, joint mobility may be further restricted due to mechanical block or pain, resulting in vicious circle.

Posterior ankle impingement symptom typically occurs in terminal plantarflexion, due to compression of tissues posterior to the tibiotalar and talocalcaneal joint. Posterior impingement tend to occur in athletes who need to plantarflex frequently, like ballet dancers, etc. Similarly, posterior impingement can result from compression of bony or soft tissue in isolation or in combination. Trigonal process of posterior talus is the most common cause of posterior impingement. Besides this, repetitive hyper-plantarflexion may cause posterior capsule, inferior tibiofibular ligament, and posterior fiber of deltoid ligament inflammation, scarring, and thickening. Lastly, tendinitis and tenosynovitis are easily found in flexor hallucis longus tendon, running between the medial and lateral posterior process of the talus. This probably results from overuse or irritation from surrounding abnormal bony tissue. The tissues mentioned above are all possible causative factors to the posterior ankle impingement.

In contrast to patients with anterior impingement pain that are accessible to palpation, posterior impingement pain is less specific, deep to the Achilles tendon. This makes it difficult to differentiate from Achilles tendon or peroneal tendon pathology. Since posterior impingement symptom is usually irritated by repetitive plantarflexion, walking downstairs, downhill running, and wearing high-heeled shoes are some common exacerbated activities to posterior impingement syndrome. Ballet dancers are commonly affected by posterior impingement syndrome due to weight bearing on forefoot in plantarflexion position over and over again.

Though osseous or soft tissues abnormality in radiography is seen to be one of the causes of ankle impingement, it doesn’t mean that we can simply blame patient’s symptom on these structural pathology. In fact, there is a limited correlation between medical image findings and our symptom. We should integrate patient’s history, physical examination, imaging studies, etc., for accurate diagnosis. Conservative treatment remains first option to manage ankle impingement. In acute stage, patient should avoid from doing provocative activities. If it is necessary, NSAIDs can be used for pain management. In chronic stage, clinicians should focus on ankle stability and proprioception training because ankle instability and sprain are both causative factors of ankle impingement. Just like other musculoskeletal disease, even though structural abnormality is thought to be a possible cause of ankle impingement, most ankle impingement cases still respond well to conservative treatment. If you have any similar medical problem, please find medical professions for help. The video below will show you some simple ways to train our ankle stability and proprioception.

參考資料：
https://pubmed.ncbi.nlm.nih.gov/27608626/
https://link.springer.com/article/10.1007/s00247-019-04459-5
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5065672/

#腳踝夾擠 #踝關節不穩 #腳踝扭傷 #本體感覺訓練 #物理治療 #ankleimingement #ankleinstability #anklesprain #proprioception #physiotherapy #hunterptworkout

Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
........................................................

Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

Chinese parks are quite a different sort of experience, other than being a place for people to try and sell off their sons and daughters for marriage to other families, it's the only place people are really able to go out and practice their kung fu, dancing, singing, musical instruments etc. Of course there are the regular activities such as having a picnic, hiking and playing sports (as well as some boating and fishing) available as well. Come and join Sasha and I as we get the low down on how Chinese parks work.

The primary goal of attending the marriage market is for parents to find a suitable partner for their child. The standards of finding the right match may be based upon (but not limited to) age, height, job, income, education, family values, Chinese zodiac sign, and personality. All of this information is written on a piece of paper, which is then hung upon long strings among other parents' advertisements for their children. The parents walk around chatting with other parents to see if there is a harmonious fit only after their children's standards are met.

Umbrellas used for advertising
Many parents do not have permission from their child to go to this event. It has been described as "match.com meets farmers' market" with a low success rate. In many parents' eyes, parent matchmaking gatherings such as the Marriage Market are the only way to uphold a traditional dating style for their children in modern China. China's long idealized tradition of continuing their family lineage is very important within Chinese culture. As the children of the One Child Policy start to become of typical marriage age, the so-called marriage "market" of China has wavered in stability, particularly for males in China. The University of Kent predicts that by the year 2020, 24 million men will be unmarried and unable to find a wife.

Recently, well-educated women in China with established careers are in less of a hurry to get married. They have more options than women in past generations and are not afraid to put their career first. This change in marriage ideology puts the women in a higher position of power within a traditionally male-dominated society. Now more women seek to find a responsible man with personal integrity instead of just a high paying job.

Many men's standards have changed with the progression of women's status in the work industry as well, they expect a woman that has been educated and well on her way to a career path. But what has drastically changed is the older generations viewpoint on the subject—they agree with the younger generation, with the two most important qualities in a wife being "elegance and a decent career path," quite a change from "diligence and the willingness to suffer the burden of life".

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Twitter: @serpentza
Instagram: serpent_za
My other channel: https://www.youtube.com/c/advchina
Music used: Virtual Vice - Black Rose
Artist's bandcamp: https://virtual-vice.bandcamp.com/releases