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OSS Art Looting Investigation Unit Reports
Michael Hussey, Michael J. Kurtz, and Greg Bradsher arranged and processed these records for filming and prepared this descriptive pamphlet.
Record Description
Art Looting Investigation Unit (ALIU)
Field Operations of Art Looting Investigation Unit
The American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas
The Office of Strategic Services
The Office of Naval Intelligence
On the single roll of this microfilm publication, M1782, are reproduced the Detailed Interrogation Reports, Consolidated Interrogation Reports, and the Final Report of the Office of Strategic Service's (OSS) Art Looting Investigation Unit (ALIU). The ALIU distributed copies of these documents to numerous Government agencies. In order to produce the highest quality microfilm image, the best physical copy of each report was selected for inclusion in M1782. These copies are contained within two agencies' records.
The Detailed Interrogation Reports (DIR) are contained in Detailed Interroga- tion Reports, 1945-1946, within the records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas (also known as the Roberts Commission) (Record Group [RG] 239, Entry 74-A1). The Consolidated Interrogation Reports are contained in the Office of Naval Intel-ligence record series Formerly Confidential Reports of Naval Attacheacute;s, 1940-1946 (in the Records of the Chief of Naval Operations, RG 38, Entry 98A-NM63). The Index to Consolidated Interrogation Report Number 4, however, is contained in Consolidated Interrogation Reports, 1945 (RG 239, Entry 75-A1). The Final Report is contained in the ALIU Subject File, 1940-1946, of RG 239 (Entry 73-A1).
Descriptions of the Roberts Commission, the OSS, and the Office of Naval Intelligence follow a discussion of the ALIU and its records. Further information about the ALIU and the Record Groups in which the reports and related information are contained can be found in Holocaust-Era Assets: A Finding Aid to Records at the National Archives at College Park, Maryland, compiled by Greg Bradsher (Washington, DC, National Archives and Records Administration, 1999).
Records Description
These printed reports were created and published during 1945 and 1946. They are arranged here by type of report, proceeding from the Detailed Interrogation Reports (DIR) to the Consolidated Interrogation Reports (CIR) and then to the Final Report. Within the DIR and the CIR, the records are arranged by report number. Three reports, Detailed Interrogation Report No. 13 and Consolidated Interrogation Reports 1 and 4, include indexes. Consolidated Interrogation Report Number 4 also includes a Supplement.
In 1944, before the Allied invasion of Europe, Justice Owen J. Roberts (chairman of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas-The Roberts Commission) met with Brig. Gen. William J. Donovan of the Office of Strategic Services (OSS) and requested that a special intelligence unit dealing with looted art be formed and administered by the OSS. Roberts envisioned that this unit would assist both his Commission and the U.S. Army's Museum, Fine Arts & Archives officers. Both were involved in the identi-fication and recovery of looted cultural property.
Donovan agreed to the creation of an art looting investigation unit under the OSS. An inter-branch directive dated November 21, 1944, authorized it. The Art Looting Investigation Unit's mission was set forth in the directive, in part, as follows:
It will be the primary mission of the Art Looting Investigation Unit to collect and disseminate such information bearing on the looting, confiscation and transfer by the enemy of art properties in Europe, and on individuals or organizations involved in such operations or transactions, as will be of direct aid to the United States agencies empowered to effect restitution of such properties and prosecution of war criminals.
The ALIU was established at a time when it had become apparent that the Germans intended to proceed with plans for subversive action after the cessation of hostilities, and were making arrangements for a supply of funds during the post-hostilities period. Various sorts of treasure, in the form of items of small bulk but great value (e.g., jewels, paintings, objets d'art), which could be converted into money, had been stolen or otherwise acquired and were being secretly stored in various places in Europe.
The ALIU was placed under the direction of the London office of the OSS X-2 (or Counter Intelligence) Branch, which was primarily interested in those attempting to dispose of art. The Branch sought these individuals as sources of information on current and future enemy activities and plans, and because it believed that certain Nazi agents would be using art-confiscation activities to conceal their true roles as espionage agents. The unit was appropriately given the code name Project Orion because they were truly hunters.
The Roberts Commission asked Francis Henry Taylor, then director of the Metropolitan Museum of Art in New York City, to select fine arts professionals for the ALIU in whom he had confidence and who would be most adaptable to the required work. Taylor asked James S. Plaut, who had served in the Office of Naval Intelligence since 1942, to become director of the ALIU. Theodore Rousseau-on staff at the National Gallery of Art in Washington, DC, prior to the war and serving as United States naval attacheacute; in Spain and Portugal during the hostilities-was named the ALIU operations officer. S. Lane Faison, Jr., professor of fine arts at Williams College, was detached from his naval station and joined the unit in 1945.
Taylor also secured detachment from the U.S. Army of two other professionals: Charles Sawyer, director of the Addison Gallery of American Art in Andover and the Worcester Art Museum in Massachusetts, and John Phillips, curator of the Mabel Brady Garvan Collections and professor at Yale University. Sawyer served as the ALIU liaison officer in Washington; Phillips ran the London office. Somewhat later, Otto Wittman, who after the war became director of the Toledo Museum of Art in Toledo, Ohio, joined the unit. In all, the ALIU had 10 personnel: 4 commissioned officers, 3 enlisted men, and 3 civilians.
The Washington headquarters had primary responsibility for the administration of the Unit, maintenance of its permanent records, procurement and training of personnel, and integration of field activities. In addition, it maintained direct liaison with the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas (Roberts Commission); the Monuments, Fine Arts and Archives Branch of the Civil Affairs Division, G-5, War Department; the Economic Security Controls Division of the State Department; the Foreign Economic Administration; the Captured Materials and Personnel Branch, G-2, War Department; and, the Foreign Funds Control, Treasury Department. The unit maintained an active liaison with the Roberts Commission throughout the war and in the immediate postwar period.
Field headquarters was established in London in January 1945. The London office assumed responsibility for the planning of all field operations, the reception and collation of material submitted by field representatives and the transmission of such material, and the maintenance of the operational files of the project. It maintained direct liaison with the following allied agencies: the Monuments, Fine Arts and Archives Branches of G-5, SHAEF, USFET, U.S. Group Control Commission (Germany), G-5 AFHQ, Allied Control Commission (Italy), G-5 U.S. Forces (Austria), and the British Element (Control Commission, Germany); the U.S. Chief of Counsel (Nuernberg); the Economic Warfare Division (U.S. Embassy, London); the Ministry of Economic Warfare; the Commission de Recuperation Artistique (France); the Netherlands Ryjksbureau voor de Monumentenzord; the British Committee on Preservation and Restitution of Works of Art, Archives, and Other Material in Enemy Hands (Macmillan Committee); and, the Interallied Commission for Protection and Restitution of Cultural Material (Vaucher-Gros Commission).
From January 15, 1945, through V-E Day, the London Unit compiled a master file comprising information on over 2,000 individuals believed to have participated in art looting. Close liaison was established and maintained with British, Dutch, and French officials working on the same problem. The ALIU's London office became the central repository and clearinghouse for all information in Allied hands on this subject. Immediately after V-E Day, the Unit issued to all Allied intelligence teams on the Continent, a "high priority" personnel target list carrying the names of 21 individuals considered to be the most prominent figures involved in the German operations and wanted urgently for interrogation and subsequent prosecution.
Late in January 1945, the ALIU Operations Officer initiated an investigation of German-owned property present in Spain and Portugal. This operation continued intermittently through May 8, 1945, and included the highly detailed interrogation of the art holdings of Alois Miedl, a German banker, speculator, and financial agent of Hermann Goering. With the intervention of the U.S. and Dutch diplomatic missions in Madrid, the Operations Officer secured the permission of the Spanish Government to examine personally the 22 works of art placed in Miedl's name in the Free Port of Bilbao. The Miedl case became the keystone in subsequent investi-gations by the Unit of German art looting in Holland. The Miedl-owned paintings were sequestered by the Spanish Government and placed at the disposition of the Dutch Minister as a result of information presented by the Operations Officer to the Spanish Government. The ALIU was, however, unable to achieve the extradition of Miedl.
The Director of the Unit proceeded to Italy on March 10, 1945, to conduct a survey of art looting in the Mediterranean Theater of Operations, and to supervise the interrogation, at Rome, of Wilhelm Mohnen, German espionage agent and minor participant in German official art looting activities in France. The detailed interrogation of Mohnen revealed little new information concerning German art looting but was chiefly productive for broad intelligence purposes.
The Italian operation continued through May 1, 1945. The Monuments, Fine Arts and Archives (MFA&A) Branch of Allied Forces Headquarters and of the Allied Control Commission thoroughly investigated looting in Italy. Liaison was established with these agencies, and the Director of the Unit advised MFA&A officers on outstanding problems.
Subsequent to V-E Day, the Allied Forces Headquarters (AFHQ) requested that the ALIU dispatch one of its members to Italy to interrogate leading members of the German Kunstschutz (The German Commission for the Protection of Works of Art in the Occupied Countries under direction of the German Army High Command) who had been captured in the fighting in the North. Because of the Unit's impending operation in Germany, a member of the parallel British unit undertook this mission at the suggestion of the Director.
Contact with the French authorities was initially made in Paris in early June 1945. The Unit made available to the French Government all information gained during the German operation and from other sources bearing on German art looting in France and affecting French interests. The Operations Officer maintained close liaison from September 1945 through February 1946 with representatives of the Commission de Recuperation Artistique, the Ministry of Justice, and the French intelligence agencies and acted as informal technical advisor to the French Government in art looting problems.
The ALIU was directly responsible for the return of art to French custody. The Unit also played a central role in delivering several Germans involved in art looting to French authorities.
The ALIU conducted investigations in Switzerland from November 20, 1945, through January 10, 1946, under the aegis of the Economic Counselor to the American Legation at Bern. The chief problem under consideration was the flow to Switzerland, and the concealment there, of artworks looted by the Germans in the occupied countries. The Director and the Operations Officer interrogated German and Swiss nationals who had been active in the official German interest. The ALIU also worked with U.S. diplomats in endeavoring to persuade the Swiss Federal Government to make available to the Allies all information bearing on the subject. Pertinent information gained in the course of the German operation was presented to the Swiss federal political department for use of the federal customs and Office of Compensation. The detailed results of the Swiss operation are incorporated in State Department Safehaven Reports No. 148, December 9, 1945, and No. 229, January 5, 1946.
Three members of the Unit, James Plaut, Theodore Rousseau, and Lane Faison, with the help of Dutch Army Intelligence officer Captain Jan Vlug, proceeded to Germany on May 20, 1945. They interrogated enemy art looting personnel captured after the submission of the Unit's high priority list to field intelligence agencies. The Unit received authority from G-5, Headquarters, 12th Army Group, to proceed to the 3rd U.S. Army area. Once there, ALIU staff served as technical advisers to the Judge Advocate, 3rd U.S. Army, which-on behalf of the Judge Advocate (War Crimes), 12th Army Group-was conducting an investigation of German art looting.
On June 10, 1945, the ALIU established a special interrogation center at Alt Aussee, Austria, in conjunction with the Judge Advocate, 3rd U.S. Army, and operated there from that date through October 1, 1945, under joint command. Subsequently, the ALIU continued to use this location to conduct its interrogations until the spring of 1946.
At Alt Aussee, in close proximity to the salt mine where the greatest concentration of Nazi plunder from Western Europe was concealed, Plaut, Rousseau, and Faison divided their work so that each would report upon one of the most important looting programs. Rousseau was responsible for the investigation of the Goering Collection. Faison was responsible for investigating the activities of the planners of the projected Fuhremuseum at Linz, Austria. Plaut was responsible investigating the Einsatzstab Reichsleiter Rosenberg (ERR), the Nazi looting organization in France under Alfred Rosenberg.
While at Alt Aussee, MFA&A officers and others brought leading participants in Nazi art looting operations, suspects, and informants to the ALIU for interrogation. Plaut and Rousseau personally apprehended Gustav Rochlitz, one of Goering's chief art procurers, who had taken refuge in a nearby village. They drove him to Paris, where he was detained by the French authorities.
Individuals were detained for varying periods. Karl Haberstock, for example, was detained for 36 days. Some of those interrogated were more cooperative than others. Karl Haberstock, the most active and successful German art dealer during the war, was relatively cooperative. Walter Andreas Hofer, director of the Goering Collection and his chief purchasing agent, seemed to remember every transaction, and provided details of certain of them with ease while avoiding those that revealed his own venality. Kajetan Muehlmann, the chief figure in the organized German looting of art of Poland and the Netherlands, twice attempted to escape and initially responded with contempt. However, he eventually talked a great deal. Bruno Lohse, a Munich art dealer, had served as executive officer of the Einsatzstab Reichsleiter Rosenberg (ERR) in Paris. His knowledge was encyclopedic, and, hoping to please his captors, he held back nothing. Equally responsive was Gisela Limberger, Goering's secretary, who, while professing her own innocence, became a fountainhead of incriminating information. As the Nuremberg trials drew near, Rousseau interrogated Goering in prison.
The ALIU work at Alt Aussee clarified the nature of the looting process and identified the whereabouts of countless masterpieces. Its work also contributed to the Nuremberg trials. The ALIU recommended that certain individuals be tried as war criminals. Haberstock's information was so damaging to the Nazi leaders that the Americans decided to send him to Nuremberg to testify at the war crimes trials. There he became a key witness with respect to art plundering.
The primary work product of the ALIU was its Final Report, 3 Consolidated Interrogation Reports, and 12 Detailed Interrogation Reports-reproduced here. Certain other reports were contemplated but not produced. One was to be Consolidated Report No. 3 on German methods of acquisition. However, the ALIU did not compile this report, as stated in the Final Report, due to serious limitations in time and personnel. A Detailed Interrogation Report No. 8 on Kajetan Muehlmann, the chief figure in the organized German looting of art of Poland and the Netherlands, was also contemplated. He was interrogated by the ALIU in Austria during August 1945. Subsequent participation in the interrogations by Capt. Jan Vlug, Royal Netherlands Army, made advisable a collaborative U.S.-Dutch report. Dutch publication of this report, incorporating documentation and information from the ALIU, was still pending when the ALIU issued its Final Report. A Detailed Interrogation Report No. 14 on the topic of Maria Dietrich was planned. It was not issued, but a full accounting of her activities was incorporated into Consolidated Report No. 4. Also envisioned was a Detailed Interrogation Report No. 15 on Rose Bauer, Muehlmann's secretary. This report, likewise, was not issued.
The American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas-(The Roberts Commission)
In 1942, civilian groups had already begun to make plans to protect Europe's cultural monuments when the areas in which they were located should be subject to Allied occupation. That fall, the president of the Archaeological Institute of America, the president of the College Art Association, and the directors of the Metropolitan Museum of Art in New York City and the National Gallery of Art in Washington, DC, approached Harlan F. Stone, Chief Justice of the U.S. Supreme Court. They presented him with a proposal to establish a Government commission to protect and salvage European artistic and historical monuments. This body would also facilitate the restitution of such works to their lawful owners. These individuals contacted the Chief of the War Department's Civil Affairs Division and the Army Air Intelligence Service to enlist further support for their efforts.
On December 8, 1942, Chief Justice Stone wrote President Franklin D. Roosevelt seeking his support for this proposal. Stone also suggested that the United States encourage the British and Soviet Governments to establish similar bodies. Roosevelt responded to Stone on December 28, stating that he had referred the proposal to the appropriate agencies for study. In a second letter, dated April 23, 1943, Roosevelt informed Stone that the proposal had won the support of the Joint Chiefs of Staff and approaches were being made to the British and Soviet Governments.
On June 21, 1943, Secretary of State Cordell Hull reported to the President that a special section had been set up in the School of Military Government to train officer-specialists. These individuals would advise commanding officers regarding cultural monuments and artwork in war zones. Hull also favored the creation of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe to advise the School of Military Government. He included a list of prospective members.
President Roosevelt established the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, also known as the Roberts Commission, on June 23, 1943. The Commission's staff included Owen J. Roberts, a Justice of the U.S. Supreme Court, as chairman; David E. Finley, director of the National Gallery of Art and a member of the Commission of Fine Arts, as vice-chairman; Huntington Cairns, secretary-treasurer of the National Gallery, as secretary-treasurer; Herbert H. Leham, Director of the United Nations Relief and Rehabilitation Administration; Archibald MacLeish, former Librarian of Congress; William Bell Dinsmoor, president of the Archaeological Institute of America; Francis Henry Taylor, director of the Metropolitan Museum of Art in New York and president of the Association of Art Museum Directors; Paul J. Sachs, associate director of Harvard University's Fogg Museum of Fine Arts; and the Honorable Alfred E. Smith of New York. Smith was succeeded upon his death by Archbishop (later Cardinal) Francis J. Spellman of New York. MacLeish resigned from the Commission upon his appointment as Assistant Secretary of State in January 1945.
The Commission was quartered in the National Gallery of Art to facilitate contact with the Departments of War and State. The Commission later officially changed its name to the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, since it prepared maps and lists of cultural and historic monuments in the Far East (in response to Navy Department requests) as well as Europe.
The Commission cooperated with the U.S. Army in protecting cultural treasures, gathering information about war damage to these objects, compiling data on cultural property appropriated by the Axis Powers, and encouraging restitution. During the war, the Commission worked with the Army to protect cultural objects in Allied-occupied areas and to compile lists of property appropriated by the Axis powers. The Commission was instrumental in the War Department's establishment of a Monuments, Fine Arts, and Archives program in its Civil Affairs Division to protect cultural materials in war areas. It also recommended armed forces personnel trained and experienced in this work to the War Department.
Working through the American Defense-Harvard Group and the Committee for the Protection of Cultural Treasures in War Areas of the American Council of Learned Societies (two independent civilian groups established before its creation), the Roberts Commission supplied the armed forces with over 700 maps of the important cultural centers and regions of European and Asian Allied and enemy countries. These charts provided the locations of artistic and historic monuments and cultural objects, which were described on accompanying lists.
The Commission prepared and distributed lists and handbooks to Monuments, Fine Arts, and Archives (MFA&A) to assist officers in the field in preparing lists of sites and monuments requiring protection. Commission members gave lectures on the care and preservation of artworks, monuments, and records for Civil Affairs officers during the early days of Military Government schools. The Commission staff correlated all reports from Monuments, Fine Arts, and Archives officers and made this information available to Government agencies, scholars, and students. The Commission also gathered information on qualified civilians who could replace military personnel once the military transferred Government administration to civilian hands.
After the war, the Commission stressed the need for the restitution of Axis-appropriated property to its rightful owners. The Commission also urged restitution in kind by the Axis powers for destroyed works and favored the compilation of lists of equivalent works that could be used as compensation.
The Commission cooperated with similar bodies established in Allied countries and with the U.S. Department of State in considering problems relating to cultural property restitution. It was, for example, instrumental in restituting identifiable looted public artworks in the American Zone in Germany to owner governments.
The Commission cooperated in the formation of the Art Looting Investigation Unit (ALIU) within the Office of Strategic Services. This specialized unit investigated enemy personnel suspected of participating in art looting. The Commission also cooperated with several other Federal agencies in investigating German assets abroad. The ALIU focused on enemy art looting activities in Europe and their relationship to enemy activities in the Western Hemisphere. The Commission supported the establishment of a system of customs controls to prevent the importation of looted art into the United States and examined the special licenses required for the importation of cultural material.
The final meeting of the American Commission was held on June 20, 1946, in Philadelphia. The Commission's activities were brought to a close by providing for continuation of its work by the offices for Germany-Austria and for Japan-Korea of the Occupied Areas Division (ADO) of the Office of International and Cultural Affairs (OIC) of the Department of State. The Commission was abolished on June 30, 1946.
The Office of Strategic Services (OSS) was established by a military order of June 13, 1942, as the principal successor to the Office of the Coordinator of Information. Since the latter's establishment in July 1941, it had collected, analyzed, and dissemi-nated information bearing on national security. The two basic functions of the OSS, under the jurisdiction of the Joint Chiefs of Staff, involved (1) gathering, evaluating, and analyzing intelligence in support of the war against the Axis Powers; and (2) planning and executing operations in support of intelligence procurement.
The Office of the Director of the OSS, located in Washington, DC, constituted the organization's headquarters throughout the war. Its principal divisions consisted of separate Offices of Deputy Directors for Services (concerning administrative duties), Intelligence (including the Research and Analysis and Secret Intelligence Branches), Operations (including the Special Operations and Morale Operations Branches and the Operational Group Command), Schools and Training, and Personnel. In addition to field offices in New York and California, the OSS established more than 40 overseas offices, which fell under the authority of the Special Services Officer in a given theater of operations or the chief of a mission. At the height of its wartime activities in October 1944, the OSS numbered approximately 5,500 military and 2,000 civilian personnel overseas and approximately 2,700 military and 2,000 civilian personnel in the United States.
Among the constituent organizations, the Research and Analysis Branch (R & A) performed the principal task of collating and evaluating intelligence information for distribution to interested Government organizations. Intelligence procurement, especially in the form of espionage, occupied the attention of the Secret Intelligence Branch (SI) and the Foreign Nationalities Branch (FNB). The Special Operations Branch and (after May 1943) the Operational Group Command organized sabotage and resistance activities behind enemy lines; the latter organization assumed respon-sibility for guerrilla units operating in uniform. The Morale Operations Branch attempted to undermine Axis morale. Protecting the security of OSS intelligence collection and operations was the responsibility of the Counter-intelligence Branch (X-2).
William J. Donovan, who had previously served as the Coordinator of Information (beginning in July 1941), occupied the post of Director of the OSS throughout the war. By an Executive order of September 20, 1945, the OSS was abolished (effective October 1, 1945), and its functions, personnel, and records were divided between the State Department and the War Department.
An Executive order of March 12, 1942, combined the duties of the Commander in Chief, United States Fleet, and those of the Chief of Naval Operations. The Order assigned these combined functions to one office with the title of Commander in Chief, United States Fleet, and Chief of Naval Operations. This official would serve as the principal naval adviser to the President on the conduct of the war and principal naval adviser and executive to the Secretary of the Navy on the conduct of the activities of the Naval Establishment. Admiral Ernest J. King, who had become Commander in Chief, United States Fleet, in December 1941, was given the dual role, and retained it during the remainder of the war. As Chief of Naval Operations, he succeeded Admiral Harold R. Stark, who had held that office since before the outbreak of the war in Europe in 1939.
A major component of the Chief of Naval Operations was the Office of Naval Intelligence (ONI). During World War II, ONI was responsible for the collection and distribution of naval intelligence for Navy bureaus and offices. It cooperated closely with the Military Intelligence Division (MID), the Federal Bureau of Investigation, the State Department, the Office of U.S. Censorship, and the British Imperial Censorship Office. Since Headquarters, Commander-in-Chief, United States Fleet (COMINCH) and ONI both carried on intelligence activities, a more clear-cut distinction was made between them when COMINCH established the Combat Intelligence Division on July 1, 1943. The general line of demarcation between their duties was that the Naval Intelligence Division was responsible for strategic intelligence and the Combat Intelligence Division was responsible for operational intelligence.
RECORDS OF THE OFFICE OF STRATEGIC SERVICES, RECORD GROUP 226
Director's Office and Field Station Records (Entry 190)
Box 516 (Folder numbered 1723)
Box 532 (Folders numbered 1747-1751)
These records contain information about the organization and operations of the ALIU.
RECORDS OF THE AMERICAN COMMISSION FOR THE PROTECTION AND SALVAGE OF ARTISTIC AND HISTORIC MONUMENTS IN WAR AREAS, RECORD GROUP 239
ALIU Subject File, 1940-1946 (Entry 73)
Boxes 74-83
This series contains files on many of the people interrogated, people and companies involved in art looting, and art looting in general and specific art looting by the ERR.
AFHQ Allied Forces Headquarters
ALIU Art Looting Investigation Unit
COMINCH Headquarters, Commander-in-Chief, United States Fleet
ERR Einsatzstab Reichsleiter Rosenberg
G-2 G-2 Division - Supreme Headquarters Allied Expeditionary Force (SHAEF)
MFA&A Monuments, Fine Arts and Archives Branch
ONI Office of Naval Intelligence
OSS Office of Strategic Services
OSS X-2 Counter Intelligence Branch of OSS
SHAEF Supreme Headquarters Allied Expeditionary Force
USFET U.S. Forces European Theater
O.S.S. Art Looting Investigation Unit - Detailed Interrogation Reports (DIR)
Report No. 1, Heinrich Hoffman, July 1945
Report No. 2, Ernst Buchner, July 1945
Report No. 3, Robert Scholz, August 1945
Report No. 4, Gustav Rochlitz, August 1945
Report No. 5, Gunther Schiedlausky, August 1945
Report No. 6, Bruno Lohse, August 1945
Report No. 7, Gisela Limberger, September 1945
Report No. 9, Walter Andreas Hofer, September 1945
Report No. 10, Karl Kress, August 1945
Report No. 11, Walter Bornheim, September 1945
Report No. 12, Herman Voss, September 1945
Report No. 13, Karl Haberstock, May 1946
O.S.S. Art Looting Investigation Unit-Consolidated Interrogation Reports (CIR)
Report No. 1, Activity of the Einsatzstab Rosenberg in France, August 1945
Report No. 1, Activity of the Einsatzstab Rosenberg in France - Index
Report No. 2, The Goering Collection, September 1945
Report No. 4, Linz: Hitler's Museum and Library, December 1945
Report No. 4, Linz: Hitler's Museum and Library - Supplement, January 1946
Report No. 4, Linz: Hitler's Museum and Library - Index
O.S.S. Art Looting Investigation Unit - Final Report
Final Report, May 1946
This page was last reviewed on August 15, 2016.


I believe this quote captures the essence of what is behind our fears, reluctance, and the very process of change and transition. For the past 10 years I have been working with and coaching folks around this process of change. Some come ready for change, some come thinking they are ready, and some are just kind of thinking about it. Wherever we are on the change journey, can we understand and accept the melancholy? Can we leave behind a part of ourselves?
One of the major factors in the dynamic of change is it can feel quite paradoxical. We can feel opposite forces working on us as we try to navigate our way in these new waters. Change will create excitement, but also trepidation and anxiety. Every step forward may call for letting go of a past belief or habit. On top of that, the act of learning something new and creating change can be a whack to our self-esteem.
We may have been in a career for a long time and feel comfortable and confident in our knowledge and abilities, when we suddenly find ourselves in a new field with a whole lot to learn. Doubts can creep in and they will try to take over the ship if we don't squash that mutiny. It can be quite a mind tussle. Doesn't this sound like fun? OK, maybe not – but I can tell you this whole deal, approached with the right mindset, can be really interesting, rewarding and, perhaps, really necessary.
Again, this quote on change really nails it. When we are not in a place we belong, when we are not inspired and not interested, in a place we can feel is bad for us and feeling stuck, that's some hard pain. We are not yet doing anything about it and it hurts. On the other hand, the pain we may feel in the growth and change process can be eased and offset by the steps in the new direction. We've taken action and are taking some control and this is good.
Little wins and victories along the way are good. Yes, there will be setbacks (the paradox again), but if we're moving and grooving and not looking back, this – dare I say it – could actually become fun. One of my favorite sayings from author and spiritual teacher Esther Hicks is: "the process of becoming is fun." What a great little mantra to keep in mind through growth and change. I've used it, and although some days I may have growled it and wasn't really feeling it, just keeping it there as a reminder to look for the good feelings was really helpful – and in the end, really true.
Another dynamic in the process of growth and change is the myth that there is a perfect choice. We want the slam dunk, the no-brainer, to lead us, carefree and blissful, down the yellow brick road. Forget it. Not happening. We shouldn't let time and opportunities go by because everything's not perfect. There is always going to be some uncertainty, some risk, in making major changes. Of course, we try to minimize and manage them, but they are part of the dance.
Yes, avoid moves rife with red flags and issues; let's use sound judgment by doing our due diligence along the way. But I have worked with people who paralyze themselves from moving forward by constantly focusing on worst case scenarios that sink their ship of dreams before the maiden voyage.
They never get to feel the exhilaration of casting off the lines and sailing. Doesn't sailing sound more exciting? We may get on a heading that's not working so well for us, maybe taking us a little off course, so we tack. Tack as many times as needed. Now we're having a bit more fun.
Capt. Rob Gannon is a 30-year licensed captain and certified life and wellness coach (yachtcrewcoach.com). Comments are welcome below.


Yuzu: "Ugh... I knew mentioning it around Otakuro would be a bad idea..."
Atsuro: "Otakuro!? What's with that all of a sudden...? What's wrong with being an otaku!?"
(╯°□°)╯︵ ┻━┻ F*CK THIS TABLE.
Vandread is awesome! I love the first ED song, "Himegoto (Secret)".
"Tall and dark and really handsome ... the hunk from Oo-Oo-Nima's real dumb ... And when he strolls, each one he strolls by goes, 'BLEAAAAAAH!'"
Dororon Enma-kun Meera Mera OH MY GOD MAN.
Okay, another case of "Where in the world is this from?"
No clue, yes, and the bunny-in-a-hat.
I'm sorry, Ravenhull. Was there a background in that picture?
Bubblegum Crisis: For all it's little flaws, still a classic. Never bothered with 2040 and I try to block out memories of Crash. I liked Adam Warren's Grand Mal too. Wish I could find a copy of my old fanfic continuation.
Tenchi Muyo: Lots of fun.
Macross Plus: fun story, and probably the best giant mecha battle scene of all time.
Devil Hunter Yohko: lots of great action and fanservice. I also chuckle that the voice actress that did Yohko went on to do one of my two favorite Sailor Scouts.
Ravenhull wrote: Okay, another case of "Where in the world is this from?"
Okay, why is silver-haired girl (Jo?) holding a tentacle in that last picture?


text:
You are here: Home / Packers / Lang returns to practice
Lang returns to practice
August 2, 2016 By Bill Scott
TJ Lang
Green Bay Packers guard T.J. Lang was back on the field Monday night, becoming the first of the six players that started training camp on the P.U.P. list to be activated.
Lang is coming off of offseason shoulder surgery and missed the first week of camp mostly as a precaution. Lang said last week that he expected to return to practice by no later than Monday.
There's been no change on the other five P.U.P. players: Sam Barrington, Jordy Nelson, Corey Linsley, Jared Cook and Ty Montgomery.
Packers at Night
The Packers held their second straight night practice, this time under the lights at Ray Nitschke Field. They practiced Sunday night at Lambeau Field for Family Night. Tuesday is a scheduled non-practice day. They have two more night practices scheduled on Wednesday and Thursday nights.
Rodgers will attend HOF Ceremony
Packers quarterback Aaron Rodgers said he will attend Brett Favre's enshrinement into the Pro Football Hall of Fame on Saturday in Canton, Ohio.
The Packers will open the preseason one day later, but it isn't certain whether or not Rodgers will play in that contest against the Indianapolis Colts.
On Monday, Colts coach Chuck Pagano said each of his players will play Sunday in Canton, including quarterback Andrew Luck.
Rodgers told reporters on Monday that he has never been to the Hall of Fame ceremonies or the Hall of Fame museum.
Brett Favre will be joined by former Packers assistant coach Kevin Greene in the Hall of Fame ceremonies. Greene will be presented by Packers defensive coordinator Dom Capers.
Filed Under: Packers, Sports, Titletown Report Tagged With: Aaron Rodgers, Brett Favre, Dom Capers, Green Bay Packers, Kevin Greene, T.J. Lang

redpajama_set_name: RedPajamaCommonCrawl


Do you have someone who might be a book lover in your life? Or are you a book lover yourself who is seeking to become friends with other book lovers? Well, once you've finished one more chapter of your own book, look out for some of the signs listed below and you'll find a group of book lovers in no time!
If someone is a book lover, chances are they will have some sort of book or literary themed tattoos. They might have a quote from their favorite book or just a stack of books permanently drawn somewhere on their body!
From clothes, scarves, and bags, to jewelry and more, book lovers can pretty much find some sort of fashion item related to their favorite books. With websites like Etsy and Litographs, the possibilities of bookish fashion are endless!
Thanks to smartphones and e-books, book lovers can download a reading app like Kindle or OverDrive and take their favorite books on the go. Goodreads is another great app they'll probably have on their phone so they can find even more books to add to their To Be Read list.
Even if it means having to rearrange their furniture, buy a bigger house, or have stacks of books laying around, book lovers will always make room for their growing collection of books.
Every so often, a book lover might become busy with other things like school, work, or families, which can cut into their designated reading time, leaving them feeling a little grumpy.
Even if a store only has a small book section, a true book lover will still make their way to browse through all the books. If you're out shopping with someone who is a book lover, don't be too surprised if they disappear after a while.
The good thing about having a book lover in your circle of friends is you can never go wrong with giving them a book as a gift. The only problem is trying to find a book they haven't already read! (*Hint: check out their Goodreads 'To Read' list).
There's nothing better than seeing a complete stranger reading your favorite book and instantly feeling like you connect with them in some way. The next time you're on a subway or stuck at an airport, be on the lookout for anyone reading, you never know…they just might become your best friend!
Some people like to go to the mall, while book lovers love going to a nearby bookstore or a library. There's just something so peaceful about being surrounded by tons of books and other book lovers. If you're really in search for a new book lover best friend, head over to a bookstore asap!
Book lovers come in all shapes and sizes. Some of us like to only read one book at a time and not pick up a new one until we finish the current one. However, there are quite a few of us who like to read multiple books at a time, usually leaving a different book in each room we like to spend time in or reading an ebook for when we're on the go.
Which of these signs pertain to you? Let us know in the comments!
Previous articleTrevor Noah Shares Some Of His Favorite Books: Here Are All 10 Of Them!


text:
Online Jihad: Monitoring Jihadist Online Communities
Telegram – Twitter – Arabic & Historical Sources – est. 2007
How 6th Graders would see through decliner logic and Coalition Information Operations
The nature of the mobile-enabled swarmcast means it may appear to be degraded, but it has really only reconfigured.
This observation made in 2014 was based on earlier studies of Jabhat al-Nusra, ISIS and the online activity of the wider Jihadist movement – produced at a time when some commentators already claimed ISIS capacity on social media had been 'degraded'.
The 'bluckling' of the ISIS media system, much talked up by decliners at the end of 2017, and presented as "not just a media decline—it is a full-fledged collapse" will, in 2018, turn out to be to have been a lull as the swarmcast reconfigured, rather than signs of collapse.
This post shows:
How 6th grader math class could explain what is wrong with the current decliner logic and their approaches to quantifying output.
Why decliners ignore 2016 – and why 2016 destroys the claim of a pseudo-correlation between content production and area controlled.
What about 2014? – how 2014 further disrupts decliner logic.
A thought experiment – what would decliner logic predict about the direction in volume of social media Global Coalition?
War by the numbers
Wars often turn on numbers, data, and the real-life experiences of the individuals represented by those numbers. The habitus of those interpretting information about the war also influences how it is understood. This includes the lived experience of target audiences in the physical world and virtual domains. As Douglas Rushkoff predicted, the battle for reality continues online.[i]
In this vein the Global Coalition information operations have long sought to present ISIS or Islamic State as being in 'decline' or weak. This has included tweeting images which question the ability of ISIS to produce media content and presenting this as a measure of their decline.
While the tactic is not new – it is currently recognised by ISIS and earlier versions were discussed in depth by Anwar al-Awlaki – there is risk in confusing wishful thinking, the Information War, and academic study.
For example, ISIS has launched a new magazine al-Anfal, now on the 7th issue and the newspaper al-Naba is now on issue 116. It is noteworthy that al-Anfal is vastly better known by those in an Arabic habitus than by English and faux-Arabic language commentators – for whom it has barely warranted a mention.[ii]
6th grade math class – A holiday anecdote
The holiday season is often a time when people encounter others with different perspectives and experience. A maths teacher I spoke with highlighted why, the even in an information war, accurate data work is important to avoid becoming transparent propaganda.
In response to hearing that claims of decline are often calculated by counting the pieces of content irrespective of type, content, or length, the maths teacher originally responded; "that's just stupid". He was ready to dismiss the premise that anyone would count an hour-long video, a newspaper, a speech from the leader, an infographic and a picture as if they are all the same.
His reasoning was persuasive, he said;
If I set five assignments, then ask two students to hand in their homework
Student A hands in two of the assignments each on a separate sheet of paper
Student B has done all five assignments in his book & hands in the book
Student A has not done twice as much work as Student B because they handed in two sheets while Student B only handed in one book. The maths teacher concluded, I've taught a number of 6th graders that would have a problem with that logic.
Anecdote aside, there is a problem trying to build credibility with an audience using an approach which infantilises the intended audience with an argument which 6th graders can see through. This is the 6th grader problem.
Despite the clear limitations in the data, (for example, previous research has proven ISIS weekly production exceeded the CTC estimate of monthly production. (New Netwar p. 38) ) some have claimed that "the destabilization of the Islamic State's territorial strongholds is correlated to a decrease in the volume of media production".[iii] The problems with this way of thinking are numerous, of which the two most prominent are;
There is no calculation of correlation in the published research, so it is an assumed pseudo-correlation which is not based on any demonstrable relationship in the data.
The apparent relationship between territory and production can only be maintained by cherry picking certain points in time – entirely ignoring 2016. In fact, the entire decliner 'narrative' relies on ignoring the fluctuations in content during 2016.
Research has already shown why the summer of 2015 is convenient to cherry pick as a start point if your goal is to claim decline. As discussed in depth elsewhere, picking a time which logic dictates is most likely to be an outlier can make for a nice soundbite for coalition propaganda, and may even sound smart in 20 seconds of air time, but does not work for an authentic understanding of the movement.
The root of the problem, as Reuven Paz noted in 2007,
Jihadi militancy is … almost entirely directed in Arabic and its content is intimately tied to the socio-political context of the Arab world.[iv]
People who live in that socio-political context, or habitus, easily pick up on the factors likely to play into the spike in content over the summer 2015.[v] This is because;
the habitus is itself a generative dynamic structure that adapts and accommodates itself to another dynamic mesolevel structure composed primarily of other actors, situated practices and durable institutions (fields).[vi]
And because habitus allowed Bourdieu;
to analyze the social agent as a physical, embodied actor, subject to developmental, cognitive and emotive constraints and affected by the very real physical and institutional configurations of the field.[vii]
While it is tempting to focus on Western interpretations of Jihadist content, particularly if you can only draw on faux-Arabic, the habitus of the intended audience has to be foremost when analysing the meaning of the content.[viii]
Why decliners ignore 2016
Most of the recent claims of decline, including those by the Global Coalition, pick 2015 as the start point, then jump over the awkward hurdle of 2016 and head straight for 2017. This allows them to get past the fluctuations in 2016 and present "huge and steady decrease".
To understand how this works, first it is important to understand the 2015 'highpoint', from one of the often-referenced studies about 2015.
Journalists writing about the 2015 'highpoint' have claimed ISIS "was producing more than 200 videos, radio programmes, magazines and photo reports each week" resulting in "just under a thousand unique data points, ranging from radio bulletins and electronic magazines to videos and photographic essays"[ix]
Perhaps not immediately clear to the reader;
"Just under 1000 unique data points" is in reality 892. This makes the 'highpoint' sound 10% higher than the reality. 892 could be described as just under 900 … but it is just under 1,000 like I'm just under 8 feet tall.
Composition of the content is around 80% pictures (just under 700 of 892 data points).
Problem 1:
Even for the astute reader it can be hard to tell what is being counted. As best as can be ascertained from the terms 'events', 'photo reports', 'photographs' and 'photos' being used interchangeably, this is unlikely to be 700 photo-essays (one every hour for a month) as the description of "200 videos, radio programmes, magazines and photo reports each week" would require.
Alternatively, if one differentiates a photo report from a photo by assuming a minimum of two pictures, and the graph showing approximately 700 'photos' accurately reflects the data, then 700 / 2 = 350 reports. ISIS photo reports regularly have more than two images, but this is just a theoretical minimum.
If the non-photos account for the remaining 200 pieces (approx.) of content, which recent articles suggest, and this is added to the maximum number of photo reports it would be around 550 pieces.[x]
This is still a lot, but would still eliminate the claim of "200 videos, radio programmes, magazines and photo reports each week". Let alone the claim made in September 2017 of "hundreds and hundreds of unique media products, videos, magazines, radio bulletins, in lots of different languages coming out every single day."
As noted in a previous post, just counting a photo, speech, and video as the same makes little sense;
"It should be needless to write, this audio-release [of ISIS leader's speech] by al-Furqan is of much greater importance than a single image, or photo report – at least for IS sympathizers and operatives. Although currently we still find ourselves having to write it".
How the 2015 data is compared to 2017 production is illustrative of the way the decliner narrative is constructed. Recent journalism around ISIS decline, (which has since been publicised by UK government on Twitter) has used some creative ways to display longitudinal data, which fall well short of what would be required to pass 6th grade math class.
Edward Tufte, has "set out a detailed analysis of how to display data for precise, effective, quick analysis" in his Visual Display of Quantitative Information. This includes demonstrating that inappropriate use of data can lead to an apparent, but entirely spurious, connection between the fortunes of the New York Stock Exchange and the level of Solar Radiation.
Contrary to the ideas set out by Edward Tufte, the chart featured in a recent wired article gives the impression of a steep, linear decline by evenly spacing the bars, even though the chronological space between data points varies significantly. Two of the time points are only a single month apart while the other gaps are 6 and 17 months respectively.[xi]
When the image is quickly resketched, so all months are represented equally – both months with and without data – the problems become evident.
First, the impression of sharp decline is reduced.
Second, what happened to 2016?
Why does recent decliner narrative rely on ignoring 2016 and compressing these 17 months in the graph? Was there nothing to report in 2016?
Genuinely longitudinal data, rather than cherry-picked points, show there is much more to the story than drawing an imaginary line across that 17-month gap and claiming correlation.[xii]
Data from February 2016 to March 2017 shows production actually fluctuated, despite research claiming a "huge and steady decrease" or 30% to 40 % reduction.[xiii] At times in 2016 content was rising, at others falling. This nuance is entirely missing from decliner logic (whether from Coalition Information Operations or recent journalism).
Decliner logic insists on there being a single direction and that direction being decline – this despite decliner commentary also claiming to have identified recently a 25% increase in content – (barely 20 pieces per week in November and 25 pieces for week in December).
Using rolling mean to examine how production changed over 2016 uncovers some important results. For example, there was an increase of 132% in content production between low points in September / October 2016 and the decliner cherry-picked month of February 2017. This means, February 2017 occurred during a period of rising content production, rather than production heading in the single downward direction, as the Global Coalition imply and decliners explicity claim.
Equally, despite the counting of photos being used to show decline between 2015 and February 2017, video production increased. By adding all media types together, a decrease in easily produced photographs hides an increase in the higher resource requirement and greater impact of video production.
What about 2014?
Analysis which uses no-Arabic, faux-Arabic or google translate is no substitute for being able to read and listen fluently in Arabic. It is essential researchers are genuinely able to recognise the encoded references, historical precedents, and understand the habitus of the intended audience.
Recent commentary has suggested:
"there can be no questioning the fact that the Islamic State's media capabilities largely relied on its territorial clout between 2014 and 2017".
However, a different picture emerges once the flaw in decliner logic and fluctuations in content have been exposed by genuine data science. This different picture is one which has long been evident to anyone embedded in an Arabic context and "crystal clear to virtually anyone who has the linguistic capacity to grasp and the opportunity to witness what jihadists are actually saying, writing and doing, both online and offline".[xiv]
Unfortunately, it is a picture which is too often obscured from view by commentators writing from the perspective of a Western, English language dominated, habitus. These commentators often exhibit masculinist understandings of power, success, and victory and rely on faux-Arabic or google translate.[xv]
Just as genuinely longitudinal data disrupts the narrative of a consistent downward direction in content production, analysis of the territory held alongside the media production also shatters the illusion of a pseudo-correlation between the territory held and content production.
The Global Coalition has reported on the reduction in ISIS territory as a percentage area held at the territorial highpoint of August 2014. Yet, decliners claim summer 2015 as the media highpoint, which occurs while ISIS was losing ground, including parts of Sinjar and Kobane (14% in total during 2015). Put simply, the count of content was increasing toward the claimed 'highpoint' while territory was decreasing.
Furthermore, the claims of a relationship between territory and media production after the 2015 media 'highpoint' are problematic because content production went up 132% between October 2016 and February 2017, yet territory held by ISIS went down. The Coalition territorial estimate for October 2016 shows that the territory ISIS had lost was 56% Iraq 27% Syria, by February 2017 this had become 63% and 35% respectively.
Contrary to what they expect, decliners asking 'what about 2014?' reminds us that the claimed media and territorial 'highpoints' occur a year apart and that the pseudo-correlation between the two evaporates when the change in production and territory are compared with genuinely longitudinal data rather than cherry-picking.
Conclusion: Appropriate use of Data Science emphatically destroys claims of pseudo-correlation between content production and area controlled. Saying 'what about 2014' just makes this clearer.
A supplemental thought experiment:
For the sake of a thought experiment, as the Global Coalition has been claiming success and territorial gains against ISIS – what would decliner logic predict about the volume of social media produced by the Global Coalition? So has the Coalition social media increased or decreased?
Using the last 3,000 tweets from each of the accounts run by the Global Coalition Against Daesh (Arabic, English and French respectively) all could be described as 'in decline' from an earlier highpoint. For Arabic and English, the 'highpoint' is in 2017, for French it is in 2016. If production is linked to battlefield success – Arabic and French speaking forces are in deep trouble – as production is down (over 90% for Arabic) from their social media height.
No doubt you are reaching for alternative explanations other than the collapse of coalition forces. If so you have understood the problem with decliner logic perfectly.
It is perhaps telling that the logic when applied to anything else is utterly transparent. The coalition propaganda even trips over its own logic, seeking to claim decline and how gaps in the production of magazines should be interpreted.
The above images show the Global Coalition has highlighted the time since the last issue of Rumiyya, but those with a longer memory will recall that before Rumiyya there was another now discontinued magazine, Dabiq. Both magazines are examples of communicating to the secondary – at best – target audience, namely English speakers. However, it is instructive as, in this case as Dabiq, there was a gap in production which began in September 2015 and lasted over 100 days (second longest gap between Dabiq issues). This, it should be noted, came the month after the claimed peak in ISIS content production, which decliners present as the zenith of the Caliphate.
If gaps in production of a prominent magazine (available in English) indicates weakness and territorial losses, as the Coalition implies, how was it Dabiq exhibited this 'weakness' during the period the Coalition refers to as the 'high point' of ISIS media production?
Indeed, as the Coalition and decliner journalists focus on a masculinist, post-Westphalian measure of victory, ISIS engage with their intended audience on a different plane. As narrated in a recent video اهل الثبات (The people who are steadfast) from ولاية كركوك (Kirkuk):
Morale is not something you can buy with money, and victory is not measured in square kilometres rather it is measured by the overall outcome, including the outcome in the hereafter, and not short-term achievements.
It is true that we lost ground, but with every day that passes the reality of the battle is becoming apparent to the Muslims worldwide, that this is a global campaign against Islam and the Muslims, it is a campaign against the Sharia and the very basic fundamentals of Islam.
Praise be to Allah that the mere existence of the Khilafah said what no long lectures and books could ever do to the hearts and minds of the Muslims worldwide.
I guess it is clear from the overall situation that we have already won the battle on the field of morale and ideas, winning it on the ground is just a matter of time, by the grace of Allah.
Victory is a complex concept in Jihadist interpretation of Islam.[xvi] Just as there is no meaningful relationship between Solar Radiation and NYSE, so Coalition propaganda, decliner logic, and the claimed pseudo-correlation between media and territory fail to provide an authentic representation of the current fortunes of the jihadist movement, their strategy nor their tactics.
As noted in 2014, the media mujahedeen are constantly reconfiguring and finding new outlets. In 2018, content production will continue to fluctuate.
The much talked up bluckling of the ISIS media system, presented as "not just a media decline—it is a full-fledged collapse" is likely in retrospect to have been a lull as the swarmcast reconfigured, rather than signs of ongoing decline.
[i] See for example;
Rushkoff, Douglas. Cyberia: Life in the trenches of hyperspace. Clinamen PressLtd, 2002.
[ii] It is also worthy of note, that in highlighting the gap in Rumiyah production (above) and the 'high' point in 2015 (below) the Global Coalition get themselves in a logical tangle. This is because the second longest gap in the production of Dabiq began in September 2015 the month after the claimed peak in content production. Was it strong – as the 'high point' would suggest – or weak as the long gap in publication of a magazine would imply in their logic about Rumiyah.
[iii] Mehdi Semati & Piotr M. Szpunar, ISIS beyond the spectacle: communication media, networked publics, terrorism, Critical Studies in Media Communication Vol. 35 , Iss. 1,2018
[iv] Paz, Reuven. "Reading Their Lips: The Credibility of Jihadi Web Sites as 'Soft Power' in the War of the Minds." (2007).
[v] Lizardo, Omar. "The cognitive origins of Bourdieu's habitus." Journal for the Theory of Social Behaviour 34.4 (2004): 375-401.
[vi] Lizardo, Omar. "The cognitive origins of Bourdieu's habitus." Journal for the Theory of Social Behaviour 34.4 (2004): 375-401.
[vii] Lizardo, Omar. "The cognitive origins of Bourdieu's habitus." Journal for the Theory of Social Behaviour 34.4 (2004): 375-401.
[viii] This is not to say the intended audience is sympathetic to the message, just that the message is intended for their consumption.
[ix] In the following section it is unclear whether the dubious data handling is due to the ignorance of the required skills / methods, or a sleight of hand in the presentation.
[x] The published research lists the titles of only 140 pieces of content
[xi] This trick is also used here: https://twitter.com/charliewinter/status/920651729393389568
[xii] There is a lot wrong with counting content – except where you are comparing total files detected for takedown vs. files released – this section shows what is wrong with decliner logic even in their own terms, rather than because the approach itself is insightful.
[xiii] This data comes from the torrent files released containing a collection of all the content for the 'week'. These files were not released consistently in a seven-day cycle, but often varyied between a six and ten day cycle. As we have used the torrent file date to produce date of production, there are some periods of seven days without a total. This however, does not effect the total production and rolling mean is used to provide an authentic view of the ongoing levels of production.
[xiv] Rüdiger Lohlker, "Why Theology Matters – The Case of ISIS," Strategic Review, July –September 2016; http://sr-indonesia.com/in-the-journal/view/ europe-s-misunderstanding-of-islam-and-isis
[xv] From an IR perspective see:
Sjoberg, Laura. Gendering global conflict: toward a feminist theory of war. Columbia University Press, 2013.
For a jihadist perspective see:
Anwar al-Awlaki, State of the Ummah.
[xvi] See for example; Constants of Jihad and the discussion of the contents of the book by Anwar al-Awlaki.
humanshuddle	Arabic Media, ISIS, Jihadist Ideology	3 Comments January 26, 2018 January 26, 2018 14 Minutes
Salil al-Sawarim, parts 2 (2012) and 3 (2013) – making the Islamic state
Part of the Salil al-Sawarim mini series – a blast from the past of pre-IS/ISIS materials that are of grave importance to the IS ecosystem and the framework of Sunni extremism.
Any Sunni jihadist video incorporates elements and theological 'narratives' (question of habitus) that are visualized and implemented for their target audience – that target audience is Arabic native speakers who ideally understand substrates of Sunni extremism having been brought up within a Sunni Arab habitus. Sunni extremism has a text rich history and tradition as outlined before that predates IS and goes back to the first organized manifestation of Sunni extremism in Afghanistan in the early 1980s. Already in the 1980s, when hand drawn maps and black and white photographs enhanced Arabic type written magazines, within the jihadist mindset Afghanistan was carved out of wilayat – that then became known to a broader audience due to IS media work and non-Arab foreign fighters addressing their target audiences in their native languages. Yet, with the majority of Sunni extremist materials being broadcast to an Arab target audience above all others – as the Sunni extremist movement is dominated by Arab members – the overwhelming majority of (online) releases by Sunni extremists in general are in Arabic and all non-Arabic media items have references to originally Arabic language writings.
Salil al-Sawarim 2 (SAS2) shows fighters conducting hit-and-run missions, infiltrating Iraqi cities, such as Hit, Ramadi, or Haditha to capture and execute Iraqi counter-terrorist or government officials, and then withdrawing to the remote desert.
This modus operandi was a common theme for AQ in Iraq that morphed into the Islamic State today – with al-Furqan over the past decade and a half regularly releasing videos of hit-and-run missions, IED strikes on US vehicles, sniper attacks and hostages. While the 2012 and 2013 parts of Salil al-Sawarim videos highlighted pre-ISIS capability to undertake hit-and-run strikes disguised as Iraqi SWAT and police units, the 2014 release of the fourth part sought to document.
It is important to understand the full framework of Sunni extremism to comprehend the dynamics at work in the Arab world in particular as of 2018.Major video releases such as the four Salil al-Sawarim are the core of the post-2014 video productions of IS – showing the implementation of the "prophetic methodology", the systematic execution of Shiites in Iraq (and later Yezides and bringing that mindset to Syria to combat the Alawite dominated Syrian army), the use of stolen Iraqi government police uniforms to infiltrate and kill as many as possible, the systematic intel-styled rooting ouf of high value targets; the coerced repentance of Sunnis in IS "liberated" areas, who have/had not other choice but to join or submit to ISIS – and who are now faced as of 2018 with a new wave of deadly sectarianism by the new forceful rule of Shiite militias driving their own agenda; the visualized concept of theological and historical coherent elements such as inghimas and shuhada'; the personal messages of (foreign) fighters addressing their Arab target audience in modern colloqiual Arabic to project Islamic knowledge in a preacher styled religious-authoritative setting and by thus are far more powerful and convincing than al-Zawahiri reading a script of the screen; all of these examplorary elements are tied to hundreds and hundreds of pages of Arabic text – historical as well as contemporary crafted by Sunni extremist key writers – and resonate within the Arab target audience and allow new members to initiate into this movement.
The second video also introduces footage that would become commonplace in "Islamic State" propaganda: a professionally-laid out shooting range where many masked men are training. The weapons shown include the classic Kalashnikov assault rifle, as well as the much glorified – and often seen in jihadist videos – Pulemyot Kalashnikova (P.K.) heavy machine gun. SAS2 is more sophisticated than its prequel; the attacks by the Mujahidin appear more precise, professional and deadly. SAS2 emphasizes the importance of media work, featuring an IS media operative preparing crates of DVDs to give out to Sunnis in the towns and cities that will be attacked but not immediately occupied.
A Mujahid is interviewed and introduced as a "soldier of the Islamic State". Iraqi cars, gear and elite police SWAT equipment are handed out to the graduates of the training course.
A Mujahid in full SWAT gear gives an interview; apparently looted SWAT boots and uniforms being handed out
The video also features action footage in various towns and cities at night. Iraqi soldiers and policemen approach IS fighters disguised in special police uniforms to greet them, believing they are comrades, only to be executed.
Those who IS considers high-value targets, predominantly collaborators and Sahwa officers, are at the centre of the film. The film showcases IS laying the groundwork to eventually take over the territory cleansed of functionaries loyal to the central Iraqi government.
A blog named "Islamic News Agency – da'wa al-haqq" described the second SAS movie as a documentary in Full HD, with 49 minutes of IS fighters in special counter-terrorism vehicles conducting assaults in various cities and killing dozens of Iraqi soldiers.
The third video of the Salil al-sawarim series was released on January 17, 2013. By this time, the "Islamic State" was seeking to consolidate control of territory in Iraq and the purpose of SAS3 was to document its proclaimed campaign Hadim al-aswar ("take down the walls!").
The video opens with a band of Mujahidin singing and the film is introduced as:
"a new phase in the conduct of jihadi operations, starting in the beginning of Ramadan, a.H. 1433. The Mujahidin have arisen anew and returned to areas from which they had previously withdrawn. This film is a documentary of some of the military operations in this important and historical phase for jihadist work in Iraq."
The campaign "take down the walls" consisted of systematic attacks on prisons and had two strategic objectives:
Exacting revenge for Sunnis, perceived as excluded, marginalized and persecuted by the ruling Shiite majority of Iraq;
Replenishing fighter ranks with freed inmates who have little choice but to support and join IS.
The official banner of the al-Furqan release in the light of the campaign "take down the walls!"
SAS3 features freed inmates of the Tasfirat prison in Tikrit who have assumed or resumed leadership roles within IS. These men inform the audience of the hardship and torture endured in prison while relaying theological interpretations framed within the need to act.
The Sunni community is repeatedly portrayed as driven to extinction by Iranian-backed Shiites and Western enmity. In addition, every IS armed operation is framed as an altruistic act for the Sunnis in Iraq and Syria.
The specific Sunni extremist interpretation of the Qur'an and the Hadith are put in practice; for example, a Mujahid issues a call to prayer while standing next to slain enemies. Such footage is intended to portray IS as the only Sunni group willing to resist the Shiite takeover of Iraq and Syria.
The 80-minute long SAS3 concludes with a massive suicide bombing attack on an Iraqi army barracks near or in Mosul, undertaken by a Tunisian foreign fighter. He is identified as Abu Ziyyad al-Bahhar "from Tunis, the Muslim city where real men are made." He describes his emigration (hijra) into Syria and then Iraq in 2013 and claims he did not face any problems while traveling. Using classical Sunni extremist rhetoric, he urges others to follow his example:
"This is not the end of the path – no (…) Many of our brothers have spent many years in prison (…). Hijra, jihad, hardships and combat; being imprisoned, blood, flesh [and sacrifice], this is the path. This is the path of Muhammad."
The "Islamic State" is the first Islamist movement to make highly professional use of the Internet for "missionary purposes" (da'wa) related to territory seized from sovereign states and having had the ability to control these for a longer time. The control of strategic towns and even huge cities such as Mosul, parts of Ramadi (2014-2015), Fallujah, and Raqqa, the capital of the "Caliphate", allowed IS media workers to continuously produce new video propaganda from both the 'hinterland' as well as the frontlines.
This enabled jihadist media strategists to convey several messages; firstly, they showcase IS members building and maintaining critical infrastructure for civilians, while fighting, bleeding and dying for their altruistic project on the frontlines. They also show IS fighting a rich blend of enemies, including air force raids by the "crusader alliance" and various Shiite, Kurdish and Christian militias on the ground. These sequences are intended to convey a sizeable Islamic state populated by people who have adopted a real Muslim identity.
This is a legacy new and less initiated members can quickly come to terms with: what are we fighting for (as was outlined by al-'Utaybi in 2006 or Abu Hamza al-Baghdadi in 2005).
The dangerous difference is that a secret and hidden mindset comprising of over thousands of pages written in Arabic by AQ and later enriched by IS "scholars" is available – mostly unchallenged – online that showcases and demonstrates in often times humble and honest words by men who have bled and died for their beliefs, why any "true" Sunni Muslim should follow their path and reclaim violently territory lost by IS and/or attack clearly theologically defined enemies as legitimate to attack worldwide.
Nico Prucha	1980s jihad vs. Soviets, ISIS, Islamic State of Iraq (ISI), online jihad	1 Comment January 14, 2018 January 14, 2018 6 Minutes
IS ecosystem: Salil al-Sawarim (2012)
Part of the Salil al-Sawarim series
The first part of Salil al-sawarim (SAS1) was released by "Islamic State in Iraq" (ISI) in 2012. After al-Qaeda in Iraq consolidated control over the Sunni province of al-Anbar, it declared the establishment of ISI, al-dawlat al-Iraq al-Islamiyya – in October 2006. Al-Anbar province has an extensive border with Syria that includes the Syrian town of Minbaj, which became one of the main hubs for cross-border activity and which was later conquered by IS and lost in late 2016.
SAS1 features a rich blend of "narratives" that have formed an integral part of Sunni extremist identity since the U.S. occupation of Iraq in 2003/4. SAS1 features several prominent jihadist figures, including IS godfather Abu Mus'ab al-Zarqawi and IS spokesman Abu Muhammad al-'Adnani. The video portrays the Shiites as mere agents and henchmen of the Americans and shows a number of attacks on police posts and individuals accused of apostasy and collaboration – a signpost of what would increase in scale and pace leading to 2014, the declaration of the caliphate – as well as to mid-2017 with the increasing loss of territory and the return to the old tactics.
Salil al-Sawarim 1 fostering sectarian tensions and praising the "Islamic State" Godfather Abu Mus'ab al-Zarqawi
The first film features two sequences that would later become "Islamic State" modus operandi, and appear prominently in SAS4. The first type of sequence depicts well-planned, well-organized and well-executed rapid attacks on police and army checkpoints in urban and remote areas of the country. For example, the film shows fighters killing uniformed officers in Baghdad in hit-and-run and execution-style shootings. The film uses audio recordings of Abu Muhammad al-'Adnani or Abu Mus'ab al-Zarqawi to justify these killings – a common example of how speeches of even long deceased figures of influence matter to the movement to date. The second type of sequence shows fighters raiding army outposts in remote areas. The aftermath of these attacks is also shown, including close-ups of dead Iraqi soldiers as proof of the success of the Sunni extremists – something that has in the second half of 2017 intensified again with the loss of territory and the systematic attacks on remote and undermanned outposts in the Iraqi desert.
In other parts of SAS1, suicide bombers give their testimony (wasiyya) while crude bombs and handgun silencers are proudly shown as "industrial produce of the State for the oppressed," whom IS claims to be fighting for. Sniper scenes are an integral part of the first SAS movie, as in SAS4.
The post 2014 IS weapons workshops as a game changer on the battlefields is outlined in this article here.
SAS1 features a coherent blend of elements of Iraqi-based Sunni extremist theology, notably the theoretical offer to fellow Sunni Muslims, including those in the ranks and service of the Iraqi army, police and government, to repent (tawba) and become "true" Muslims again. This form of repentance and inclusion is important throughout the series, but reaches a climax in the fourth SAS video, which shows the mass repentance of Sunnis in areas that IS conquered in Iraq in early 2014.
This is a form of applied theology, an idea that originated with AQ, though it lacked the territory to fulfil its implementation. By contrast, SAS1 features former Sahwa ("Awakening Council") soldiers repenting and joining IS while its spokesman, Abu Muhammad al-'Adnani, calls on all Sunnis to renounce their loyalty to the Iraqi Shiite-led government of al-Maliki.
A targeted assassination in SAS1 set the precursor for what was about to hit Iraq, in particular the region of al-Anbar and the cities of Fallujah, Ramadi, Mosul and smaller towns such as Hit. And it is this exact modus operandi that IS has, as of 2018, reverted to with the strategy of denying their enemies a long-term prospect of controlling the terrority that was lost by IS according the the themes of the video and written propaganda released since August 2016.
SAS1 also features a speech by Abu Muhammad al-'Adnani entitled "we renew our invitation (da'wa) to every apostate, traitor and deviant to repent and to return [to the state of being a Sunni Muslim." This offer is especially directed at "policemen and Sahwa members" and ceases to be valid when IS overpowers or captures them. According to jihadist reasoning, repentance can only be considered sincere and potentially accepted if the individual does so without coercion – so as not to violate the jihadist interpretation of Qur'an verse 5:34:
"unless they repent before you overpower them – in that case bear in mind that God is forgiving and merciful."
A speech by IS spokesman Abu Muhammad al-'Adnani and the direct application in the video
The first Salil al-sawarim video ends with a slogan that has since become commonplace in IS propaganda: "the Islamic State will remain" (baqiyya). The conclusion of SAS1 also makes clear the ambition of the "Islamic State in Iraq" to expand into Sham (Syria) and liberate Sunni Muslims from the regime of al-Asad.
Nico Prucha	Iraq, ISIS, Islamic State of Iraq (ISI)	1 Comment January 1, 2018 January 1, 2018 3 Minutes
Jihad on the Internet – The Anomalous Case of Abu Jandal al-Azdi
Back to the Nashir – Total Decentralization and Enhanced Resilience
"What if the Caliphate Falls?" The IS Outlook in Early 2019
1980s jihad vs. Soviets
ansar as-sunna; Iraq
AQ Arab Peninsula (Saudi Arabia)
AQ Arab Peninsula (Yemen)
AQIM (al-Qaeda in Africa, primarily Algeria, Mali and Mauretania)
as-Sahab – global Jihad AQ Media Outlet
Attacks in Europe
Attacks in the U.K.
counter-counter-terrorism
crazy english jihad forum
da'wa
Global Islamic Media Front (GIMF)
Iraqi Islamic Resistance Front (JAAMI)
IS Africa
Islamic Army in Iraq (IAI)
Islamic Movement of Uzbekistan (IMU)
Islamic State of Iraq (ISI)
Jaysh al-Mujahidin – Iraq
jihadis using non-arabic sources
Jihadist Ideology
Jihadist Media Strategy – in their own words
Jihadist Networks of Resilience
online jihad
Sawt al-Jihad
Social Media Sunni Extremist Activism
Theology of Violence
Online Jihad: monitoring jihadi online communities
Algeria: "The Hell of the Apostates"
The Echo of the "Deep State" - Salil al-Sawarim (4)
Back to the Nashir - Total Decentralization and Enhanced Resilience
Part 2: "Upon the prophetic methodology" and the media universe
The Clashes of the Swords – Nashid as Pop-Culture & Translation of the nashid salil al-sawarim
Making of a Jihadi image
Sawt al-Dschihad returned - Ausgabe No.30 am 8.2.2007 Online gestellt
Der Öl-Faktor (SAG No.30)
Ali is Explorer of Extreme Realms at Human Cognition and a specialist in Data Science on the darkest human behaviors.


and the requirements discussed in [I-D.ietf-rmcat-cc-requirements].
control algorithm for real-time interactive media.
the path from a destination to a source is denoted as "backward".
control messages are transported in the backward direction.
desired for the purposes of the tests described in the document.
endpoints under test around the bottleneck links specified herein.
A.  End-to-end delay for the congestion controlled media flow.
+  average over the length of the session.
+  5 and 95 percentile.
We recommend to use Foreman video sequence.
rectify, it reduces the bit rate and starts to ramp up again.
the bottleneck capacity specified in Table 2.
performance degradation of media flows in the forward channel.
link and each of them uses the same congestion control algorithm.
of the candidate algorithm under different RTTs.
accommodate all the flows with minimum possible latency and loss.
of the other two flows (S2 and S3).
three congestion controlled media flows.
wireless-tests-02 (work in progress), May 2016.
traffic-model-01 (work in progress), July 2016.


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text:
layout: article
title: "Tiny tweaks"
description: "Responsive web design patterns are quickly evolving, but there
              are a handful of established patterns that work well across the
              desktop and mobile devices"
introduction: "Tiny tweaks simply makes small changes to the layout, such as adjusting font
  size, resizing images or moving content around in very minor ways.  "
rel:
  gplusauthor: https://plus.google.com/+PeteLePage
  twitterauthor: "@petele"
article:
  written_on: 2014-04-30
  updated_on: 2014-04-30
  order: 4
collection: rwd-patterns
---

{% wrap content%}

It works well on single column layouts such as one page linear websites, text
heavy articles.

{% link_sample _code/tiny-tweaks.html %}
  <img src="imgs/tiny-tweaks.svg">
  Try it
{% endlink_sample %}

As its name implies, little changes with this sample as the screen size changes.
As the screen width gets larger, so do the font size and padding.

Sites using this pattern include:

 * [Opera's Shiny Demos](http://shinydemos.com/)
 * [Ginger Whale](http://gingerwhale.com/)
 * [Future Friendly](http://futurefriendlyweb.com/)

{% include_code _code/tiny-tweaks.html ttweaks css %}

{% include modules/nextarticle.liquid %}

{% endwrap %}

redpajama_set_name: RedPajamaGithub


text:
Q: describe a Function geometrically Question is :
Let $v ∈ \mathbb{R^n}$ be a vector with $∥v∥ = 1$.
Consider the mapping $φ_v: \mathbb{R^n} → \mathbb{R^n}$ given by :
$ φ_v (x) = x - 2⟨x, v⟩v.$
Describe the function geometrically.
I'm not sure that i'm understanding the question correctly , how can i
describe a mapping geometrically ?

A: The question is asking what do you geometrically do to $\vec{x}$ to get $\phi_v\left(\vec{x}\right)$.
For example, if $f\left(\vec{x}\right) = \vec{x} + \vec{1}$, then $f$ geometrically is a translation of $\vec{x}$ by the vector of all ones.
To describe your problem, think of how you compute projections as a hint.

redpajama_set_name: RedPajamaStackExchange


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"Scotland comes to New River and it's going to be a spooky psychedelic affair.
"Pefkin is the alter ego of Gayle Brogan, one half of Glaswegian vintage synth duo Electroscope and ex-proprietor of the Boa Melody Bar mail order. She has been recording as Pefkin since 1999 and released albums on Morc, Wild Silence, Reverb Worship, Pseudoarcana etc. More recently she has been recording with the Kitchen Cynics' Alan Davidson, creating psych-folk hymnals inspired by a mutual love of folk songs and nature, and has been recording with United Bible Studies. On her own Gayle creates a dreamy rural psychedelia from looped vocals, guitar, analogue synth and violin. She is currently recording an album inspired by the recumbent stone circles of Aberdeenshire.
"Bell Lungs (vocals/electric guitar/electric violin) is from Scotland and has previously performed in the USA, Germany, Italy, Spain and the UK, in curious locations such as an abandoned grain silo, a hydro-electric power station inside a mountain, the top deck of a double-decker bus and amidst the eerie, moving sculptures of Sharmanka Kinetic Theatre. She will be playing an immersive continuously-morphing set that will carry you from the Western Isles of Scotland to the rainforest and outer space.
"Support from Russell Walker of Pheromoans fame and Bomber Jackets infamy. He has also written a book. The book is great, very funny. I saw Russell play at Tatty Seaside Towns' most recent event in the famed 'Naughty Corner'. Me and Barney Wakefield were trying to have a serious conversation but it was IMPOSSIBLE because of this set. He was reading some very funny, misanthropic, storioes/poetry about some 'people' either real or unreal. Scathing and mundane in equal measure which is the sign of a good cook. Great with kids. (His son is the spitting image of my nephew… I didn't want to mention it at the time, 'cuz that's probably a strange thing for stranger to bring up on first meeting).
"Yoni Silver is a multi-instrumentalist (specialising in bass clarinet and electronics), composer, improvisor and performer. He plays in a number of projects, including the Hyperion Ensemble. This is Yoni's first openJack appearance, but he's back a few weeks later with his trio, Denis D'or.
"Eden Grey's music is an experimental mix influenced by electro, dub, d'n'b, techno, drone, ambient and hip-hop. Her music took a major shift towards the collage-based methods of the historical avant-garde while earning her Masters' degree in music technology and after she began building her modular synthesizer in 2013. Eden also hosts the CV FREQS meetups for the London Modular Synthesis Group.
"Magnus Loom wildly turns and tumbles through a cornucopia of brightly burning pitches and rhythms, howling and whispering, in his own world of avant-punk cabaret. According to his Facebook page, "Magnus Loom makes a noise, and lives in hope that one day others might enjoy it as much as he does." It's really good noise. I reckon you'll enjoy his noise.


The overall objective of the thesis is to investigate and interpret hydrological events occurring at the Cape Columbine upwelling site and the adjacent coastal waters, with special reference to St. Helena Bay. The first step in the study involves monitoring the meteorological occurrences which resulted in the prevailing hydrology and thus give a general background to the observed structure. It became necessary to establish two sub-systems in the area which can be distinguished on the basis of the time scales within which they operate. Generally speaking, outside St. Helena Bay the waters have a 3-5 day synoptic variability governed by meteorological conditions, but within the semi-closed system of the Bay itself a longer time span of around 25 days governs the processes in this separate but inextricably linked water body.
Waldron, H. 1985. Influences on the hydrology of the Cape Columbine/St. Helena region. University of Cape Town.