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SG Lewis on catharsis & his triptych 'Dusk/Dark/Dawn'
It was 18 months ago that Sam Lewis AKA SG LEWIS embarked on one hell of an ambitious project. Rather than sticking to unwritten tradition and releasing a full-length record, the English artist instead opted to split the process up and put out a triptych, representing the three different phases of a night out. And so the concept for Dusk, Dark and Dawn was born.
It was a chance for him to have structure while entering this new phase of his creative direction, and to not put too much pressure on himself too. All parts were created one after the other, with Dawn only being completed in recent weeks.
Dusk is your pre-drinks soundtrack. 'Sunsets' Pt. 1 and Pt. 2 evoke warm colours and sensations, the sweeping soundscapes pushing to create a balance between beauty in Pt. 1 and emotion in Pt. 2. 'Aura', with the help of J Warner on the vocals, pairs beautifully sombre keys with happy house, combining for a rich, soulful house number. 'Golden' and 'Coming Up' provide the perfect amount of funk to keep the mood going, and 'Tides' with Kartell rounds out this first part of the record with a beautiful sense of wholeness.
As you leave the comfort of your pres spot of choice and make your way to the party, that's when Dark is most appropriate. Opener 'Again' serves up peak-dancefloor club vibes, with Totally Enormous Extinct Dinosaurs on the feature. Drew Love comes in to spit bars over 'A.A.T', a drawling trap anthem you'd lose your mind to in the club. Track three sees a split feature with SG & Dot Major, serving a slow-burning emotive house trip through huge reverb and careful sequencing. AlunaGeorge brings heady anthemic sounds to 'Hurting', whilst the closer, 'Dreaming' with Bruno Major closes out the dancefloor's final moments.
Dawn is still to come, but we've been given a few tastes of what's on the cards already. 'Blue' is all SG. It features himself on the vocals, production and the mix down, giving us a rare taste of his previous musical identities that saw him explore more acoustic tendencies. 'Throwaway' with Clairo shows the perfect intersection of both artists' sounds, Clairo blasting beautifully emotive lyricism through her captivating voice, whilst SG crafts a delicate field of arpeggiated melodies around her. And finally, 'Flames' with wunderkind Ruel brings forth moments of heightened elation and punchy melodies for the perfect track to empty your lungs to at 4am.
PS editor Caitlin Medcalf and photographer James Simpson caught up with SG Lewis while he was in town last week to take some snaps, chat the three-part project, talk about the live show and dissect what we can expect to take from Dawn.
Your record is broken down into three stages, each representing a different phase of a night out. What does a night out look like for you?
Where the idea came from is that yeah, there is a bit of a ritual in terms of like getting together with friends and playing music together, whether it's in someone's apartment. A lot of my friends DJ as well so the kind of fascination with the three different parts of a night out kind of came from, what is the music that gets played in that situation, in the middle of the night and maybe at the end of the night?
The ritual tends to be pre-drinks, and that always ends up being better than the night out [laughs]. Honestly, my favourite bit of any night out is the next day, the de-brief when you get together, sit in a pub and find out what went down. I feel like maybe it's worth even not going out and just doing pre-drinks and the de-brief.
You've got to have that in the middle.
I guess you have to, but it's never the best time.
You were living in Liverpool for a bit. How did your time living & DJing there influence the way you produce?
Liverpool is such a cultural hotpot, there's so many different kinds of music going on there. When I moved there, it was my first experience of real, proper club culture, you know house and techno. There were proper nights. The first ever night I went to, Ben Klock was playing downstairs and Andy C was playing upstairs, which is like I don't know how many nights you'll find where there's drum and bass upstairs and the lord of techno downstairs. Eclectic would be the word, and I think that definitely had an influence on my inspirations and the way I make music.
Did you make music before you started going out?
I've always made music. I was way more into singer/songwriters and guitar. I always tried to create music, but I wasn't very good at it I guess. I actually got into remixing and producing before I started going out, it was kind of third-hand through the internet. It was when dubstep was becoming a thing. I would make these terrible dubstep remixes, bootleg remixes. I wasn't going to dubstep nights, I was too young, I was like 15. Only once I'd started going out, I guess it kind of started to inform me a bit more of electronic music and what was going on at the time, and also the purpose of that music. Before, I was listening it on the internet, but seeing those records in clubs and seeing how different DJ's played changed the way that I interpreted music.
It's cool to see your evolution as an artist. Obviously collaboration is a really big part of your artistic identity and it's cool to see how over time you've collaborated with artists that you see something in.
Absolutely. Really, it just comes down to being a fan of people. Like you said, collaboration is a really big part of what I do and is something that I really enjoy doing. I get to be a fan of these people, but at the same time, identify what I think I can add to that project or take a part of what they do and add what I do in a different area and create something new that didn't exist before. That's really the most rewarding and fun bit about what I do I think.
I wanted to go back to the record for a second – how do you feel breaking down the record into three parts has informed your process?
The way that it's been released in stages, firstly, it kind of came from wanting to separate the project into three different parts so people could digest it, but the other reason was, when I announced the project, I had one track. It's really taught me just to commit to creative decisions. I'm a massive overthinker and I think that if they were all being released together, it could be another five years before I released this, but it's been great to be present in the creative process and feel like the listeners are following the journey as I'm creating it. It's not old music, it's happening as it happens. I think that when it comes to the next project, whether it's a full length album – which I think it will be – it won't be as spontaneous.
Have you found that the reception of the parts as you've put them out has helped to inform the next stage of the process?
Definitely. I'm always creating from a personal standpoint. It's like, If I don't like it, it's not going to happen or get made. It is interesting to see a) what other things that I've enjoyed doing and b) what other things that people have enjoyed me doing. To be honest, a lot of the time those things line up. It's not like I'm going "Damn those people, they didn't really like that track and that was my favourite." I have found the two things have aligned which has been great. I think I'm carrying a lot of that into the next phase.
What is it that you've enjoyed most about this process?
I've enjoyed some situations where I've pushed myself to sing more, just because creatively, that's been something that was less of a comfort zone for me. A track like 'Blue', getting to produce and sing on it, and mix it and be involved in every stage of the process rather than handing it over. I'm proud of tracks like 'Aura'. I enjoyed making that slightly more dancefloor focused, soulful house music. That was fun. The next era, I'd like to make some more stuff like that.
I was talking with my housemate this morning about this next generation of artists coming up like Billie Eilish, where genre isn't really a thing. I think you're one of those artists that best represents that. Every track of yours delves into different genres. How do you find that balance?
Honestly, when I stop and think about it, I get worried. Because I'm like "Oh shit, wait, is this confusing for people?" I get asked all the time what kind of music I make, and because the answer is quite complicated, I can't just be like "Oh, I make rock music", because I do tend to draw on a lot of different influences. I guess it's a positive thing at the same time. It only makes it hard to answer the question, but I've only ever done things that have felt natural, and like I said, as a fan of music, I'll hear something and be like "Oh, I could use a bit of that in my own music." It's never overthought, but it's not like "Oh, cool, it'd be great if I did a track in this style." If I like something, I'll want to try and put that into my music and put my spin on it.
I think that's where a lot of producers get stuck too.
Definitely, people are like oh, 115 is my tempo. You can love a tempo, but you're limiting yourself. I think there's innovation in taking parts of a style and combining it with other parts. Sure, you might not be a drum and bass artist, but you can make a tune with 180BPM drums and they don't have to be heavy drum and bass drums, but you can take that groove and put jazz chords over it and come up with something kind of cool. I think that's where innovation comes from, combining things that are completely different.
It's good to be uncomfortable.
Massively. The singing part, I agree with that. Pushing yourself outside of your comfort zone. If you just made things you were comfortable with, or you just didn't experiment, you'll just stay in the same place. People would get bored, and you would get bored.
A big aspect of your records is the live show. With so many collaborators, has it been tough putting together a live show?
It varies from song to song and how distinctive an artists stamp on a record is. I think that songs that lend themselves better to the live show are the songs that work without those features there. It was definitely a task to overcome, but I feel like I'm super proud of the way that we have overcome it, and it's a case of editing those songs to suit the live environment and revamping them to suit the band, because we've played together for quite a long time now and we really know how to make it work for our pocket. It's in the same way that a lot of artists are changing their songs for their live performances, like Clairo for instance, a lot of her stuff is kind of lo-fi, more understated on the record, but then they really make it more of a big sounding thing for the live show. It's basically just playing enough shows and working out how to make those work.
Obviously the record is one to listen through from start to finish. Have you tried to keep that same format for the live show?
Absolutely. The live performance does that pretty strictly, especially with the bigger shows where we've had the budget to reflect that in the visuals. That's been so fun. I've worked with this artist called Tess Bijere from New York and we've created these three almost, movements, in the show. We play a 'Dusk' segment, a 'Dark' segment and a 'Dawn' segment. The fun bit is also that the previous songs that have come before that fans have attached to, we've been able to slot them into that concept, because it is an open concept. You can always end up putting any one of my songs into one of those three categories I think.
Have you wrapped up all of the recording for 'Dawn'?
I have. I've handed it in. It's so weird. There's one song in particular that was really hard to let go of. It's not out yet, but it was very personal to me. I'd done five million versions, and I just kept coming back to the demo basically. Eventually, I just had to hand it in. It was pried out of my fingers [laughs]. I'm super proud of it. It's a huge relief at the same time to have finished it, because it's all I've thought about for the last like 18 months and all of a sudden it's like, woah, a blank slate creatively again. I'm excited for people to hear it.
How would you describe this last phase of this artistry in a sentence or two?
Melancholic. It's a bit of a breakup record to be honest. I went through a breakup in September, and all of the emotions that come with that, as everyone knows. I think that it was actually, in the least psychopathic way possible, was a good mindset to be in going into this more introspective part of the album and getting in touch with those slightly more melancholic emotions I think.
Did you find that having that outlet helped you move on from that?
Yeah, there's some real breakup songs on there. It's cathartic. I think what's crazy with songwriting and the more that I've leant into songwriting rather than just producing, you can say things that you would never ever say out loud. Once you've got them down on paper it's like wow, that's out of my system. It's a really amazing outlet.
Photos by James Simpson
Words by CAITLIN MEDCALF
SG LEWIS DOES IT 'AGAIN' WITH HIS ABSORBING CLUB TRACK FEATURING TOTALLY ENORMOUS EXTINCT DINOSAURS
SG LEWIS & ALUNAGEORGE MAKE MAGIC ON 'HURTING'
SG LEWIS AND CLAIRO'S 'BETTER' IS A HIT FROM TWO FUTURE SUPERSTARS
About: Caitlin Medcalf
No idea where she'll be in 10 years, but as long as she has a good record and a glass of white wine, she'll be sweet.


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Rick Larsen & Warren Davidson
Compare the voting records of Rick Larsen and Warren Davidson in 2017-18.
Rick Larsen
Represented Washington's 2nd Congressional District. This is his 9th term in the House.
Represented Ohio's 8th Congressional District. This is his 2nd term in the House.
Rick Larsen and Warren Davidson are from different parties and disagreed on 70 percent of votes in the 115th Congress (2017-18).
May 18, 2018 — Agriculture and Nutrition Act of 2018
March 28, 2017 — Providing for congressional disapproval under chapter 8 of title 5, United States Code, of the rule submitted by the Federal Communications Commission relating to "Protecting the Privacy of Customers of Broadband and Other Telecommunications Services"
March 22, 2018 — Providing for consideration of the Senate amendment to H.R. 1625, Consolidated Appropriations Act and the TARGET Act; and providing for proceedings during the period from March 23, 2018, through April 9, 2018
Sept. 7, 2017 — Hunter of California Part B Amendment No. 77

redpajama_set_name: RedPajamaCommonCrawl


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I love it! Where do I get my shirt?
Precious. I just saw the video on facebook too. What great friends she has! What a blessing to have such a wonderful support system.
The picture brought me to tears without even reading your words. What great friends and family she has.
Truly amazing how God brings such special people into your life ... so awesome for Caroline!
How amazing that so many people love and care for sweet Caroline!! She seems like such a inspiration!
What an incredible picture!! I don't know your sister, but it looks like she's very blessed to have such wonderful friends and family surrounding her with support and encouragement. God is good! Go Team Caroline!!
I can't wait to get my shirt!!! Awesome!
There is a whole lotta genuine love radiating from that picture. I can feel it from here!!
Wow! I am speechless! It is so wonderful that she has such an awesome support group! Your family must feel so blessed that she is surrounded by such wonderful people!
Wow! What a fabulous support system for your sister!
Send me my shirt, please :) Love you, Caroline!
And now you have me crying... again!


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Q: How to get the X position at a specified chart item index? I'm drawing a Bar chart with multiple datasets and need to draw a vertical line at a specified item index, i.e.
// chartData:
{
  labels: ['lbl0', 'lbl1', 'lbl2'],
  datasets: [{
    label: 'dataset1',
    data: [12.84, 13.75, 14.86]
  },
  {
    label: 'dataset2,
    data: [25.14, 15.61, 10.81]
  }]
}

is there any way to get the X coordinate of first or all tooltips belonging to label lbl1?

A: Yes you can use getPixelForValue
const chart = new Chart(ctx, config);
const x = chart.scales.x.getPixelForValue('lbl1');

You can also choose to use the annotation plugin where you can just give the label and it will draw the line for you:
https://www.chartjs.org/chartjs-plugin-annotation/

redpajama_set_name: RedPajamaStackExchange


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Q: Voltage shift to negative range I am looking for a solution for shifting signal in 0V to 5V range to -2,5V - 2,5V range. I can design a solution for AC with filter - where I remove the DC offset by a RC filter and add amplification (compensation). But I need a DC solution. Any tips?

A: You can use an op-amp, in a non-inverted summing configuration as I've illustrated in circuitlab here. You would simply need to provide the -2.5V for V_offset (for example using a voltage divider, precision voltage reference, or whatever). If you run a linear DC-sweep of Vin from 0 to 5V you'll see that Vout varies linearly from -2.5 to +2.5V. I've included an image of the circuit here for completeness.

A: A reversed-biased zener diode makes a simple voltage source, which you can subtract from your input by putting it in series with it:

With the output buffer, R1 can be pretty big to avoid loading the source too much, but you must keep R1 small enough so that the current is sufficient to keep the current in Z1 high enough to get a stable voltage. See your selected diode's datasheet for that current. Without the output buffer, your selection of R1 will be dependent on the impedance of the devices connected to the inputs and the outputs.
Of course, zener diodes aren't the most accurate voltage references, and the voltage varies a little with current, but if your application doesn't demand that accuracy, it's hard to get simpler than this circuit.

A: Quite often, if you examine the use of the +/-2.5V signal, you may find you don't need to : you may be able to generate a local "0V" signal (which is really 2.5V DC) and leave your input signal unchanged. The local 0V reference can be as simple as 2 equal resistors and a decoupling capacitor; or if you need to draw significant current from it you can buffer the same circuit with an opamp.
Whether you can do this depends on your application. But if it eliminates a power supply it's worth considering.


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Biden win spells end of Keystone XL, but competitiveness may improve, pundits say
November 9, 2020 11:42 AM The Canadian Press0 Comments
U.S. President Joe Biden
CALGARY – Observers say the election of Joe Biden as U.S. president likely spells the end of the Keystone XL oil pipeline, but his environmental agenda will help Canadian energy companies better compete with their American rivals.
John Baird, a former minister of foreign affairs in the Stephen Harper government who is now a senior adviser for law firm Bennett Jones, says Keystone XL is a high-profile target for Biden's administration and he will likely carry through with his campaign pledge to withdraw its presidential permit.
He adds, however, that Biden's agenda is better aligned with Canada's federal stance on climate change and predicts his influence on U.S. regulatory and environmental systems could make Canadian companies more competitive with their U.S. peers.
Biden was vice-president in the Barack Obama government which delayed Keystone XL for years before rejecting it in 2015, a decision that was reversed when Donald Trump became president.
Last March, Calgary-based TC Energy Corp. approved construction of the pipeline designed to transport up to 830,000 barrels per day of oil from Alberta to Nebraska after the Alberta government agreed to invest about $1.5 billion as equity and guarantee a $5.5-billion project loan.
Richard Masson, executive fellow with the University of Calgary's School of Public Policy, says Alberta's current oil production capacity can be transported by existing pipelines plus about 900,000 barrels per day from Enbridge Inc.'s Line 3 replacement pipeline late next year and the Trans Mountain expansion by 2023.
However, he adds those lines don't provide any room for future growth, which means that billions of dollars in oil-related capital investment in the province will likely continue to be withheld.
"I believe Alberta's going to grow production a million barrels a day between now and 2030 and the world needs that," said Masson.
"In that world, we need Keystone XL, so this is not good news for us."29dk2902l
Enbridge Keystone XL Regulatory TC Energy


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The 1986 Sacramento State Hornets football team represented California State University, Sacramento as a member of the Western Football Conference (WFC) during the 1986 NCAA Division II football season. Led by ninth-year head coach Bob Mattos, Sacramento State compiled an overall record of 6–4–1 with a mark of 5–1 in conference play, winning the WFC title. The team outscored its opponents 308 to 268 for the season. The Hornets played home games at Hornet Stadium in Sacramento, California.

Schedule

Team players in the NFL
The following Sacramento State players were selected in the 1987 NFL Draft.

The following finished their college career in 1986, were not drafted, but played in the NFL.

References

Sacramento State
Sacramento State Hornets football seasons
Western Football Conference champion seasons
Sacramento State Hornets football

redpajama_set_name: RedPajamaWikipedia


The Combine is a free massive multiplayer role-playing online game based upon the Star Wars Universe. Create a character, join the Rebel Alliance or Galactic Empire, become a Jedi or Mercenary, and explore a enormous galaxy of over 4,000 planets.
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A completely different text based RPG. Build your character. Build your reputation. Demand respect. The city is your playground.


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Aaron Mansfield, a pediatric oncology nurse from Texas Children's Hospital, caring for children at Kamuzu Hospital in Lilongwe, Malawi, as part of the Global HOPE initiative to build treatment capacity for children with cancer in southern and east Africa.
Our Stories / Bringing Hope Where There Was Little
BRISTOL MYERS SQUIBB FOUNDATION
Bringing hope where there was little
The role of a pediatric oncology nurse is challenging under the best of circumstances. Imagine having to worry about whether your hospital has running water or if securing safe blood, if any blood at all, is even possible.
To nurses in most Western hospitals, these situations are unimaginable. Yet, they are common in many sub-Saharan Africa nations.
Janet DeJean and Aaron Mansfield had an opportunity to take a first-hand look at such challenges last June while on location in Malawi. Both are pediatric oncology nurses from Texas Children's Hospital, who volunteered to provide a week of training at Kamuzu Hospital in Lilongwe, Malawi, as part of a global initiative to build treatment capacity for children with cancer in southern and east Africa.
"We had a chance to step into their world, to see the challenges they faced in their daily care for pediatric cancer patients, and then teach them how to become more effective in their role as nurses," Janet says.
The training comes through Global HOPE (Hematology-Oncology Pediatric Excellence), a $100-million initiative funded by the Bristol Myers Squibb Foundation, Texas Children's Cancer and Hematology Centers and Baylor International Pediatric AIDS Initiative, working with local governments to build a comprehensive training and treatment network for pediatric cancer and blood disorders in southern and east Africa. Global HOPE is focused in three countries – Botswana, Malawi and Uganda – that will serve as 'hubs of excellence' for the region.
The treatment situation for children with cancer and blood disorders in Africa is dire, much like HIV and AIDS was in the 1990s, when there were too few doctors and too little access to quality medical treatment. In the U.S., more than 80 percent of children with cancer will survive; in sub-Saharan Africa, the mortality rate is estimated to be as high as 90 percent. This translates into thousands of children across the continent dying from cancer each year and results largely from to a severe shortage of expert physicians and other healthcare workers trained to diagnose and treat children with cancer.
Changing the course of pediatric care
Just as the Bristol Myers Squibb Foundation's groundbreaking SECURE THE FUTURE program changed the course of pediatric HIV/AIDS in Africa by building an infrastructure that included trained healthcare providers and improved access to treatments, Global HOPE is addressing pediatric hematology and oncology. The initiative will create a network of healthcare professionals trained in pediatric cancer and blood disorders to establish Pediatric Hematology and Oncology Centers of Excellence that will serve as 'flagship' institutions for clinical care, education, research and healthcare management experience.
Nurses are an integral part of any treatment continuum, but especially so in oncology. The training sessions for pediatric oncology nurses are designed to give them the tools to play a more prominent role in patient care.
Nurses in sub-Saharan Africa are often stretched thin. A shortage of trained healthcare professionals adds to the workload and means they must take on additional responsibilities, such as mixing their patients' chemotherapy.
With a shortage of trained medical professionals in sub-Saharan Africa, Global HOPE sends pediatric oncology doctors and nurses, like Janet DeJean (pictured here) from Texas Children's Hospital.
"Nurses are with patients for extended periods of time during the day and they see things that a doctor making rounds may not," Aaron says. "Their challenges weren't about how to take care of their patients, but how to work around things that we take for granted."
Practical, hands-on patient assessments reinforced what was taught in the classroom. Aaron recalls a case that immediately followed a lesson on what to expect toward the end of a patient's course of chemotherapy.
"During our rounds with the class, a student noted that a five-year-old patient began shivering and was running a fever less than 30 minutes after receiving chemo. Because of the recent training, that triggered a meeting with the oncologist and a whole treatment plan that prevented complications further down the road," he relates.
Empowering nurses
Training like that builds confidence. "It empowered the nurses to make decisions and to speak up and call an issue to a doctor's attention when it was warranted," Janet says. "They had a better idea of the larger role they could play in a patient's care, beyond what they already do."
Despite the difference in geography and resources of their home hospitals, Aaron, Janet and the nurses in Malawi share many of the same concerns: having a child die unexpectedly, or having to deliver a poor prognosis or bad news to a family for example. "Knowing that those concerns are universal was very reassuring for the nurses in Africa to learn," Janet explains.
Global HOPE will train an estimated 4,800 healthcare professionals in southern and east Africa, including nurses, doctors, radiologists and social workers in the first five years of the program, and tens of thousands of children are expected to receive care.
This initiative is a public-private partnership working closely with the local governments and ministries of health to build a self-sustaining model. As professionals in Africa are trained by the U.S. and international teams, they will then take over training other African professionals. As more healthcare professionals are trained, there is potential for many more children to be treated and, ultimately, for the prognosis for children with cancer to improve to match the numbers in the U.S. and Europe.
Supporting Children with Cancer
Helping childhood cancer survivors is just as challenging and as important as advancing the research in pediatric oncology.
Hacking Childhood Cancer: Creating Support Systems
Healthcare innovators tackle how to improve the experience of children fighting for a healthy future.
The robot known as VIK-e allows children to stay connected with their family and classmates rather than isolated during treatment.
Global HOPE – Our Journey One Year Later


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Mubadala Silicon Valley Classic
Maria Sharapova teams up with Yanina Wickmayer for Stanford doubles
Maria Sharapova will play doubles only for the third time since 2005 and her new partner will be Yanina Wickmayer of Belgium. The two will team up at the Bank of the West Classic in Stanford which starts July 26.
Last two doubles matches Sharapova played were at the 2009 Indian Wells with Elena Vesnina and at the 2005 Birmingham with Maria Kirilenko.
Sharapova has won three doubles titles in her career: the 2004 Birmingham with Maria Kirilenko, and Tokyo and Luxembourgh in 2003 with Tamarine Tanasugarn. Wickmayer still has no Sony Ericsson WTA Tour doubles titles. As for their ranking, Sharapova is currently unranked in doubles, while Wickmayer is ranked 131st. (photos: Stephane Martinache, © Neal Trousdale)
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Bróna July 14, 2010 At 11:01 pm
That will be one tall doubles team 😛 I'm surprised at this, as you said she's played doubles twice in the last five years. It's a good decision though, and one I'm glad she's making because she clearly feels as if she needs match practice.
LuLinQa July 15, 2010 At 7:28 am
Two tall Bolletieri girls 🙂
Bróna July 15, 2010 At 7:52 pm
Two very tall Bolletieri girls 😛 I wonder if they'll be any good…
Me too, I am so excited to see them play together, cos I never heard Masha is friend with her or so.
MashaFan July 26, 2010 At 8:56 am
As far as I can see – this is a hoax – In the official draw site (http://www.bankofthewestclassic.com/Assets/Bank of the West Classic/2010 Photos/media/Doubles Draw.pdf) – Maria Sharapova is nowhere to be found in the doubles schedule and Yanina Wickmayer seems to play double with Daniella Hantuchova instead
Marija August 2, 2010 At 10:50 am
MashaFan, thanks for the note. There was a change in the plan: http://www.tennis.fm/2010/07/sharapova-not-playing-doubles-in-stanford/
http://www.zimbio.com/Tennis/articles/UySo91K7WHw/Sharapova not playing doubles Stanford


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Exploring sacred moments in therapy
Research shows spiritual connection between therapists and clients play crucial role
BOWLING GREEN, O.— "My client said I was different than all other therapists in the sense that I was genuinely caring about him and paying attention to what he was saying and also to what he was not saying. It was like time had stopped and we were two vulnerable human beings connected at a very deep level—a 'sacred' moment."
New research from Bowling Green State University shows that these kinds of "sacred moments" between therapists and their clients lead to improved well-being for both sides, demonstrating the value of paying close attention to the spiritual dimension between providers and their patients.
The study "Sacred Moments in Psychotherapy from the Perspectives of Mental Health Providers and Clients: Prevalence, Predictors and Consequences" is featured in December's issue of Spirituality in Clinical Practice. Dr. Ken Pargament, professor of psychology at BGSU, is the lead researcher on the study, assisted by Drs. James Lomax of the Menninger Department of Psychiatry and Behavioral Sciences at the Baylor College of Medicine, Jocelyn McGee, Department of Psychology at the University of Alaska at Anchorage, and Qijuan Fang, a psychology graduate student at BGSU.
The study represents the first systematic effort to examine a potentially important ingredient of therapeutic change—sacred moments that unfold in the relationship between client and therapist. In samples of both mental health providers and clients, these moments proved to be more frequent than expected and beneficial in terms of the therapeutic relationship as well as the mental health and well-being of both client and provider.
The term "sacred moments" refers to brief periods of time in which people experience spiritual qualities of transcendence, ultimacy, boundlessness, interconnectedness and spiritual emotions.
Transcendence involves experiences that are perceived to be set apart from the ordinary and day-to-day, and go beyond the limited self. Ultimacy refers to experiences of deep truth. Boundlessness has to do with experiences that are perceived as beyond the limit of ordinary time and space. Interconnectedness involves perceptions of deep mutual understanding and caring. Spiritual emotions refer to experiences of uplift, awe, humility, mystery, gratitude, joy, peace and serenity.
Pargament points out that it's important to note that the term "sacred" is used in "a psychological rather than theological sense. 'Sacred' refers to human perceptions of qualities often associated with the divine or higher powers."
In their first study, the researchers asked providers to focus on an important moment in treatment and then asked them to indicate whether the moment was sacred, the degree to which the moment was filled with spiritual qualities and predictors and consequences of the moment.
The majority of the providers indicated that the important moment they identified in treatment was sacred to them. "Far from being unusual, then, sacred moments appear to be fairly normative in treatment," Pargament stated.
"As predicted, sacred moments were more likely to emerge out of a stronger therapeutic alliance between therapist and client, marked by a sense of therapeutic acceptance, presence and receptiveness," he said. "Providers also reported that, prior to the sacred moment, clients were more likely to be experiencing a general sense of unease and tension in their lives. In this sense, sacred moments may provide a spiritual resolution to fundamental life unease."
Providers who perceived greater sacred qualities in their important moments also described improvements in their working relationship with the client, such as increased trust, honesty and openness, cooperation and mutual respect. Sacred moments were also associated with reports of greater provider gains in terms of growth and insight, work motivation and satisfaction, meaning in work and spiritual well being.
"These findings suggest that sacred moments may be an important ingredient of therapeutic change, which fosters the health and well being of clients and the therapeutic alliance," said Pargament. "Moreover, these moments may be a resilience resource that supports and sustains mental health providers through the significant challenges of mental health care."
The researchers then conducted a second study focusing on the clients, asking them the same questions posed to providers in the first study.
The findings largely replicated and confirmed what was seen with the mental health providers. First, sacred moments were not unusual. Clients who attributed sacred qualities to their important moment in treatment reported an enhanced therapeutic relationship, a better working treatment alliance, greater satisfaction with their therapist and positive changes in mental health efficacy and mental health more generally.
"These findings, preliminary as they are, suggest that sacred moments may be transformational, life-generative experiences, and, more generally, act as vital ingredients in the process of healing to people grappling with fundamental unease in their lives," Pargament explained. "Clients may find that they have been fundamentally transformed by the sacred moments they have experienced in treatment. Providers may find that sacred moments are what make their work most meaningful and worthwhile, and what sustain them through the challenges of a mental health career.
"Overall, these findings underscore the value of attending to critical moments in treatment, brief moments which may facilitate powerful change and transformation for client, therapist, and the therapeutic relationship. This encounter between therapist and client can be, and we believe should be, understood at a deeper, more profound spiritual level. "