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Home News Israel Fitch Affirms Israel's A+ Rating with a Stable Outlook, Despite Covid-19 Crisis
Fitch Affirms Israel's A+ Rating with a Stable Outlook, Despite Covid-19 Crisis
Scattered bills of 100 Shekel, Oct 14, 2017 Photo By: Adi Gefen/TPS *** Local Caption *** ???? ?????? ????? ??? ??? ??? ??? ?????
By Aryeh Savir/TPS • 14 January, 2021
Fitch Ratings affirmed on Wednesday Israel's Long-Term Foreign-Currency Issuer Default Rating (IDR) at 'A+' with a Stable Outlook.
The report noted Israel's strong external finances, a diversified high value-added economy, and solid institutional strength against a high government debt/GDP ratio and ongoing political uncertainty and security risks.
Prime Minister Benjamin Netanyahu welcomed the "very good news about the economy."
"The third-largest rating company in the world has followed in the footsteps of its predecessors and has also left Israel's credit rating unchanged at its high A+ level, a very high level, with positive indicators," he noted.
Standard and Poor's (S&P), the global credit rating company, in November, left Israel's credit rating unchanged at its high AA- level with a stable outlook, despite the global Coronavirus (COVID-19) financial crisis that the country is experiencing.
The Moody's international rating agency announced in October that Israel will maintain its high A1 credit ranking, despite the economic crisis.
"This is a certificate of honor for the Israeli economy and for the State of Israel. We are getting back to life in both health and the economy, to the routine and life that we love," he declared.
Fitch expects the government deficit to remain high in 2021, at about 9% of GDP, after the pandemic-related spending pushed it to 11.7%in 2020.
However, the credit rating firm forecasts the deficit to narrow to 4.3% of GDP in 2022, as there will probably be new revenue-raising measures and most coronavirus-related spending commitments will be phased out.
The agency projects Israel's real GDP growth of 5.4% in 2021 and 4.% in 2022, after a contraction of 3.9% in 2020.
Minister of Finance Yisrael Katz said that the report "is an important achievement for our country."
"The government policy during the crisis, extensive assistance alongside maintaining budget frameworks, is highly praised and is receiving high scores. We will continue to promote vaccines and return the economy to activity and growth," he stated.
Fitch Rating
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Does any one know how to make an animated avatar?
Tried that for some reason it doesn't work.
Well, I opened it on my desktop and it work but it did not work in my account here.
But does it work in a browser? The desktop doesn't count.
Just tried and yes it does.
Nah I was just looking at someone's avatar a moment ago that is animated. It's a LW logo bouncing over a yellow and black core sign. As a matter of fact now that i think of it Matt's avatar is also animated, it's a little clip of Dirk The Daring from the Dragon's Lair game.
Mine doesn't work either! grrrrr!
I think it may be a server glitch, I just saw someone else's that I know was animated before and now it's not. Another glitch is that the search engine isn't working. Looks like it's time for NTs web guys to get to work.
Are you uploading it to this site to use it?
If so try hosting it on another site like flickr.com or such and then link to it here thru the avatar options.


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Nominations are currently being accepted for the Duval Lang Theatre for Young Audiences Award. Deadline for Submission: June 30, 2011.
This annual award has been created to honor an individual or group of individuals who have made an outstanding contribution or significant achievement in the field of Theatre for Young Audiences in Calgary.
This award is made possible through the collaborative efforts of Quest Theatre and the Betty Mitchell Awards and is supported by a fund established in 2008 at the Calgary Foundation by a group of generous donors in recognition of Duval Lang.
Duval Lang was the founding Artistic Director of Quest Theatre and spent 25 years making theatre accessible, meaningful and enjoyable to young audiences. Along the way he has nurtured many emerging artists who have been inspired by his influence. Duval's dedication to his craft has, and will continue to have, a significant impact in the field of Theatre for Young Audiences.
Criteria for nomination:
May be an individual or group of individuals (but not an organization);
Must be a Calgary resident who has continuously striven for excellence in his/her craft;
Has demonstrated excellence in the field of Theatre for Young Audiences;
May be awarded for an outstanding season of work, individual achievement, or a sustained contribution to the community.
The nominator will elaborate on the manner in which the candidate(s) meets the above criteria. Additional letters of testimony will be accepted to a maximum submission of ten pages.
The recipient will be chosen from among the nominees by a jury consisting of past recipients plus other industry professionals, as selected by Quest Theatre and the Betty Mitchell Awards Steering Committee. The successful nominee will be recognized at the Betty Mitchell Awards, August 8, 2011, which celebrate Calgary's professional theatre community.
2009 was the first presentation of the newly created Duval Lang Theatre for Young Audiences Award. Past award recipients have been Lana Skauge and Karen Johnson-Diamond.
To submit a nominee, please mail to:
Betty Mitchell Awards, Re: Duval Lang Theatre for Young Audiences Award PO Box 924 Station T Calgary, AB T2H 2H4
or email to: info@bettymitchellawards.com, Subject Line: Duval Lang Theatre for Young Audiences Award.
With the current labour dispute at Canada Post we encourage, where ever possible, that nomination submissions be emailed to info@bettymitchellawards.com. If that is not possible, please contact the steering committee at the same email address to arrange alternate delivery or pickup options.

redpajama_set_name: RedPajamaCommonCrawl


text:
Ginn Music Group
Publishing Catalogues
Sample Licensing
Our Music > 3 Legged Records > Bad Luck Ain't No Crime
Bad Luck Ain't No Crime
3 Legged Records
3LRG01
Testify
Title Testify
Artist Blackberry Smoke
Writer(s) Charlie Starr, Paul Jackson, Charles Turner, Richard Turner
GMG Publishing Share and Company 100% - BMG Platinum Songs US (BMI)
Co-publishers and share N/A
GMG Sound Recording Share & Label 100% - 3 Legged Records
Products "Bad Luck Ain't No Crime"-"3 Legged Records"-"2004"-"3LRG01"-"1"
ISWC
BMI Work #
First Release 2004
Producer Jesse James Dupree
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/01-Testify.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/01-Testify.mp3
Sanctified Woman
Title Sanctified Woman
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/02-Sanctified-Woman.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/02-Sanctified-Woman.mp3
Title Another Chance
Writer(s) Dan Baird
GMG Publishing Share and Company N/A
Co-publishers and share 33.34% - Eleksylum Music, Inc (BMI) 33.33% - No Surrender Music (BMI) 33.33% - Warner-Tamerlane Pub Group (BMI)
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/03-Another-Chance.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/03-Another-Chance.mp3
Nothin' For You
Title Nothin' For You
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/04-Nothin-for-You.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/04-Nothin-for-You.mp3
Normaltown
Title Normaltown
Writer(s) Charlie Starr, Paul Jackson, Charles Turner, Richard Turner, Thomas A Rivers Jr
GMG Publishing Share and Company 50% - BMG Platinum Songs US (BMI)
Co-publishers and share 50% - ?
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/05-Normaltown.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/05-Normaltown.mp3
Train Rollin'
Title Train Rollin'
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/06-Train-Rollin.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/06-Train-Rollin.mp3
Title Angeline
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/07-Angeline.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/07-Angeline.mp3
Sure Was Good
Title Sure Was Good
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/08-Sure-Was-Good.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/08-Sure-Was-Good.mp3
Scare the Devil Outta You (Live)
Title Scare the Devil Outta You (Live)
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/09-Scare-the-Devil-Outta-You-Live.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/09-Scare-the-Devil-Outta-You-Live.mp3
Muscadine (Live)
Title Muscadine (Live)
Products "Bad Luck Ain't No Crime"-"3 Legged Records"-"2004"-"3LRG01"-"10"
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/10-Muscadine-Live.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/10-Muscadine-Live.mp3
Freeborn Man (Live)
Title Freeborn Man (Live)
Writer(s) Keith Allison, Mark Lindsay
Co-publishers and share 50% - Gigawatt Music (BMI) 50% - Git-Tar Keith Music (BMI)
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/11-Freeborn-Man-Live.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/11-Freeborn-Man-Live.mp3
Scare the Devil Outta You
Title Scare the Devil Outta You
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/12-Scare-the-Devil-Outta-You-Bonus-Track.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/12-Scare-the-Devil-Outta-You-Bonus-Track.mp3
Memphis Special
Title Memphis Special
Writer(s) Leroy Mack
Co-publishers and share 100% - Laredo Publications (BMI)
Download Link https://ginnmusic.com/wp-content/uploads/2017/04/13-Memphis-Special-Bonus-Track.mp3
Play Link https://ginnmusic.com/wp-content/uploads/2017/04/13-Memphis-Special-Bonus-Track.mp3


The store is filled with Witches, Ghosts, Scarecrows, Crows, Fall Wreaths, Door Hangers, Arrangements, Indian Corn and lots of Fall and Halloween Home Decor items.
" I'll get you my pretty.
And your little dog too! "


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Brackenfell gets a taste of Domino's Pizza
Existing franchise holder, Alan Williams, has recently converted the St Elmo's Pizza in Brackenfell to a Domino's Pizza store. This will mark the first Domino's Pizza store in Brackenfell since the brand was licensed to Master Franchisor, Taste Holdings, in April last year.
Williams plans to make a success of his Domino's Pizza store by entrenching himself and the store in the local community. Being no stranger to the franchise business, he knows that getting involved with the community through schools and businesses as well as by advertising locally is pivotal to him and his team reaching their goals.
On the conversion from St Elmo's Pizza to a Domino's Pizza store, Williams says, "Domino's delivers the best hand tossed pizza in the world, and no one and no brand in South Africa can offer any better. It is the recognised world leader in pizza delivery, and delivers more than 1 million pizzas daily worldwide. The Domino's Pizza Group is the market leader in 38 markets, including the UK, India, Mexico, Australia, South Korea, Turkey and France."
"We are excited to have converted another one of our existing stores, this time in the suburb of Brackenfell. This conversion forms part of and for being part of Taste Holding's drive to make Domino's Pizza the leading Pizza chain in sub-Saharan Africa," comments Lindy Taoushiani, Divisional Marketing Executive for Taste Holdings.
Williams has been with Taste Holdings since 2010, when he bought his first St Elmo's Pizza in Knysna. He then converted the St Elmo's to a Scooters Pizza outlet in 2011. Thereafter, he and his wife, Leonie, won an award and an all expense paid trip to Turkey for best new comers to the Taste Holdings Group and best percentage turnover increase for that year for that store. The Williams' have since relocated to Cape Town where they bought the St Elmo's in Brackenfell. Williams comments that the success they have already experienced, will only grow now with the conversion to Domino's Pizza. Domino's Pizza is differentiated from other pizza brands by three key factors: the brand's in-store experience, the heightened time awareness that ensures each customer's order is treated with the utmost importance, as well as the uniqueness of the product itself.
Customers walking through the doors of the newly converted Domino's Pizza store in Brackenfell can expect to be wowed by an electric in-store experience. The store has a theatre of pizza design, allowing customers to see first-hand how Domino's Pizza is hand-crafted using fresh dough and the highest quality ingredients.
"Having the backing of a good, strong advertising team, intellectual property and buying power through our partners Taste Holdings has been essential to our growth and success. However, in our experience, Leonie and I have learnt that word of mouth beats any form of advertising and the hallmark to achieving this is being able to deliver quality service and product to your customers," concludes Williams.
The Autobrite Direct Franchise Welcome to the new Autobrite Direct Mobile Shop Franchise, a new and exciting opportunity to run your…
ClearBrew have a number of existing franchise territories available for sale. These existing ClearBrew businesses have an existing customer base…
The MindHub Franchise Opportunity Ever wondered why coding schools for kids are successful and profitable today? The major reason is…
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With retail experience of nearly 150 years, we are a large, regional co-operative with an understanding of how important it…


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Reading Now 'Fast Movers' and Transmedium Vehicles-The Pentagon's Unidentified Aerial Phenomena Task Force – The Debrief
'Fast Movers' and Transmedium Vehicles-The Pentagon's Unidentified Aerial Phenomena Task Force – The Debrief
In an exclusive feature for The Debrief, U.S. military and intelligence officials, as well as Pentagon emails, offer an unprecedented glimpse behind the scenes of what's currently going on with The Pentagon's investigation into UFOs, or as they term them, "Unidentified Aerial Phenomena" (UAP).
For the last two years, the Department of Defense's newly revamped "Unidentified Aerial Phenomena Task Force" (or UAPTF) has been busy briefing lawmakers, Intelligence Community stakeholders, and the highest levels of the U.S. military on encounters with what they say are mysterious airborne objects that defy conventional explanations.
Along with classified briefings, multiple senior U.S. officials with direct knowledge of the matter say two classified intelligence reports on UAP have been widely distributed to the U.S. Intelligence Community. Numerous sources from various government agencies told The Debrief that these reports include clear photographic evidence of UAP. The reports also explicitly state that the Task Force is considering the possibility that these unidentified objects could, as stated by one source from the U.S. Intelligence Community said, be operated by "intelligences of unknown origin."
Significantly, a retired U.S. Air Force brigadier general and head of RAND corporation's Space Enterprise Initiative has—for the first time—gone on record to discuss some of the most likely explanations for UAP. His responses were surprising.
U.S. Navy photo by Mass Communication Specialist Seaman Hillary Becke
Briefings At The Highest Levels
In June, the Senate Select Committee on Intelligence's FY2021 Intelligence Authorization Act contained an intriguing section titled report on "Advanced Aerial Threats." In the inclusion, the committee gave an eye-opening official hint (in recent history) the government takes UFOs seriously by offering its support for the "efforts of the Unidentified Aerial Phenomenon Task Force at the Office of Naval Intelligence." The Intelligence Committee additionally requested an unclassified report detailing the analysis of "UAP" or "Anomalous Aerial Vehicles."
Though already acknowledged by the Intelligence Committee, in mid-August, the Pentagon formally acknowledged they had established a task force looking into UAP. In a press announcement, the Secretary of Defense's Office stated, "the UAPTF's mission will be to detect, analyze and catalog UAPs that could potentially pose a threat to U.S. national security." According to the release, authority for the Task Force was approved by the DoD's chief operating officer, Deputy Secretary of Defense David L. Norquist.
The summer news of the establishment of the UAPTF seemingly suggests—for the first time since the shuttering of Project Blue Book (the Air Force's official investigations into UFOs) in 1969—that the Pentagon is now taking the subject of UFOs seriously.
However, an internal email obtained by The Debrief shows that almost one year before the DoD's announcement, the highest levels of the U.S. military were already being briefed on UAP.
Copy of the Email Obtained by The Debrief via FOIA.
The email, obtained via Freedom of Information Act request, shows an October 16th, 2019 exchange between then Vice Chief of Naval Operations, Admiral Robert Burke, and current Vice Chief of Staff for the Air Force General Stephen "Steve" Wilson.
In the email, Adm. Burke tells Gen. Wilson, "Recommend you take the brief I just received from our Director of Naval Intelligence VADM Matt Kohler, on Unidentified Aerial Phenomena (UAP)." Adm. Burke concludes the email, "SECNAV [Secretary of the Navy] will get the same brief tomorrow at 1000."
The "SECNAV" referenced in Adm. Burke's email was then-Secretary of the Navy, Richard V. Spencer. A little over a month after this UAP briefing, Spencer was fired by then-Secretary of Defense Mark Esper over public disagreements stemming from a series of controversies involving the court-martial of Navy SEAL Eddie Gallagher.
Speaking on background, one U.S. Defense official lamented that a lack of continuity with DoD leadership might have hindered some of the UAPTF's work. Within the past 24 months, there have been four different Secretaries of the Navy and five additional Secretaries of Defense. Vice Admiral Matt Kohler, noted for having provided the briefings, retired after 36 years with the Navy in June of this year.
Vice Adm. Robert Burke – U.S. Navy photo by Mass Communication Specialist 3rd Class Charles D. Gaddis IV
Reaching out to several active government officials and individuals who retain their government-issued security clearances, The Debrief learned that last fall was a busy time for the UAPTF. On October 21st, 2019, a briefing on UAP was conducted at the Pentagon for several Senate Armed Services Committee staffers.
Attendees at the meeting told The Debrief that they were provided information on two previous DoD-backed UFO programs: The Advanced Aerial Weapons Systems Applications Program (AAWSAP) and the Advanced Aerospace Threat Identification Program (AATIP). They were also briefed on "highly sensitive categories of UFO investigations." Only two days later on October 23rd, staffers with the Senate Select Intelligence Committee were provided the same information in a meeting on Capitol Hill.
A former private contractor for AAWSAP and AATIP, Dr. Hal Puthoff, confirmed for The Debrief he was one of a handful of persons who conducted the October briefings. "I have been invited to brief congressional staffers on the Senate Armed Services Committee on UAP matters in the last couple of years," Puthoff said in an email, "and have done so on more than one occasion." Dr. Puthoff described the staffers during these meetings as being "engaged," and provided "positive responses, [and] more details always being requested."
The Pentagon Press Briefing Room seal (Credit: DoD/photo by Lisa Ferdinando)
The Debrief reached out to the Assistant Secretary of Defense for Public Affairs Office and DoD Executive Services Office and formally requested an interview with someone authorized to speak on the UAP briefings with the Joint Chiefs of Staff. In an email, Senior Strategist and Pentagon spokesperson Susan Gough responded, "To maintain operations security, which includes not disseminating information publicly that may be useful to our adversaries, DOD does not discuss publicly the details of either the observations or the examination of reported incursions into our training ranges or designated airspace, including those incursions initially designated as UAP – and that includes not discussing the UAPTF publicly, also."
Official public affairs channels indicate the Pentagon is not interested in sharing any more information on the UAP topic. However, several current and former officials with the DoD and individuals working for multiple U.S. intelligence agencies told The Debrief that there was much more going on behind closed doors.
UAP Intelligence Position Reports
Multiple sources confirmed for The Debrief that the UAPTF had issued two classified intelligence position reports, which one individual described as "shocking." Details provided on these reports suggest both a greater degree of Pentagon involvement, and that the UAPTF's hunt for unidentified objects isn't confined only to aerial phenomena.
Two officials with the DoD and one from the U.S. Intelligence community were willing to provide details on the contents of the classified report. An additional three other U.S. Intelligence Officials and a federal law enforcement officer confirmed the report's existence but were only willing to provide comments on their distribution. Given the report's classification and their discussion of a "sensitive intelligence matter," the officials we spoke with did so only under strict conditions of anonymity. While The Debrief has agreed not to provide information on sources, identities, and employers, though everyone we spoke with works within the U.S. Intelligence Community and under the authority of the U.S. Director of National Intelligence.
Aerial view of the headquarters of the National Reconnaissance Office (NRO) in Chantilly, Virginia, by Trevor Paglen.
One of the intelligence reports, released in 2018, is said to have provided a general overview of the UAP topic and included details of previous military encounters. According to sources who had read it, the report also contained an unreleased photograph of an "aerial phenomena" categorized as "unidentified."
The Debrief was told the accompanying photo was captured from within the cockpit of an F/A-18 fighter jet with a pilot's personal cell phone. According to three U.S. officials who had seen it, the photo showed an unidentified silver "cube-shaped" object. The report is said to have indicated the object was "hovering" or completely motionless when military pilots encountered it. All three officials agreed that based on the photo, the object appeared to be at an altitude of roughly 30,000 to 35,000 feet and approximately 1,000 feet from the fighter jet.
Defense and intelligence officials willing to discuss the report and those who only wished to confirm its dissemination all expressed shock that it had been so widely distributed amongst the Intelligence community.
"In decades with the [Intelligence Community] I've never seen anything like this," said one intelligence official.
One defense official described the report's distribution as having gone through "normal, non-public, information sharing channels." Other officials who'd seen and read the report either declined to elaborate or indicated the report was distributed on various secure systems. One defense official indicated it was distributed on the DoD's Secret Internet Protocol Router Network (SIPRNet). Two other intelligence officials said they received the information via "NSANet" (the NSA's official intranet). An additional source said the report was distributed via the CIA's Intelink system.
According to those willing to discuss the document, the report's most disconcerting aspect was one of the potential explanations for what UAP could represent. Sources say a "list" of possible prosaic explanations for these mysterious airborne encounters was provided. However, the report expressly stated that the potential for UAP to be "alien" or "non-human" technology was of legitimate consideration.
All sources interviewed by The Debrief confirmed that the Task Force issued an updated second UAP position report later in the summer of this year. Like the first, officials say this recent intelligence report was very widely distributed and shared amongst the Intelligence Community.
"It went viral," said one intelligence official who had read the report.
Artist's recreation of the image as described in the UAPTF Intelligence Report issued in 2020 (Image by Dave Beaty of The Nimitz Encounters, 2020).
Overwhelmingly, everyone The Debrief spoke with said the most striking feature of the recently released UAPTF intelligence position report was the inclusion of new and "extremely clear" photograph of an unidentifiable triangular aircraft.
The photograph, which is said to have also been taken from inside the cockpit of a military fighter jet, depicted an apparent aerospace vehicle described as a large equilateral triangle with rounded or "blunted" edges and large, perfectly spherical white "lights" in each corner. Officials who had seen it said the image was captured in 2019 by an F/A-18 fighter pilot.
Two officials that received the report said the photo was taken after the triangular craft emerged from the ocean and began to ascend straight upwards at a 90-degree angle. It was indicated that this event occurred off the eastern coast of the United States. Several other sources confirmed the photo's existence; however, they declined to provide any further specifics of the incident.
Regarding the overall theme of the recent report, officials who read it say the report primarily focused on "Unidentified Submersible Phenomena," or unidentified "transmedium" vehicles capable of operating both under water and in the air.
The three officials we spoke with said the report suggested the UAP Task Force appears to be concerned that the objects being termed as UAP may be originating from within the world's oceans. Strange as this may sound, the idea of "USOs" or "unidentified submersible objects" is not something exclusive to the current UAPTF.
In various public appearances, astronomer and chief video/image analyst for the Mutual UFO Network (MUFON), Marc D'Antonio, has shared an unusual experience involving the detection of an underwater "Fast Mover," which occurred while he was sailing as a civilian aboard one of the U.S. Navy's prized attack submarines.
Last year, defense journalist Tyler Rogoway spoke with several veteran submariners to get their take on D'Antonio's account. While at least one person expressed skepticism about D'Antonio being granted a civilian ride-along, the Navy vets being interviewed almost unanimously acknowledged that unexplained, very high-speed sonar targets are indeed recorded by some of the most sophisticated listening equipment on the planet.
Agreeing only to speak on background, a senior member of the Intelligence Community whose responsibilities for decades involved underwater surveillance and reconnaissance programs told The Debrief there was validity to claims of extremely fast-moving underwater objects being detected by U.S. military systems.
"On occasion, there are detections made of non-cavitational, extremely fast-moving objects within the ocean." The intelligence official declined to elaborate further, citing the high-levels of security classification associated with underwater reconnaissance.
Officials who had read the reports say the UAPTF appears particularly interested in "transmedium vehicles." While this may seem unusual, many accounts exist–some going back centuries–in which people say they have observed unidentifiable craft operating in and out of the water.
The Debrief reached out to Steven Zaloga, co-author of the annual World Military Unmanned Aerial Systems Market Profile & Forecast and senior defense analyst for the Teal Group in Virginia, about the state of current or near-future development of "transmedium" vehicles or systems. Zaloga indicated he was unaware of any past or present technologies that are close to being capable of transitioning between air and submersible travel. "I have no idea what-so-ever on objects able to cross the air/water barrier," Zaloga said in an email.
U.S. Navy photo by Mass Communication Specialist 3rd Class Pedro A. Rodriguez
What is The Pentagon Officially Saying ABOUT UAP?
Although The Debrief learned of the issuance and information reportedly detailed in the two UAPTF intelligence position reports, officials we spoke with declined to provide any specifics as to why the most recent report focused on waterborne associations with UAP.
One active defense official familiar with the current UAP investigations said the UAPTF has a wealth of photographic evidence, collected from military pilots' personal devices as well as sophisticated DoD surveillance and reconnaissance platforms. The source also told us some of the best evidence the UAPTF has acquired comes from measurement and signals intelligence (MASINT), rather than from videos or still images.
Although officials we spoke with didn't provide any specifics to this point, it is assumed that any Top-Secret or Sensitive Compartmentalized Information used to help form the UAPTF's current opinions would not have been included in the UAP position reports, based on their wide-spread distribution.
Before publication, The Debrief reached out to The Pentagon for comment on the information leaked from the UAPTF reports. Pentagon Spokesperson Susan Gough did not confirm or deny the existence of the UAP intelligence reports, and declined to make any comment on their contents. We followed up and requested the current media posture outlined by the official public affairs guide for UAP and dictated by Department of Defense policy (DoDI 5405.03). Ms. Gough referred back to her previous statement, indicating that the DoD does not discuss UAP publicly. As noted elsewhere, refusal by the Pentagon to discuss UAP is hardly anything new.
In 2017, then Assistant Secretary of Defense for Public Affairs Dana White confirmed to Politico that the DoD had studied UFOs under the Advanced Aerial Threat Identification Program (AATIP). Additionally, White said the program had been run by the former Director of National Programs Special Management Staff for the Office of the Undersecretary of Defense for Intelligence, Luis Elizondo. However, in an effort to "correct the record," in December 2019 the Pentagon issued a statement saying AATIP was not UAP related, and that Elizondo had "no responsibilities" in the program.
In May of this year, The Debrief informed The Pentagon Public Affairs Office that we had conducted a number of interviews with former senior Pentagon officials, a senior White House advisor and obtained documents, which all showed AATIP was involved in UAP investigations, and that indeed Luis Elizondo was the custodian of the AATIP portfolio. Additionally, information obtained showed elements of the Defense Intelligence Agency and National Reconnaissance Office had participated in AATIP.
Though this request was less than six months after The Pentagon's "no responsibilities" statement, spokeswoman Gough replied, "Please keep in mind he [Elizondo] left DoD over three years ago, and there are personnel and privacy matters involved."
Given the recent Presidential election results and impending transfer of executive power, The Debrief reached out to the transition team for President-Elect Joe Biden. While not explicitly discussing UAP, a transition team spokesperson said Biden intends to "Immediately return to daily press briefings at the White House, U.S. Department of State, and U.S. Department of Defense. Our foreign policy relies on the informed consent of the American people. That is not possible when our government refuses to communicate with the public."
U.S. Navy photo/Petty Officer 2nd Class James R. Evans.
From closed-door meetings, to senior military leadership and the issuance of classified intelligence reports, all indications suggest the DoD is indeed taking the UAP issue seriously. However, what new information has come to light about the government's UAP investigations provides us with few answers, and certainly raises a number of questions.
Classification has long surrounded the U.S. government's most sophisticated airborne platforms. However, when it comes to underwater systems, the extremity of official secrecy falls into a class by itself. For instance, retired Navy Admiral Bobby Ray Inman acknowledged that he served as director for the National Underwater Reconnaissance Office (NURO) decades ago; yet despite this, to date the government denies that the NURO even exists.
Even if the Senate Select Intelligence Committee's request for an unclassified UAP report ends up being enacted in the FY2021 Intelligence Act, as legislative experts have pointed out, the UAP report provision is not binding law. In essence, there's no guarantee the public will be provided any comprehensive information on UAP. Equally, while Congress is required to have access to classified information, only the executive branch has the authority to declassify national security information in order to make it public.
Should the DoD become more willing to discuss UAP publicly, there are plenty of indications that it might be a disappointment compared to many of the popular myths and narratives intertwined with the UFO subject over the last 70 years.
Every source The Debrief spoke with who had either seen the published position reports or were familiar with the activities of the UAPTF said that no concise estimate of the situation for UAP has been achieved. While they acknowledged that many hypotheses are being explored, the U.S. government presently lacks any definite explanation for UAP-related events.
Focusing on the DoD's statements that the mission of the UAPTF is to "detect, analyze and catalog UAPs that could potentially pose a threat to U.S. national security," The Debrief spoke with retired U.S. Air Force Brigadier General Bruce McClintock.
Official Photo – Brig Gen Bruce McClintock (U.S. Air Force Photo by Michael Pausic).
During his 30-year career with the Air Force, McClintock's assignments included White House Fellow to President George W. Bush, Executive Assistant to the Commander of NORAD, Executive Assistant to the Vice Chairman of the Joint Chiefs of Staff, and Special Assistant to the Commander of Air Force Space Command. Before retiring in 2017, Gen. McClintock amassed more than 3,000 flight hours on more than 35 aircraft, including the A-10, F-15B/D, F-16A/B/C/D, and the F-111. Presently, Gen. McClintock heads up the RAND corporation's Space Enterprise Initiative and serves as the focal point for all RAND space-related research for the U.S. government and U.S. allies.
McClintock was dismissive of the idea that U.S. military encounters with UAP could be related to any form of classified aerospace testing.
"It is unlikely that the U.S. government would intentionally conduct tests against its own unwitting military assets," he told The Debrief in an interview. "To do so would require a very high level of coordination and approval for the potential safety and operational security risks."
In separate interviews last year, aerospace engineer and Area-51 veteran T.D. Barnes and former CIA executive S. Eugene "Gene" Poteat both suggested radar detections by the Navy of extreme aerial maneuvers sounded suspiciously similar to a top-secret electronic warfare program they were involved with in the 1960s, codenamed PALLADIUM.
However, Poteat and Barnes acknowledged they had no explanation for any of the physical sightings by military aviators. Coinciding with Gen. McClintock's comments, both men said everyone involved in any classified assessments involving the use of classified aerospace platforms was made aware they were participating in a test. This even included times when the platforms were deemed "UFOs because they were so secret that they didn't exist."
McClintock, who also served as Senior Defense Attaché to the U.S. Embassy in Moscow, seemed equally doubtful that UAP might represent the technology of a foreign adversary.
"It is not outside the realm of the plausible that an adversary would test the ability of the United States to detect some new capability, although it would be more likely they would only do this after testing the capability within or closer to their own territory before trying to penetrate U.S. airspace," he stated.
Ultimately, after asking numerous current and former defense officials and subject matter experts, The Debrief has been unable to find anyone of authority–whether on, or off the record–willing to say the UAP encounters reported by military aviators are consistent with black budget testing, or "ferreting" of U.S. air defense by foreign governments. Equally, we have been unable to find anyone of credentialed background willing to say what, exactly, this means the source of these UAP could be.
Offering The Pentagon one final opportunity to discuss what we intended to report or comment on McClintock's statement, The Debrief once more reached out to spokeswoman Susan Gough. Our offer went unanswered.
At least from an official position, the source behind unidentified aerial phenomena appears to remain a mystery.
Source: The Anomalist
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i am an artist in austin, texas. i graduated from the university of texas at austin in the fall of 2016 with a bachelor's degree in fine arts. my concentrations were photography, design, and figure drawing.
all photos are edited only for dust and color correction, and sometimes cropped. i love photoshop but i don't want it to take away from my ability to take good photos, so i use it sparingly.


Does someone know of a way to get SE to adjust the drawing view scale when the part size changes?
I have a problem when reusing a existing part and drawing.
Now the drawing views of the part overlap each other and i have to manually adjust the drawing view scale to make them fit on the sheet and not overlap each other.
Does somenone know of a way to get SE to adjust the drawing view scale so the drawing view boundary doesn't get bigger, or smaller if that is the case.?
This would be helpful when using a partfile as a "template" and creating a lot of new data just by changing its dimensions from excel, It would be great if the drawing would update in a way that you don't need to manually edit it..
No option or feature in Solid Edge. You can put in a request for added functionality by talking to your VAR/GTAC.
I have the same problem all the time. I'm not aware of of any method to achieve a control using the sheet size with the view extents.
The one thing that helps a bit is making sure the views are as large as the part can possibly be. This creates way overextended views in some cases, but at least the dimensions in that view will not detach when the part grows.
Flat pattern views tend to have less problem than regular views with detaching dimensions.
Another thing that helps is when you update the draft, check through what has detached before you release the updates to remove the revision triangles. Sometimes you can fix the views and the dimensions will re-attached before you release the update. release = lose the revision triangles or commit to the drafting changes.
Thank you for your replies guys , I think I will file an ER on this.
I'm not even sure NX has this capabilities.
In the past and my current job we have a rule engine sitting on top of the CAD application. That tool would be the one that controlled the logic and then passed the information down to the drawing. In the drawing dimensions were "anchored" to the view so your dimensions were not flying all over the place during the resize of parts and then view scales.
This is by no means a simple thing to achieve in any system. Especially if you are trying to do design automation.


text:
The Patra Passage Central Concepts
The End of the Passage
Vessel History, Traditions and Archetypes
How the Patra Passage Works
Statement from Patra Passage Artist Lynda Lowe
The Making of the Patra Vessels
Museum of Glass Launch and Exhibition
Opportunity to purchase a Patra vessel
Donor and Volunteer Recognition
Links to Related Websites
The Patra Passage from Derek Klein on Vimeo.
Overview: The Patra Passage is an art-based project that experiments with a cycle of giving and receiving. The passage centers on the gifting of 108 hand-built ceramic vessels to participants who will re-gift them to others. The giftism cycle continued for one year with each bowl presented and received at least three times. It created a community of 501 participants from five continents, eleven countries and forty states. At the end of their circulation, the Patra were returned and exhibited at the Museum of Glass in Tacoma, Washington in 2015. During the exhibition the vessels were sold and all proceeds given to charity.
The word patra refers to the name of alms bowls that monks carry in various cultures to receive their portion for the day, an act that creates an understanding of interdependence with community and openness to the cycle of receiving and giving. The word's origin in Sanskrit translates as "the vessel that never goes empty". Whatever is received in the bowl is enough for the day, a reminder of the offerings of the present moment.
The idea first appeared to artist Lynda Lowe when visiting monasteries in Tibet where vessels lined the altar filled with water, millet, a flower, a shell, an oil candle, or something engaging to the senses; sometimes a vessel had no visible contents. Do these vessels contain what is given, or what is to be received? The inquiry lingered even when the physical object was no longer present. The impression suggests that giving and receiving can be a simultaneous and fluid act, the passage of a gift bestowed and accepted.
Lewis Hyde's book, The Gift: Creativity and the Artist in the Modern World, and Phil Cousineau's book, The Art of the Pilgrimage: The Seeker's Guide to Making Travel Sacred, develop concepts central to this project. They write eloquently about giving as it appears in cultural history, economies, mythology, artistic practice, and how paying attention enlarges our perception. These books posit that the circulation of gifts and meaningful exchange create unity out of expressions of good will, expand our boundaries, and connect us.
Hyde suggests that when a gift passes from a giver in a circle of offerings, not as a form of reciprocal exchange between two people, or as material commerce, the giving goes beyond the control of the personal ego. He suggests that a gift's increase in value begins after it has passed through someone. The permeability of self and its expansion is the essence of the gift; the object itself is only its vehicle, its vessel. The giver becomes part of the circle's larger continuum that Hyde describes as "transcendent commerce, the economy of re-creation, conversion, or renaissance." In the Patra Passage giving and receiving are fluid continuous acts, a gift bestowed, accepted, and passed along.
"When we start to ask ourselves what we can give away, we begin to see our possessions differently– they take on new potential as blessings for others, instead of being cold hard stuff. Who was it who said you never really own something until you give it away?"
– Lewis Hyde
Cousineau dives into the mythology of giving and creating connections, He describes how every journey is an act of discovery and how it can be a soulful and transformative experience.
To be touched, we must in turn, touch….Objects that must be touched are an integral part of the pilgrimage. ~– Phil Cousineau
Images and objects are both what we see and how we see them. Objects that engage ideas can span the divide between the outer world of concrete forms and inexpressible inner realities, matter and spirit, emptiness and fullness, self and other. The Patra vessels engage this dialectic. Each experience is uniquely endowed by the orientation of the beholder. In the Patra Passage whatever perceptions are brought to the bowl are acceptable.
Gratitude can be a rare commodity if society is overly consumptive, busy, and self-absorbed. A careful balance needs to be maintained between commerce and altruism. Acts of generosity take us out of ourselves and are one of the greatest means for generating compassionate communities and reducing wasteful excessiveness. Giving something away for free makes its value indeterminate; the recipient decides its value. In this way, the "art" happens outside of monetary value, trade or profit, and inside the context of firsthand experience and meaningful encounter. The gift is not just the object itself.
The Patra Passage considers material, social, cultural, and perhaps spiritual concerns. The project poses these questions: What is the proper balance between art and acquisition, generosity and consumerism? What role does art play a role in highlighting unity and developing community? Can generosity be a subject of critical artistic examination? What is the value or potential of art that is no longer physically present? Can we use the absence of an object to evoke a firsthand experience of a lived moment in time, or as a means to imagine what lies beyond it? What role does an undirected trajectory play in the outcome of an artwork?
Your interaction and experience with these ideas, as a participant, as a viewer, or with interaction on this website, is the art and the subject of the Patra Passage.
The End of the Patra Passage – a note from the artist
The Patra Passage has concluded its year of circulating bowls. What an accretion of life stories these 108 vessels held from time with their 501 recipients! Through this website's offerings and through firsthand personal narratives, I feel privileged to have heard and read many of these experiences. I've corresponded with with hundreds of people I may never meet in person. I'm aware of only fragments of these stories, yet I sense an inexplicable pulse in these small bowls. There is something much more to them than when they initially were sent on their way. The vessels have founded a personal bond with each of their bearers and also created a larger community within our common experience.
Launching the project was a bit like blowing dandelion seed to the wind – releasing two years' work to whatever unpredictable fate would befall. One of the best surprises of the Patra Passage was that the experience continued to be meaningful and sometimes even amplified though many waves of participants long after moving through the familiarity of friends in the first group. If it could be personified, the Patra vessels seemed to know when, where, and to whom they should pass. Many people wrote about how they inexplicably arrived or departed at the perfect time. I was equally pleased to hear from viewers encountering the Patra Passage for the first time during its exhibition that there was something meaningful or powerful for them as well.
Gift giving is surprisingly complex. The Passage has been a massive experiment in the ways people give and receive. I admit to personally learning a lot about this process through this project's development. Participants commented about how meaningful it was to receive the bowl. Some began thinking about who they would give it to right away and others admitted they were reluctant to send it off. One participant, after a reminder that it was time to pass the vessel along, replied: "Come and make me!". I laughed out loud when I read that!
As Rumi wrote, "there are a thousand ways to kneel and kiss the ground". In the Patra Passage experience, there have been myriad ways to experience the bowl and any use is correct. They were cherished, ignored, broken, played with in the sandbox, viewed as inanimate or animate art, considered confusing or even too precious to even take out of their box. They were often used in contemplation or in actions of the deeply sacred. They have been present at the beginning and end of lives and marked many important life experiences. There were Patra bowls used in wedding celebrations and reunions, present at life's conception and at babies' births, clasped during grief, illness, recovery, and death. Participants included a wide range of ages: one Patra bowl was a newborn's first gift, one came to a five year old, while several others were gifted to people who had reached their mid-nineties.
The Patra vessels have traveled at different speeds – a few changed hands only twice, while one had ten recipients. They moved across 40 states in the US and to eleven countries around the world. Some bowls stayed within a family circle; a few bowls spent the whole year with musicians; some were extremely photogenic; some connected to animals; some given names; a few participants took the vessels on daring adventures (one even rafted down the Colorado River through the Grand Canyon in a Tupperware bowl); while others sat quietly at home active in more subtle ways. Some vessels were written about, some photographed, some stories told publicly, some privately, some mute. More often than not, vessels were just held in stillness as a reminder that whatever one faced, there was enough for the day.
An important aspect and artifact of the Patra Passage is this interactive website. Many of these personal stories can be read on the 108 Vessels page where each Patra has its own page with contributed photos and written commentary. There is a public form page as well. Though a new experience for me, I wrote several blog entires during the passage as pertinent thoughts arose.
Vessels are instruments of keeping – whatever we deal with has to be contained in some way. Each participant's encounter, whatever that experience may be, is as much a part of the object as its physical materials. The "art" of the Patra Passage is what has been brought to the bowl. In this way, it cannot be absent even when the vessel moves on. This continues to be a mighty collaborative co-creation and I am thankful for all the ways people have participated in it. I have hopes that its resonant experience will continue.
Novice monks with alms bowls at Maha Ganayon Kyaung Monastery in Mandalay, Myanmar
The vessel concept is one of our earliest learned ideas. Whether a simple domestic bowl or sacred offertory, container for body or soul, the archetypal bowl finds complex expression in many important traditions. The tea bowl in Japanese chado, The Way of Tea, equates the empty vessel with a free and clear mind and the receiving receptacle for positive energy. Buddhists use the bowl to reflect upon the paradoxical koan that emptiness is form and form emptiness. Throughout history the vessel acts as a multivalent symbol with a deep connection to the human psyche. Carl Jung wrote that the inexplicable and mysterious unconsciousness of our minds is projected into a dark empty vessel; Stephen Hawking describes timespace as being shaped like a vessel; and the Sufi poet Rumi writes of the soul in this shape:
I was walking at dawn
with a monk on his way to the monastery
we do the same work I told him
we suffer the same
he gave me a bowl
and I saw
has this shape
…being partly in the middle of being
partly in myself and partly
Lewis Hyde describes historic cultures that use circular giving (where the gift circulates three or more times) as a way of bonding community. Notably mentioned are tribes of the Pacific NW – the Kwakiutl, Tlingit, and Haida – who had early traditions of giving a "copper", an engraved plaque, at potlatch ceremonies. The more often the copper was given away, the greater its value as a gift. The object stayed in motion ever increasing in worth, even if broken.
The Patra Passage involves the circulating of 108 hand-built ceramic vessels seated on small paintings and presented in handmade wooden boxes similar to Tomobako used for housing tea bowls. The first recipients, initially chosen by the artist Lynda Lowe, were presented with their Patra in a ritual ceremony on September 28th, 2013 at the Museum of Glass in Tacoma, WA. Participants were allowed to keep the vessel for a self-determined amount of time, maybe a few days but no longer than four months. They were then asked to gift the vessel to another recipient of their choosing and explain the purpose of the Patra Passage. The next participant keeps the Patra and re-gifts it to another recipient they've selected. During this year-long cycle each vessel would conceivably been presented at least three times before being shipped back to the artist.
The essence of this project is the experience and its expansion. The value lies within the context of meaningful encounter. The Patra bowls are meant to be symbolic contemplative objects, cradled in the hands, closely examined, and used to prompt meaningful reflection. Consider the vessels collecting and containing stories. They began as eroded rock, were formed by hands, and transfigured by the fire. They have lived in unnamed places and have been witness to the lives of people who have held them. These collective experiences form an integral part of the Patra Passage and have become part of their pulse and purpose. It is the intent of the project and this website to collect some of their stories from participants and the public.
The Development of the Patra Passage – a note from the artist
Lynda Lowe, Patra 21, 18″H x 39″W, oil, wax, watercolor on panel
I began the full time work on The Patra Passage a year prior to the launch of the vessels in September, 2013 although the idea for the project began many years before that. Where I am first aware of vessel images entering my mind and my artwork was during a visit in 2000 to the Tashilhunpo monastery in Shigatse, Tibet. Walking through those dark quiet rooms with their filtered light and peculiar scent of yak butter lamps and burning sage, I was transfixed by a line of simple bowls on an altar table. Were the bowls and their various contents offerings, or something which to receive? Being unfamiliar with their purpose at that time, the image was powerful and mysterious. The vessel soon evolved into a compelling metaphor in my work that represents the continuous fluid act of giving and receiving. The bowl also serves as a reminder to be receptive to the offerings of the present moment.
Over the years, the simple vessel has continued to be a central figure in my paintings, my predominant studio practice. However for the Patra Passage the use of a dimensional physical bowl that could be held comfortably in hand was important as carrier for the concept. I decided upon making 108 because it represents an auspicious number in many cultures and emphasizes the value and commitment involved in continuous labor cycles. After finishing the bowls, I recognized how difficult achieving this number could be. There was a lot of opportunity for experimentation with the media and process, and immersing myself in the meditative aspects of serial work and its occasional tedium.
The haphazard anomalies arising from hand-construction and smoke-penetrated pit firings fit my idea of achieving a bowl that had humble, primitive qualities. Applications of gold, silver, and copper leaf, patina work, as well as the inclusion of diagrams and text were meant to prompt metaphor and suggest ritual purpose. Together, these contrasting qualities achieved an interesting visual tension – a reference to a simple earthen offering and to a venerated object. The painted bases that the Patra vessels rest upon signal that these are not just functional bowls, but also contemplative objects. Largely, the making of these vessels was a contemplative act of gratitude, one that focused on disseminating good will. I honor the many connections with people and places that have brought the Patra Passage into being.
For more information about the artist Lynda Lowe, read the interview with Melissa Weinman on this site and view her art at: http://www.lyndalowe.com
Lynda Lowe and monk holding Patra at Nan Phaya temple, in Bagan, Myanmar
Each bowl is formed by hand, refined, coated with layers of thin clay slip, and bisque-fired in a kiln. More surface work is developed with stain and ink and kiln-fired once or twice again. The final firing is a smoky wood firing where the vessels are placed on top of sawdust with kindling layered over them. During this firing, copper sulphate and salt are added to the smoldering wood which volatilizes turning the flames green and blue and lending subtle color streaks to the clay surface. The fire burns about two or three hours until there is nothing but ashes surrounding the bowls. Areas of carbon penetration on the bowls range from light gray to black.
The fired surfaces are further embellished with drawings, silver, copper and gold leafing, then treated with patinas (details below). Each Patra vessel sits on top of a 5″ square painting related to the vessel, wrapped in silk, and presented in a handmade wooden box.
details of interiors and exteriors of Patra vessels
Vessels are tied in silk and presented in a handmade wooden presentation boxes, similar to the traditional Japanese Tomobako boxes that house valuable tea ceremony bowls.
Museum of Glass Patra Passage Send-off and Final Exhibition
The internationally renowned Museum of Glass in Tacoma, Washington hosted the launch of the Patra Passage September 28th, 2013 where participants in the first wave of recipients received their vessels in a ritual send-off ceremony. The museum also hosted the final exhibition Patra Passage Full Circle in 2015 featuring the returning bowls after their year-long journey, along with the artifacts, commentary, and experiences of the 501 participants. At the exhibition's opening more than 200 of the Patra Passage's participants gathered for the weekend's special offerings. We were so honored to have Phil Cousineau, acclaimed author, explorer, documentary filmmaker, and host of the PBS television series Global Spirit as guest speaker during these events. The weekend included a dialog between Cousineau and Lowe, and an interactive panel discussion and storytelling of Patra Passage experiences between participants. To watch the Lowe and Cousineau video interview, click here.
Museum of Glass Patra Passage send-off and final exhibition. For additional photos of the exhibition click here.
The Sale of the Vessels for Charity
All net proceeds from the sale of the Patra bowls have been given to two great regional and global community serving, not-for-profit organizations.
The Patra Passage happily donated $20,000 to Save the Children. Save the Children's mission is to invest in childhood – every day, in times of crisis and for our future. In the United States and around the world, they give children a healthy start, the opportunity to learn and protection from harm.
The Patra and Passage happily donated $20,000 to the Museum of Glass. The Museum of Glass supports the arts and community both regionally and internationally. A Patra Passage fund has been set up at the museum to fund exhibition development and further scholarship for artistic excellence.
The Patra Passage is a non-profit enterprise. Vessels sold for $1,000 each. A few vessels are still left for sale (if interested please inquire by email).
With much gratitude to the Patra Passage Patrons:
$10,000 and above
Joan and Jim Hunter
Anonymous gift
Tremaine Foundation
Ester Saunoras and Dick Cogswell
$1,000-4,999
Mimi and Herb Simon
Gary May and Veronica King
Corry and Donna McFarland
Annie and Steve Norman
Ken and Karen Bergren
Patricia Rovzar Gallery
Joyce and Neal Arntson
Ann Kumasaka
Janet and Peter Stanley
McKeel and Soon Hagerty
Janeanne Upp and Dale Meyer
Lyn McCoy and Richard Szeliski
Lynn and Kathy Sommers
Glenn Janss
Karl and Christine Anderson
Concrete Tech, Tacoma
Kit and Gary Severson
Corky and Laird Brown
Arden Gallery
Ann and Irwin Sentilles
Allison Black and Jeff Goldberg
Melissa Weinman Jagosh
Diane Fitzgerald and Burt Richmond
Dot and Jim Fitzgerald
Ann Marie Borys
Faith O. Miller
Special thanks to Lee Ater, exhibition design, Derek Klein, filmmaker, Ann Kumasaka, booklet design
With much gratitude to the Patra Passage Volunteers and Assistants
Suzanne Anderson
Lee Ater
Juan Azorit
Allison Black
Ann Darling
Kayce Hughlett
Dan Ishler
Kristin Johnson
Robert and Helen Litman
David Madeira
Gloria Miller
Leah Oren
Paula Simon
Del Webber
Melissa Weinman
Donna Witmer
Website photo credits: Darryl Schmidt – ArtCapture, Adam Hoff, David Madeira, Lynda Lowe
Booklet design: Ann Kumasaka a.k.a. design, Seattle, WA
http://www.thenewstribune.com/2015/02/13/3621132/giving-and-losing-art-lynda-lowes.html
http://www.museumofglass.org
http://www.savethechildren.org
http://www.kindspring.org
http://www.servicespace.org
http://www.karmakitchen.org
http://www.ayearofbeinghere.com
http://paolagianturco.com
Please send your suggestions for other sites to add here.


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The Chairman of Arewa Consultative Forum (ACF), Alhaji Ibrahim Ahmadu Coomassie, said on Monday Nigeria is heading towards anarchy and eventual disintegration if the problem of bad governance is not addressed.
He lamented that corrupt practices have become endemic and nepotism now a common feature in most appointments and provision of quality education, potable water, efficient health services and power supply have been relegated to the background.
The ACF chairman stated these in Kaduna while chairing a conference on: "The North and The Challenge of Leadership," organised by Sir Ahmadu Bello Memorial Foundation and Arewa Research and Development Project (ARDP).
He said the era of Ahmadu Bello and Balewa was a golden period for Nigeria and the Northern region because they laid foundation and charted the course of the most unprecedented, purposeful and progressive development ever witnessed in the north.
Coomassie said: "Northern progress and Northern unity were uttermost in their thought processes while administering this large expanse of territory which was more than half of Nigeria. They ensured even development, justice and fair play for all the citizens. It was a period devoid of religious and ethnic bigotry where people from the numerous ethnic nationalities or creeds, held each other in mutual respect.
While noting that the defunct Northern Region has been broken down to 19 northern states administered by governors and members of the state assemblies for the purpose of bringing governance closer to the people, Coomassie said the reverse has been the case.
He added: "Political office holders pay scant attention to the needs of their populace. Corrupt practices have become endemic. Not only are contract sums inflated, more often than not monies earmarked for projects that will immensely benefit the populace are removed and the projects not executed.
"Nepotism has become commonplace in most appointments. People who lack the requisite qualification are appointed to sensitive positions in the public sector either because they are related to or are cronies to powerful political figures with resultants devastating consequences to the polity. Service sectors, such as in the provision of quality education at all levels, the provision of potable water, the delivery of efficient health services and power supply have all been relegated to the background.


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or on any other reasonable grounds. For parcels, it is payable even if the parcel cannot be delivered by special messenger but only the advice of arrival. Certain letter-post items and parcels may be sent cash-on-delivery. However, administrations which collect a charge for return of items in their internal service shall be authorized to collect this same charge on the international mail returned to them. Rahvusvaheliste ärikirjavastuste teenus(7). Where domestic small packet items weighing over 500 grammes are subject to a delivery charge, the same charge may be collected in respect of incoming international small packets. Igal juhul maksab saatja saadetise väljastamise eest isiklikult adressaadile tasu, mille maksimumsumma on ette nähtud kirikorrespondentsieeskirjas.
Dokumente, mis kujutavad endast jooksvat ja isiklikku kirjavahetust muude isikute vahel kui saatja ja adressaat vi nendega koos elavad isikud. Postiadministratsioonid jälgivad nende kehtestatud teeninduskvaliteedi sihtnormide tegelikku täitmist. This exchange shall be restricted to relations between postal administrations which have declared their willingness to admit such items, whether reciprocally or in one direction only. Exemption from rates. Saadetise sisu tttu peeti see kinni, konfiskeeriti vi hävitati vi arestiti sihtriigi seaduste alusel pädeva asutuse poolt. Saatja loovutab oma igused adressaadile vi vastupidi. He shall furnish proof that such theft or damage did not occur after delivery. Need normid ei tohi olla vähem soodsad kui samalaadsetele saadetistele riigisiseses teeninduses kohaldatavad normid. Postal administrations may agree with each other to participate in an optional international business reply service (ibrs). Arengumaade vaheliste vahetuste suhtes kohaldatavad sätted(16).
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I love cooking – baking bread, making pasta, creating sushi and generally concocting food – it's a passion. And like many 'foodies' I love trying out recipes. It may sound strange, but nearly every time I cook a new recipe, I think of Richard Stallman.
Why? Because sharing recipes is one of the examples Richard often uses to explain why Free Software makes sense. If someone comes over to eat and enjoys the food you served then it's normal and friendly to share the recipe you used. You share the recipe no matter where it's from: your grandma, a newspaper or a book. You certainly don't stop yourself from handing over the recipe because you'd be breaching copyright – grandma's or a publisher's; that would be absurd.
You also don't see chefs issuing press releases lamenting their lost revenues due to recipe sharing. They make their money from performing the recipes with excellence and flair in their restaurants.
Yet when it comes to software we see companies hounding people over sharing, as Richard Stallman so pointedly calls what others have labelled 'piracy'. Many small software consultancies do charge for 'cooking' instead of for the 'recipes' (programming instead of software) but most software providers don't choose this path, as we know.
Apparently in Japan great chefs are notorious for keeping the details of their recipes secret. This has caused great difficulties in passing on treasures of Japanese culinary art. Allegedly apprentices are known to sneak into kitchens at night in attempts to discover their teachers' secrets. Only sometimes do they succeed.
We are fortunate that, generally, cooks like to share the results of their culinary experimentations. This means that we can learn from each other and build on previous work. The same applies in academia – only by publishing findings can researchers stand on the shoulders of giants. Very little is achieved or discovered in isolation of what others have found.
Yet the software world loves isolation. Every program is a secret, the code is locked up in the digital kitchens of software vendors. Apart from Free Software, that is. Free Software is wonderful in so many ways but surely one of its most vital points is that is alive to the possibilities of the future. People can learn and build upon the work of previous generations thanks to the power of open source licensing. Closed-source software dies and crumbles away once its parent supplier moves on or closes down. But with Open Source it can carry on, be reused, unpacked and understood.
If we each had to discover independently how to make bread or cook an omelette life would be very strange indeed. We have no trouble in sharing these mysteries of the kitchen – whoever discovered them is lost in the mists of time.
How strange it will seem in generations to come if the secrets of our most important software is not shared in the same way.
I hope that the ever growing movement towards eco-technologies which are hyper-efficient can be married to the Free Software movement. Making money from great ideas is no problem. But if we're going to avoid making global warming any worse then we desperately need to share as much of these eco-technologies with as many people as possible. Free Software's ethic is all about sharing. Perhaps the newly invigorated Al Gore who seems to be at the forefront of eco-tech should spend a week with Richard Stallman. And make sure somebody films it as I'm sure it would make for extremely interesting viewing. Al could put it on his cable channel.


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text:
Neutra VDL Studio and Residences, auch Neutra Research House, Van der Leeuw House oder Richard and Dion Neutra VDL Research House II ist ein von Richard Neutra und seinem Sohn Dion Neutra entworfenes Wohnhaus in Los Angeles, Kalifornien, 2300 Silver Lake Boulevard. Es wurde am 8. Mai 2009 dem National Register of Historic Places (NRHP) als Baudenkmal hinzugefügt.

Das knapp 200 m² große Haus wurde ursprünglich 1932 für Neutra und seine Familie erbaut. Den Namen VDL Research House trägt es, weil es mit einem Darlehen von Neutras frühen Freund Case H. Van der Leeuw, einem niederländischen Industriellen und Architekturliebhaber gebaut wurde. Neutra und seine Frau Dione zogen ihre drei Söhne darin groß. Aus einem Studio führte er seine Architekturpraxis, bis er einige hundert Meter entfernt, am Glendale Boulevard, seine Büros im Neutra Office Building eröffnete, das ebenfalls im National Register geführt wird.

Bei seinem Entwurf trachtete Neutra zu zeigen, dass die Innovationen, die er bei dem Lovell Health House eingeführt hatte, auch in Entwürfen für weniger gut gestellte Kunden angewendet werden konnten. Durch die Verwendung von natürlicher Beleuchtung, Glaswänden, die sich zum Garten hin öffneten und Spiegel schuf Neutra einen Raum, der den nahegelegenen Raum des Silver Lakes nicht begrenzt, sondern reflektierte. Neutra schrieb später über das VDL Research House:

Neutra war später stolz darauf, dass jedes Jahr viele Fremde zu seinem Haus kamen, manche stehen blieben und nachdachten und sich vielleicht darüber wunderten, warum sich dieses Bauwerk in seiner Klarheit und Komposition nicht auf Los Angeles allgemein abfärbte.

Als Richard Neutra das Haus am Silver Lake Reservoir 1932 baute, hatte er ein Budget von 10.000 US-Dollar zur Verfügung und einen kleinen Landstreifen.

Die kleinen Räume des Hauses sind um ein offenes Treppenhaus angeordnet und verfügen über Einbaumöbel, die in neutralen Tönen gehalten sind. Das Haus war Neutras drittes Werk in den Vereinigten Staaten und entstand vier Jahre nach dem Lovell Health House in Los Feliz. Es entwickelte sich später zum Brennpunkt einer Ansammlung von zehn von Neutra entworfenen Häusern am Argent Place.

Das ursprüngliche Haus wurde im März 1963 durch einen Brand zerstört. Das Feuer vernichtete nicht nur das Haus, sondern auch Neutras Sammlung von Zeichnungen, Schriften und seine Architekturbibliothek. Neutras Sohn Dion baute das Haus unter Aufsicht seines Vaters wieder auf. Der Originaleindruck des Hauses wurde erhalten, in das Design des Wiederaufbaus wurden jedoch eine Reihe von Änderungen eingebracht. Ein Kritiker schrieb später, dass die "ursprüngliche Klarheit nun verschwunden war, aber das neue Haus hat eine sprunghafte visuelle Komplexität gewonnen".

Neutras Witwe stiftete das Haus 1980, das zu jener Zeit einen Wert von 207.500 US-Dollar (inflationsbereinigt  US-Dollar) besaß, der Cal Poly Pomona zum Zwecke der universitären Nutzung.

Das Gebäude befand sich in einem Zustand, der einige Reparaturen erforderte und es drohte der weitere Verfall, als 2008 eine Spendenaktion durchgeführt wurde, um Erhaltungsmaßnahmen zu finanzieren.

Das Haus ist samstags zur Besichtigung zugänglich; es handelt sich um das einzige Haus, das Neutra entworfen hat und regelmäßig besichtigt werden kann.

Einzelnachweise

Weblinks

Neutra VDL Studio and Residences (englisch)

Denkmal im National Register of Historic Places (Kalifornien)
Museum in Los Angeles
Bauwerk in Los Angeles
Wohngebäude in Kalifornien
Museum in Nordamerika
Silver Lake (Los Angeles)

redpajama_set_name: RedPajamaWikipedia


Samsung doesn't want HP's computer business, but it might very well want webOS. Photobucket says that video sharing has become huge in the past year, via mobile. Facebook is looking to break into the console gaming market.


International furniture giant IKEA's second metro-Atlanta location could begin taking shape in early 2019. According to City of Marietta officials, a new IKEA location at 1019 Franklin Gateway Southeast is in the works as crews have already started demolition work to existing businesses at the site.
"Right now, they are demo'ing a commercial shopping center than was known as Franklin Plaza, as well as a nearby apartment building that is adjacent to the old shopping center," said Daniel Cummings, economic development manager.
IKEA purchased the 28-acre property from the City in 2017 for $9.25 million. A rezoning measure has since been approved for the company. Ikea also purchased an adjacent six-acre property in preparation for construction of the new store.
Plans and renderings released by Marietta show the new location will be approximately a 338,000-square-foot space that could hire as many as 300 full-time employees.
IKEA is a Swedish furniture company that has been the world's largest furniture retailer since 2008. The store sells furniture, decor, kitchen and bath appliances, as well as many other home accessories. Each store location has themes of blue and yellow, which are the national colors of Sweden. There are currently more than 400 IKEA locations worldwide, and the company is poised to open a number of new stores within the next two years.


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The first thing you should know is that loss of the sense of taste is extraordinarily rare. Taste is critical to our survival and Mother Nature has endowed us with an amazingly resilient and redundant taste system. It's likely that any loss in flavor perception is due to a decrease in the sense of smell. That said, it's still a good idea to test both senses.
* It may seem counter-intuitive that loss of flavor perception can produce both weight gain and weight loss. However, each of us handles challenges in our own way.
Some people who lose flavor eat more, hoping to get the same intensity of flavor from food that they remember. They're searching for a level of enjoyment that's elusive to them now. Some people who lose flavor eat less, since they get less impact from food, and as a result, less enjoyment. It's as personal as all our other personality traits!