The characteristics of the breath are also set by the clinician, i.e. pressure or flow controlled, volume, flow or time cycled.
"It's a good time to step back, take a deep breath and set a standard," Mr. Shultz said in an interview.
The episode began when Mr. Chamberlain, who could not walk more than a short distance without becoming short of breath, apparently set off his medical-alert pendant accidentally.
After winning her heat she paused to catch her breath, then set off again in a brisk walk past the TV cameras, radio microphones, and outstretched dictaphones of the assembled press, all waiting for her, all wanting a comment.
The now standard post-Rakim (also jazz-inspired) complexities of syncopation and scattered emphasis sometimes seem to hold only half of Lamar's interest: even when executing the most familiar boom-bap flows he pushes himself into little growls, whines, laughs, whispers, and rasps; yelped ribbons of falsetto sometimes scream out just as his breath seems set to flag.
There are people who practice holding their breath and set records doing it (David Blaine stayed under water for seventeen minutes) and people who set records for how many hotdogs they can eat.
Ask the person to take good deep breath and set their mind to devising a positive plan forward.
And, I realise, I take my first breath since setting off.
In Russell Maliphant's Second Breath, set to an Andy Cowton score intercut with voice recordings from the Imperial War Museum archive, the industrial scale of attrition is conveyed through lines of figures swaying like corn, cut down in illuminated ranks, and ingloriously upended by death.
When he was manacled and submerged underwater in a giant milk can, or suspended upside down in a straitjacket over a city street, the audience held its breath until he set himself free.
