text:
Karl Schmidt-Rottluff (German, Rottluff near Chemnitz 1884 - 1976 West Berlin)
Footpath (Parkweg), 1911
Signed and dated lower right corner: S. Rottluff, 1911; signed on back of top stretcher: Schmidt-Rottluff, Parkweg, Oelgem
Oil on canvas
30 1/4 x 33 1/4 in. (76.8 x 84.5 cm)
Gift of the estate of W. R. Valentiner, 1964
A simple, yet monumental composition, Parkweg demonstrates Schmidt-Rottluff's personal Expressionist idiom, especially the use of strong primary colors to organize the forms of nature within a pictorial format.
Schmidt-Rottluff was never drawn to painting cityscapes or architectural views. With the encouragement of Emil Nolde, he began painting landscapes in 1907 at Dangast near Varel in Oldenburg, a spa not far from the North Sea coast. In 1911 he returned to Dangast, where he stayed from mid May through late August (except for a visit to Norway from 8 July to 15 August). It was during his summer in Dangast that he painted the landscape Parkweg.1
The Oberlin painting employs many characteristics of German Expressionism: bold simplification of natural forms, elimination of incidental details, emphatically flat picture surface, nearly unbroken fields of primary colors, and strong, black outlines.
Schmidt-Rottluff's mature Expressionist manner resembles that of fellow Die Brücke members Kirchner, Heckel, and Pechstein; works created by these artists between 1909 and 1911 are often nearly indistinguishable.2 Unlike Kirchner and Heckel, however, Schmidt-Rottluff tended not to use color as a vehicle for an emotional quest towards an interior universe. Instead, he celebrated pure color and simple geometric forms. He established pictorial depth and spatial relationships in his landscapes by varying the intensity of his colors and textures of his paint surface.
Parkweg marks a major change in Schmidt-Rottluff's style from that seen in his earlier work. Unlike the "flaming" landscapes of 1909, in which color and form were fixed in vibrating patterns,3 the composition of the Oberlin painting is more compact, with heavily outlined areas of mostly primary colors. In another noticeable departure, the heavy impasto of 1907-9 4 has thinned out into a more transparent paint application, often allowing the white ground to show.
More than in other paintings created during the summer of 1911, Parkweg incorporates shades of red, especially in the foreground, and a burnt yellow. These colors may reflect the artist's perception of the natural effects of an unusually prolonged heat wave in Germany that summer, which lasted until the end of August. Returning to Dangast in mid-August from his four-week sojourn in Norway, Schmidt-Rottluff wrote to Martha Rauert: "Dangast looks disconsolate, like November, and all grass red-yellow."5
D. Hamburger
Work (C) 1998 Artists Rights Society (ARS), New York/VG Bild-Kust, Bonn
Born Karl Schmidt in 1884 in Rottluff near Chemnitz, the artist first studied architecture in Dresden from 1905 to 1906. Together with Ernst Ludwig Kirchner , Max Pechstein, Erich Heckel, and Fritz Bleyl (1880-1966), he founded Die Brücke in 1905. Although he was less active in the group than Kirchner or Heckel, Schmidt-Rottluff painted in the group style until around 1911, when he left Dresden for Hamburg. After a summer in Dangast (see Main Text), he returned briefly to Dresden and then moved to Berlin, where he lived until 1933. In 1918 he married the photographer Emy Frisch (1883-1975).
Up until 1910 Schmidt-Rottluff's paintings are characterized by the expressive energy of "flaming" forms and thickly applied paint. In 1911, however, his landscapes begin to display a monumental calm. Details are subordinated within a larger structure, and strong contrasts between warm and cool colors support simplified geometric shapes.
In 1920 Wilhelm R. Valentiner published the first monograph on Schmidt-Rottluff; the two men remained lifelong friends. The art historian Rosa Schapiro (1874-1954) was another important supporter: when she emigrated from Hamburg to London in 1939, she took with her a collection of works by Schmidt-Rottluff. During the purge of "degenerate art" in 1937-38, 608 of his works were confiscated from public collections in Germany, and he was forbidden to paint. During World War II, Schmidt-Rottluff served in the office of a command post on the Russian front and created wooden sculptures and religious woodcuts. His Berlin apartment was destroyed by a bomb in 1943, and he moved back to Rottluff near Chemnitz. In1947, he was awarded a professorship at the Berlin Hochschule für Bildende Künste (Academy for Visual Art), where he taught until 1954. The artist remained productive until his death in 1976.
General References
Valentiner, Wilhelm R. Karl Schmidt-Rottluff: Junge Kunst. Leipzig, 1920.
Schapiro, Rosa. Karl Schmidt-Rottluffs Graphisches Werk bis 1923. Berlin-Charlottenburg, 1924.
Grohmann, Will. Karl Schmidt-Rottluff. Stuttgart, 1956.
Rathenau, Ernest, ed. Karl Schmidt-Rottluff: Das graphische Werk seit 1923. New York, 1964.
Expressionism: A German Intuition: 1905-1970. Exh. cat., Solomon R. Guggenheim Museum of Art, New York, 1980.
Karl Schmidt-Rottluff: Gemälde und Aquarelle, Austellungen zum 100. Geburtstag des Künstlers. Exh. cat., Brücke-Museum, West Berlin, 1984.
Thiem, Gunther, and Aarmin Zweite, eds. Karl Schmidt-Rottluff: Retrospektive. Exh. cat., Kunsthalle, Bremen, 1989.
Lloyd, Jill. German Expressionism, Primitivism, and Modernity. New Haven, 1991.
Mueller, Magdalena. Karl Schmidt-Rottluff: Der Maler. Stuttgart, 1992.
Wietek, Gerhard. Karl Schmidt-Rottluff: Die Oldenburger Jahre 1907-1912. Mainz, 1995.
Gift of the artist to Wilhelm R. Valentiner (before 1921)6
On extended loan to the museum from Wilhelm R. Valentiner (1951-58) and the W. R. Valentiner estate (after 1958).
Bequeathed to the museum in 1964
The Detroit Institute of Arts, 1951. Expressionist Paintings from the Detroit Institute of Arts. February. No. cat.
Grohmann, Will. Karl Schmidt-Rottluff. Stuttgart, 1956, p. 256, ill. p. 284.
Wietek, Gerhard. Oldenburger Land, Deutsche Lande - Deutsche Kunst. Munich, 1957, no. 66.
Stechow, Wolfgang. Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, pp. 135-36, fig. 119.
Wietek, Gerhard. Schmidt-Rottluff: Die Oldenburger Jahre 1907-1912 . Mainz, 1995, p. 482, fig. 219 (as lost).
Technical Data
The poor quality of the original linen support, which was loosely woven with irregular threads containing knobby inclusions of a woody fiber, made it necessary in 1965 for the painting to be lined onto heavy Belgian linen with a wax-resin adhesive. At the same time the original stretcher was replaced with an ICA-type spring stretcher. The white ground contains inclusions of a strawlike fiber; the resultant rough, granular texture of the surface remains visible in unpainted areas and where the paint was applied thinly. Surface variation, from glossy to flat, was achieved by differing thicknesses of the applied oil paint, to which varnish was added. There is some inpainting and some areas of flaking visible along the edges. The overall condition of the painting is generally sound.
1. The literal translation of the word Parkweg into Parkway, as in earlier publications, is misleading, since the latter term suggests a kind of highway or freeway, rather than a footpath in a park, in this case in a spa in Oldenburg.
2. See Karl Schmidt-Rottluff: Der Maler (exh. cat., Städtische Kunsthalle, Düsseldorf, 1992), p. 11.
3. See, for example, Oldenburgische Landschaft, 1909, and Blühende Bäume, 1909, both in private collections; reproduced in Gerhard Wietek, Schmidt-Rottluff: Die Oldenburger Jahre 1907-1912 (Mainz, 1995), cat. nos. 41 and 43, respectively.
4. See, for example, Sommermittag, 1907, private collection, and Dorfhaus mit Weiden, 1908, Berlin, Staatliche Museen; reproduced in Gerhard Wietek, Schmidt-Rottluff: Die Oldenburger Jahre 1907-1912 (Mainz, 1995), cat. nos. 9 and 21, respectively.
5. Gerhard Wietek, in Karl Schmidt-Rottluff: Die Oldenburger Jahre 1907-1912 (Mainz, 1995), quoted p. 481, original letter p. 138.
6. Sometime before 1921, Schmidt-Rottluff gave this painting to Valentiner (1880-1958), one of the earliest champions of his art. Valentiner published the first monograph on Schmidt-Rottluff in 1920 and was portrayed by him in two woodcuts dated 1923. After his emigration to America in 1921, Valentiner became the director of the North Carolina Museum of Art in Raleigh, N.C.


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Illustration copyright 2000 Nucleus
Communications, Inc. All rights reserved.
A peak flow (PEF) meter is a pocket-sized machine that measures peak
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Last Revised:
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Healthwise Staff
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Give it a REST: Mark Baker on Web Services
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Mark Baker is well-known in the SOA and Web services community because of his continuous efforts to promote an architectural style called REST (REpresentational State Transfer), criticizing many of the standards and specifications as being ignorant of what made and continues to make the Web successful. InfoQ's Stefan Tilkov had the chance to talk to Mark about REST principles, its benefits, and the relationship to Web services.
InfoQ: Can you tell us a little bit about yourself and your current work?
MB: My background is in distributed systems, more recently Internet scale distributed systems. I started my career developing software on a proprietary socket based infrastructure, then moved to DCE and CORBA, and have now settled on the Web as my infrastructure of choice.
InfoQ: Can you give us a brief explanation of REST?
MB: The first thing to understand about REST is that it's an architectural style, like "client/server", "pipe and filter", "publish/ subscribe"; an abstract description of an architecture not tied to any particular technology ... though it certainly shapes how one would use different technologies when used as a guide for designing or evaluating architectures. REST was defined by Roy Fielding as the architectural style he used to craft the early development of the foundational Web specifications, in particular HTTP and URIs.
InfoQ: What's the relationship between REST and HTTP?
MB: HTTP (1.1) is a standardized data transfer protocol. As mentioned, its development was guided in large part by Roy and therefore the REST style. For example, REST requires that components expose (via connectors) the same, uniform application interface, and HTTP accomplishes that by defining uniform methods such as GET and POST. That's just one example though, and there are many more aspects of HTTP which can be traced to REST. Roy's dissertation talks about some of them.
InfoQ: So a key distinction is that the interface is fixed when using REST, and application-specific when using something like CORBA or Web services?
MB: Absolutely. It's arguably *the* distinction.
InfoQ: What's the benefit?
MB: There's many benefits; simplicity, scalability, reliability. These are all architectural properties which REST has more of than SOA, and it's due primarily to the uniform interface.
InfoQ: But doesn't this just move the problem to a different layer?
MB: No, the problem is simplified because the number of moving parts has been reduced.
InfoQ: Roy's dissertation lists 4 key constraints: identification of resources; manipulation of resources through representations; self- descriptive messages; and, hypermedia as the engine of application state. The first one is handled by URIs; the second one by HTTP's uniform interface (GET, PUT, POST, DELETE). Can you elaborate on the third and especially the fourth constraint?
MB: Self-descriptive messaging is the single most important constraint of REST because it implies other important constraints, such as the uniform interface. What it means is just that every message needs to include all the information necessary in order to understand the message. Some of the implications of that aren't widely appreciated though. For example, it requires standardized methods, which is why an interface constraint isn't required. It also requires standardized media types.
"Hypermedia as the engine of application state" is simply a long-winded way of saying that REST clients make progress via links embedded in the data they retrieve. That sounds like an almost information-free statement, but it's not difficult to violate this constraint, and it can be quite costly to do so as well. Consider what would happen if a server decided that appending "/french" to some of its URLs would identify French-language equivalents of the identified resource. If it didn't include actual links to those resources in the representations it returned of other resources, and instead relied on the clients to know that rule, then that would violate this constraint. One obvious cost would be that search engines will not know that rule, and so those French versions of resources would not be indexed.
InfoQ: Why should anyone care about this?
MB: Care about REST? Because it's an architectural style which possesses many important architectural properties that improves reliability, scalability, and simplicity, as well as easing integration. These are all properties which Web services & SOA don't possess.
InfoQ: Why do *you* care so much about it? You seem to be on some sort of mission :-)
MB: Since I first started using the Internet 20 years ago, I always felt that it was inevitable that the industry would deploy a pervasive distributed computing platform that would enable the integration of business (and other) systems over the Internet. And I always felt that this platform would be distributed object or component based, which is why I first got involved with CORBA, because I thought it might be that platform. Then, after hooking up with some folks working on the Web in 1996, I began to realize that there was more to it than initially met my eye. This culminated in a 1998 discussion with Roy where I realized that the Web was, in fact, this platform that I'd been looking for all that time.
My "mission", if you can call it that, is to try to show others what I've seen; how the Web is actually an *improvement* on architectures like that of CORBA, DCOM, or even Web services. Obviously it's taking longer than I thought it would.
InfoQ: But how can the Web be an improvement upon Web services, when Web service build on the Web? Or don't they?
MB: Web services build upon HTTP, but they don't build upon the Web. The Web uses HTTP as an application contract which enables the loosely coupled exchange of documents between applications, while Web services uses HTTP as a bit pipe - as a transport protocol. Doing the latter instead of former means that you're starting from scratch, and not taking advantage of the existing network effects in the Web.
InfoQ: REST seems to have been reverse-engineered from HTTP. Does this really justify the claim that the interface uniformity constraint was really intentional? Isn't the HTTP interface specific to the hypertext domain, and the generalization just an afterthought?
MB: Insofar as REST incorporates some constraints which were already implicit in HTTP - like the uniform interface - I suppose that's true. At the time Roy began working with HTTP though, at least as I understand it, there were many problems with HTTP which he helped fix by using REST, so it wasn't entirely reverse-engineered.
InfoQ: Many claim there are many things HTTP is not sufficient for, e.g. reliability or transactions. Is REST intended for the simple use cases, and SOAP/WS-* for the complex ones?
MB: It's true that there are many things HTTP is not suitable for, but in general the SOAP/WS-* use cases are not amongst them.
What HTTP is *not* good for is fine-grained control-message style interactions, because it has a high per-message overhead, so I wouldn't try to implement the equivalent of TELNET with HTTP for example. It's also not good for - or at least optimal for - high throughput stateful messaging, again because of the overhead. There are other cases too, but I've yet to see a Web services scenario that didn't have a straightforward solution within the constraints of REST.
InfoQ: To take one specific example: How would you handle reliability? Isn't this something that every enterprise application needs, and WS- ReliableMessaging offers? What would be the REST way to do this?
MB: There's likely more than one way, depending upon your definition of "reliability". But REST does change the problem substantially because reliability is defined in terms of state transfer rather than message exchange; i.e. what's important is not "was the message sent?", but "was the state transferred?". An example implication of this difference is that we don't need an HTTP GET message to be reliable; because GET is safe, we only care that we retrieved a representation the state of a resource, and that may take any number of GET messages. Similarly PUT requests, though not safe, are still idempotent, so we know we can keep blasting them until we get an authoritative response. POST is not idempotent, so a reliable solution for it would look somewhat similar to a message-level reliability mechanism.
InfoQ: Do you think there's no value at all in the SOAP and WS-* stuff?
MB: Well, let's just say that I think there's significantly less value there than there is in standards like HTTP and URIs. And it depends on the spec too.
For what it's worth, I believed until quite recently that SOAP was salvageable as a generic XML envelope. But I think Atom has quietly usurped that role while SOAP was distracted being used for RPC.
InfoQ: Can you elaborate a little? How is a format for syndicating weblog contents comparable to a messaging envelope?
MB: Well, if you look at the SOAP 1.1 and 1.2 specifications, and ignore the specifications that have been developed on top (e.g. WS-Addressing), they really are simply an envelope for XML content. Sure, SOAP has features like a rich processing model with intermediary targetting, while Atom has a rather simple processing model. And Atom handles "packaging" natively while SOAP has solutions developed on top. But both are, at their core, generic containers for XML content.
InfoQ: One thing that seems to missing in the REST picture is a description language. What do you think about WSDL?
MB: I'm not a fan of WSDL, nor of a service description language for REST. The fundamental advance of REST over the styles of CORBA and DCOM is that all service interfaces are the same, so there are no differences that need describing.
InfoQ: This seems to be evading the question. While the operations might be the same, the parameters - or the data exchanged, if you prefer - is different. So there still seems to be a need for a description, at least for the data part.
MB: Sure, the data needs describing, but because REST uses self-descriptive messages it requires that the message itself describe the data. On the Web, that's done with a media type (using the Content-Type) header. REST also requires the use of standardized media types, so all the information that a Web services developer would place in a schema document (format extensibility, primarily), would be standardized in REST.
InfoQ: So to be clear about this - does this mean that if I want to develop a RESTful application, I can only use standardized message formats? Some custom XML format of my own would be ruled out?
MB: Strictly, yes, but remember that REST is an architectural style for very large scale systems. If you've got a proprietary data format that you need to use, say, behind your firewall, or even between two companies that long ago agreed to use this format, then you can still gain a lot by moving *towards* REST (by adopting the uniform interface, URIs for identification, etc..), but you won't quite reach it in this case because of the data. And there's nothing wrong with that per se. All it means, and all that REST is telling you, is that the data in these messages won't mean much to the outside world.
InfoQ: What about UDDI?
MB: I'm also not a fan of UDDI. A Web server serving up XML documents which contained links to other XML documents, perhaps on other Web servers, would be a far superior solution.
InfoQ: What do you think about the "Hi-REST/Lo-REST" and "Web style" monikers?
MB: They're fine, I suppose. "Web Style", at least, is well-defined because it was defined in terms of REST's own constraints. But Hi-REST and Lo-REST use some rather odd criteria that isn't strictly architectural. But I think it's good that people are talking about the architectural styles that they're using, even if it's a bit ad-hoc; it's a first step towards the industry as a whole moving towards having technical discussions in the language of software architecture.
InfoQ: What would be your advice for someone developing a "service" today? Is it possible to combine a REST approach with a more "conventional" Web services approach?
MB: It's technically possible, but from what I've seen of Web services toolkits (even those that claim to "support REST"), there's a very good chance that it'll be more trouble than it's worth. My advice would be to start with mature client and server Web frameworks in your language of choice, and to read up on what others are doing with REST/POX/XML-HTTP style services as replacements for traditional "Web services". Then apply that to the simplest possible problem you have, and once you've conquered that, move on to more complex problems.
InfoQ: Can you point to some good resources to find out more about REST?
MB: The RESTwiki has a resources section. It's not been kept up to date, but there's an especially good tutorial listed there.
And of course I'd be remiss not to mention Roy's dissertation itself. It's a little bit dry I suppose (though far less so than many other academic papers I've read), but very information-rich. It's one of those papers that you can read again and again, and get something new out of it each time.
InfoQ: Thank you very much for your time.
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REST and SOA
Neil Belford
RESTful services are still services. I agree in the main with your comments about Web-Services, and have never been a fan of SOAP, but SOA is not about Web-Services, it is about realising a documented set of re-useable services on an ESB.
Probably the best way of achieving this is to think about what your ESB needs to look like.
- It will need fine grained secure, reliable messaging, which neither WS-Anything nor REST is good for, but JMS or other MOM products are,
- It will need REST for the reasons you describe above,
- It will need Web-Services for interoperability
- It will need a control bus.
- It will need a mechanism for identifying and choreographing these services.
So please, when you use the term SOA can you articulate what you mean by that term. If you mean SOA IS Web-Services then you have to find a different term to describe what (certain proprietary vendors aside) the rest of us mean by SOA.
SOA could just as easily be SA, only software naming history is on the side of SOA, nonetheless we are talking about Services Architecture, not Web-Services Architecture.
This is about architecture and not products, but if you need tools in this space, we at Base2Services are finding JBoss JEMS pretty compelling.
Neil Belford
Re: REST and SOA
Mark Baker
I use the term "SOA" as I believe most people use it - as a name for an architectural style, an abstract description of an architecture. In this case, a name for a style which espouses exposing data and functionality over a network via a variety of interfaces.
I try to avoid the term "ESB" because I still don't know what one is; I've seen wildly different products described as one, so from my POV is meaningless.
I don't believe that SOA = Web services, though I'm lead to believe that Web services follow SOA principles (at least I haven't heard anybody large outcry that they're not). I agree with this part of one of your statements; "SOA is not about Web-Services, it is about realising a documented set of re-useable services". I left off the ESB bit for the reasons mentioned above.
As for your five points about what's needed, I'm unclear about;
- why JMS/MOM provides the kind of messaging you want, but REST or WS-* do not (or can't)
- why "it will need Web-Services for interoperability"; on the Web, HTTP does a good job at providing interoperability
- I don't know what a control bus means in this context
- and for choreography, REST has hypermedia (or maybe that's orchestration - I can't get those straight).
Re: REST and SOA
Eric Roch
REST and WS can both be used to expose and consume services. The REST argument often implies that you have a choice, i.e. that you can dictate to your consumers that they will use REST. Or, that a service you need to consume will exist in a REST form. This usually is not the case...
The prior post also talked about building mutiple interfaces - e.g. REST and WS.
SOA aims to become REST but will usually fall short
Stuart Charlton
1. REST is unpopular among many architects not because people don't agree with the the principles, but because they don't like HTTP. They love their MOM. They love the flexibility of many message exchange patterns available. They want to standardize reliability & security across classic distributed systems AND services-oriented systems. They tend to look at problems "application first", "database first", or "objects first", not "network first". HTTP's statelessness is something to be worked around, with cookies & sessions, because they haven't been exposed to the principles behind its design in a way they can understand.
2. SOA doesn't preclude REST, in my opinion. I would liken SOA as a style that has a weaker set of uniform interface constraints. It still requires self-descriptive messages and also requires maniupulation of resources through messages. It doesn't emphasize universal indentifiers or hypermedia as the engine of state. Most advanced discussions of SOA out there emphasize the need for governed, if not uniform, interfaces and media types. This is unacceptable to many because uniformity requires a political investment that many can not or will not make. SOA is a style for people that will try to become more governed, aiming for uniformity, even if they fall short. REST is the ideal.
3. I think most architects will eventually recognize the biggest architectural challenge to SOA coming soon is the lack of uniform identifiers. If I have two services with their own sets of primary keys, how do they match up? How do I dereference them? Oops. URI's are a solid way forwards here but people seem to undervalue them and underuse them. SOAP/WS-* do not help matters. WS-Transfer kinda does.
4. The biggest challenge and most controversial constraint that precludes many SOA's from becoming RESTified is the role of hypermedia as the engine application state. Classic distributed systems, the application, or orchestration service, etc. is in control of all shared state. It's fully encapsulated. REST and the web says: "View Source". It keeps encapsulation for "resources" (which can be anything) but asks for openly viewable, standard representations, metadata, and methods for manipulating them.
Many in positions of power really do not like the web, for a variety of social, technical, and economic reasons. They may use web technologies used for cost avoidance & productivity, but want their systems to be as fat-client-like as possible. Pushing web-style inside a corporation can at times be a career limiting move. I do not know if this is temporary or permanent; I will observe that power tends to endure until a major crisis.


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text:
Quilt 3, Square 12
Artist: Gerry Grossmann
My brother Werner (now Warren) and I Gerd (now Gerry) left Dusseldorf, Germany, end of May 1939 for England via Hook of Holland . We traveled to Leeds, where I stayed with a tailor and his family and my brother with a lawyer.
After a short while we were transferred to a refugee hostel. My brother went to San Francisco. I stayed in England and started to live on my own at age fourteen. A couple of aunts survived the war in the U.S.A. and one aunt in Germany. I left England in 1966 to settle in Canada.
The block represents the crossing of the German–Dutch border from Dusseldorf to the Hook van Holland on the way to England on the date shown. I was thirteen at the time.
Gerry Grossmann
The Kindertransport Association


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Rokita Visits Hoosiers on the Front Lines in Iraq to Encourage Military Voting
Contact: Jim Gavin
(Camp Arifjhan, Kuwait) – Indiana Secretary of State Todd Rokita has just completed an election oversight mission to Baghdad, Iraq, and Balad Air Force Base in Iraq where he witnessed first hand how soldiers in the battlefield are preparing to cast their votes this election season.
The Department of Defense invited Secretary Rokita to travel within the battle theatre of our nation's war on terror to meet with troops and military voting representatives. Secretary Rokita was chosen based on his national leadership in promoting the availability of the vote to troops overseas. He recently served a term as president of the National Association of Secretaries of State (NASS) and made military and overseas voting a priority focus area of his term.
Secretary Rokita was joined on the trip to Iraq by current NASS President and Pennsylvania Secretary of State Pedro Cortes and the secretaries of state from California, Florida and Mississippi. This is the first time the Department of Defense has invited secretaries of state to travel to the area of operation (AOR) to observe the absentee ballot process.
"This is a historic opportunity to tell our nation's heroes, face to face, how important it is that they have the right and the means to vote and that their vote is important," said Secretary Rokita. "Because the Department of Defense arranged this landmark trip, I've had the opportunity to hear directly from Hoosier soldiers how the voting process has worked so far. It is evident our military is committed to promoting the vote here by having well-trained voting assistance officers in place to help troops through the process."
While in Iraq meeting with troops, Secretary Rokita took part in the taping of public service announcements to be broadcast worldwide on the Armed Forces Network.
Secretary Rokita's trip to Iraq coincides with the approach of the October 6th deadline for all Hoosiers to register to vote. He reminds Hoosiers that they should register at the office of their county clerk or election board or go to http://www.indianavoters.com/ to download the Voter Registration form.
"Through this experience, I'm reminded of what makes our nation and our state so great," said Secretary Rokita. "Our right as citizens to vote is our most fundamental freedom and ensures the strength of our republic. My office and the local election officials across Indiana are dedicated to ensuring that the process is available to each and every Hoosier who wishes to participate no matter their situation. And Hoosiers should take the time to exercise the right that our military members continue to protect."
For broadcast quality footage and hi resolution photos of the tour, contact Nan Clarke with DVIDS Digital Video & Distribution System at (678) 421-6778 , call the DVIDS Media Hotline at (678) 421-6612 or go to http://www.dvidshub.net/.
Media Contact: Jim Gavin, 317.233.8655, firstname.lastname@example.com


text:
No excuses.
That's what Joe Gibbs Racing officials believe is left after the organization's announcement Tuesday that it would add a fourth Sprint Cup Series car in 2015 with driver Carl Edwards and a significant investment from communications technology company Arris, a new sponsor to NASCAR.
"We don't have any excuses why we can't compete with the likes of Hendrick" Motorsports, said JGR team President J.D. Gibbs.
"Financially, we should be in good shape there. I feel like with everything we have now, we're right there."
Edwards, who will finish the season at Roush Fenway Racing, will drive the No. 19 Toyota for JGR beginning next season, joining teammates Denny Hamlin, Kyle Busch and Matt Kenseth.
Kenseth also moved to JGR after a long tenure at Roush. In his first season at JGR in 2013, he finished second in the championship standings and won a season-high seven races.
"Matt's success over here was a real eye-opener for me," said Edwards, who owns 23 Cup series wins but has never won a series championship. "There's no bad blood or anything like that at Roush.
"I just feel that there are so many parts that came together here really well. There is a lot of energy here. You got JGR ready to start a fourth team. You got drivers like Matt, Kyle and Denny that are veterans and really good.
"The whole situation just feels really good to me. It looks like it will be a lot of fun to go racing."
JGR has not finalized what Edwards' team will look like, but a significant number of the members likely are to come from its Nationwide program.
JGR has fielded three full-time Cup teams since 2005 and has held off expanding to the maximum of four entries, preferring to make the move when it could put together the best deal possible.
"This is as close as you can get to having all the right pieces," Gibbs said.
Edwards' move was not a surprise as it had been rumored for months. Roush officials announced last month Edwards would not return to its organization in 2015, but at the time Edwards declined to talk about his plans.
The size and scope of the investment of JGR's new partner, Arris, make it one of the biggest sponsor additions in recent years in NASCAR.
Not only will Arris sponsor approximately half the Cup season with Edwards, it also will sponsor driver Daniel Suarez next season as he moves full time to JGR's No. 18 Nationwide Series team.
"Having this opportunity to run full time in the Nationwide Series with Joe Gibbs Racing is a dream come true," said Suarez, who has four wins in the Mexico series this season.
In addition, Arris will sponsor a handful of Truck series races for Suarez, a rising star in the Toyota Mexico Series, and partner in a diversity initiative with Escuderia Telmex to develop Mexican and Latin American drivers in NASCAR.
"We felt like we needed to get our name out there," said Bob Stanzione, chairman and CEO of Arris. "We're one of the largest companies in the world that provides high-speed data voice and video communications to service providers around the world.
"Speed, speed, speed is very important to us. NASCAR is about speed and Joe Gibbs and his team is about speed and high quality, high reliability, high integrity – the values we prize the most."


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Colombia's armed conflict forced Jose "Chepe" Ubaque and his family to flee the countryside and settle in Soacha, a city southwest of Bogotá, when he was just 11. It is known as a magnet for both internally displaced Colombians (nearly 4 million) and armed groups.
Mr. Ubaque was able to beat the odds that the tough streets of Soacha stacked against him and landed scholarships to universities first in Bogotá and then in Canada. But he has gone on to do something even more remarkable: He has returned to Soacha. "When people can, they just leave Soacha," Ubaque says. But if the people of Soacha don't help themselves, no one will, he says.
What young people in Soacha need is their own voice, Ubaque says. Hip-hop, graffiti, break dancing, and journalism can all help by giving at-risk preteens and teenagers a safe way to express themselves, while also helping them avoid violence, he says.
"We have all of these things here – guerrillas, paramilitaries, the military," he says. "People tend to recognize violence and the problem, but not the possible solutions."
Since 2005, Ubaque's nonprofit organization, Fundacion Cultural Hip Hop La Diáspora, has been offering free, several-month-long workshops here involving 30 to 150 young people at a time. The group's sparse funding dried up months ago, but Ubaque continues to spend nearly every day in Soacha, a dusty, low-lying city of about 450,000 flanked by shantytowns that speckle the base of the green Andes Mountains.
Workshop participants keep coming. Some show up at the organization's inconspicuous office – a white house with bars on the windows – almost daily, even when there aren't any workshops scheduled.
"What's your news for today?" asked Laura Herrera one recent Saturday afternoon at a journalism workshop. Ms. Herrera, the foundation's social-communications specialist, and Ubaque's girlfriend, has led this group of mostly 10- and 11-year-olds for the past year.
The children shot their hands in the air; and, one by one, told their stories, which tied in with the session's theme of what constitutes violence. One girl said that there had been a lot of robberies in her neighborhood recently; a boy said that one of his peers brought marijuana to school.
The children discussed ideas on how to make their neighborhoods safer – more police on the streets, they all proposed – with disarming clarity, using phrases like "verbal violence" and "gender-based violence."
The discussion was far from abstract: Most of these children have been directly exposed to violence – in some cases instigated by Colombia's nearly 50-year-old internal armed conflict between government forces, paramilitary groups, leftist guerrilla insurgents, and criminal gangs.
One of the journalism workshop's 10-year-old participants, Andres (not his real name), witnessed the murder of his father nearly a year ago outside his house a few blocks from the workshop. His father had worked for a right-wing paramilitary group, or bacrim (bandas criminales – emergent gangs).
Immediately following his father's death, Andres talked about growing up to become an assassin and seeking revenge, Herrera says. But his time in the weekly journalism workshops has altered his perspective.
"When I started doing the workshops I didn't know what my dreams were, but I have been learning a lot of things, and I want to be a journalist," Andres said after the session. "Journalism is a very beautiful thing because it allows you to know the world, to know people."
Fenivar Lozada-Cubillos, a Soacha community leader and a mother of one of the workshop participants, calls the service Ubaque provides to the community "very key."
"He is giving these kids a sense of self-esteem and of leadership, to show them how they are important," Ms. Lozada-Cubillos explains.
Ubaque oversees the workshops and other activities, such as a mid-June memorial event featuring both hip-hop and street art acts held in Soacha's only park. The event honored a group of 19 Soacha teenage boys who in 2008 were allegedly murdered by the Colombian military and then disguised as guerrilla fighters so the soldiers could receive payment for the killings. The controversy – still unresolved in Colombia's courts – is known as the case of the falsos positivos, or fake positives.
"What we're teaching is that it's important to ask about things, to investigate things. Kids don't talk about these kinds of things in school," Ubaque says. "They are asking more about everything, from assassinations to what the president is doing."
Ubaque's easy charm, coupled with the sincere attention he offers to everyone he encounters, reveals little of the rough edge he had to project as a teenager in Soacha.
"It was a different life for me, when I first arrived, to have to answer to this strong violence," he says, sitting on a street curb a few blocks from his office on a quiet Saturday morning. "I had to run from things many times because people wanted to rob me or kill me. I wanted to become an adult very quickly – to get money, to get guns, because I didn't know another way to defend myself."
Instead Ubaque found the break-dancing scene. "Break dancing became my refuge, my escape, and I never got the guns," he says.
Ubaque now is guiding a group of Soacha teenagers on a similar path, says Blanca Nubia Monroy, a former Soacha resident and community activist whose 19-year-old son died in one of the falsos positivos cases.
"Chepe and the foundation, they are taking kids out of situations where they could be exposed to drugs and danger and bad friends and giving them a chance to do other things," says Ms. Monroy, who has known Ubaque many years and partnered with him on projects. She considers him to be "another son."
"[It] is very beautiful and very important work," she says, referring to Ubaque's efforts.
Ubaque describes the often-stigmatized hip-hop and street art scene here as a "contemporary revolution" that offers hope to teenagers.
"The power of the lyrics can motivate people to arm themselves behind ideas," he says.
Many of the participants in lyric writing and drawing workshops focus on politics, which Ubaque says is missing in the mainstream music scene in Colombia. Lack of basic public services like clean water, and the risks of being forced into armed groups, are two themes that teens feature in their songs and raps.
During a recent graffiti workshop, local street artist Fabian "Hash" Acosta peppered a small class of teenage boys with questions about the coming Soacha memorial event.
"Do you know about the falsos positivos?" he asked. Few of them did. But later they drafted sketches of a footprint, which would bear the names of the falsos positivos teenage boys.
Two weeks later, their plan was put into action at the memorial: Workshop members passed out cardboard cutouts of footprints with names, and people assembled them in the shape of one large footprint on the plaza.
As the event's emcee, Ubaque was both unassuming and magnetic. He introduced two raps about the desaparecidos, or disappeared people. Andres, the 10-year-old aspiring journalist from the workshop, made his rounds with a tape recorder, asking spectators about everything from their memories of Soacha to what they think has to be done to end the violence.
The event drew about 100 people and appeared to be a success. But Ubaque says that the foundation's lack of funds is limiting its possibilities. He wants to create a website, he says, and construct a recording studio for the teens.
"None of us is receiving any money," he says. "But we believe that it is possible to change Soacha in this way, that these young people have something important to offer Colombia. So we continue working."
• Write to firstname.lastname@example.com or visit www.facebook.com/diasporafundacion.
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UniversalGiving helps people give to and volunteer for top-performing charitable organizations worldwide. Projects are vetted by UniversalGiving; 100 percent of each donation goes directly to the listed cause.
To support programs in Latin America, UniversalGiving recommends:
• Let Kids be Kids Inc. is dedicated to advocating for people who have a desire to be heard but may not have a voice. Project: Support teen service in Colombia.
• Cross-Cultural Solutions operates volunteer programs that partner with sustainable community initiatives. Project: Volunteer in Latin America with community-based projects.
• Global Fund for Children invests in some of the best community-based groups, serving the most vulnerable children and youths. Project: Support recovery and renewal in Haiti.


text:
As expected, the Phillies declined reliever J.C. Romero's $4.5 million option for 2011. The left-hander will receive a $250,000 buyout and become a free agent.
It's unlikely the Phillies will bring back Romero, who went 1-0 with three saves and a 3.68 ERA this season. Romero spent part of 2007 and the last three full seasons with the Phillies.
The Phillies undoubtedly will be looking for left-handed relief help in the free-agent market this offseason. Lefthander Antonio Bastardo is also likely to make the team out of spring training next season.
You can read more about Romero in Wednesday's Inquirer.


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Sébastien Bourdon (French, Montpellier 1616 - 1671 Paris)
The Encampment, ca. 1636-38
Oil on canvas
22 5/16 in. (56.6 cm) diameter
Gift of John J. Burling in memory of his wife, Marguerite Bensinger Burling (OC 1913), 1957
This early work by Bourdon, probably painted in Rome, represents a group of travelers camped in the shadow of ancient ruins in the Italian countryside. Such picturesque views juxtaposing everyday activities and imposing monuments were especially popular subjects among Northern artists active in Rome in the seventeenth century.
Only about a dozen bambocciante by Bourdon are known; most depict military bivouacs or itinerant figures at rest beside Italianate ruins. In the present work, two men play the ancient game of mora before a makeshift tent while their companions relax nearby. As the game involved only the hands (certain gestures beat others), mora could be played by even the poorest people.1
The Oberlin painting is assumed to date from Bourdon's Roman period (ca. 1636-38), because of its conspicuous closeness to works by other bamboccianti then active in Rome, particularly the Netherlandish painters Pieter van Laer ("Il Bambocccio") (1599-1642) and Jan Miel (1599-1664). 2 The similarity to paintings by Miel was already noticed in the eighteenth century, as revealed in a remark in the catalogue of the 1779 Conti sale (see Provenance). In 1964, Rosenberg suggested that the painting might even have been painted by van Laer.3 The Encampment is certainly close to works by van Laer in its general conception and subject matter, as well as in such individual motifs as the urinating horse. Bourdon in fact copied his horse directly from van Laer's roughly contemporary etching, Pissing Horse. 4 Nonetheless, the cool, harmonious palette of the Oberlin painting, the use of sweeping diagonals, the gracefully torqued bare tree, and the distinctive rock formations are uniquely characteristic of Bourdon's work of this period. The man with the bare torso, standing at the left, is repeated almost exactly in Bourdon's Repose of the Gypsies,5 which probably also dates to the artist's Roman period.
The only dated bamboccianta by Bourdon, Soldiers Playing Cards (1643),6 was executed after his return to Paris. That painting and related works 7 demonstrate how the artist had begun to adapt Italianate motifs to a more typically French stylistic vocabulary.
M. E. Wieseman
Sébastien Bourdon was born in 1616 to Protestant parents living in Montpellier. He was apprenticed to a painter in Paris from age seven to fourteen (1623-30), and worked in France until his arrival in Rome in 1636, 8 where he gained a reputation as a painter of bambocciante. Bourdon was forced to flee Rome in 1638 to escape denunciation by the Inquisition for his Protestant faith. Following his return to Paris Bourdon continued to paint Italianate genre scenes, but after about 1640 the influence of Nicolas Poussin (1593/4-1665) became more pronounced in his works, as evidenced in their geometric compositions, clearly-defined planes, and brighter palette. In 1648 Bourdon was one of the founding members of the Académie Royale de Peinture et de Sculpture, and was named rector of the Académie in 1654. Bourdon painted primarily history scenes, but also executed landscapes, portraits, and numerous large-scale decorative works, as well as a few genre scenes.
General References
Laureati, Laura. In Giuliano Briganti, Ludovica Trezzani, and Laura Laureati. The Bamboccianti: The Painters of Everyday Life in Seventeenth Century Rome. Rome, 1983, pp. 238-45.
Sale Prince de Conti, Paris, 15 March 1779, lot 52 ("Un petit tableau de forme ronde dans la manière de Jean Miel. Il représente plusieurs figures, jouants sous une tente à la porte d'un Cabaret, et près de là un homme descendant de son cheval et qui raccommode son soulier. Diamètre 12 [sic] pouces. Toile"; frs. 144, to Dulac)
Sale [Verrier le Rouge?], Paris (Lebrun), 12 March 1782, lot 112 ("Des Bohemians: dans la partie gauche de Tableau l'on voit deux hommes jouans au dez; un autre debout, le corps nu, les regarde. Sur le devant l'on en voit un autre couché par terre, tournant la tête pour les voir; plus loin est un homme tenant son cheval par la bride pendant qu'il rejuste son soulier. Dans le fond l'on voit encore six figures. Le reste est terminé par une voûte de montagnes & autres accessoires;" frs. 110, to Dufour)
Collection A. Barclay, Compton Manor, England (as by Karel Dujardin, according to photo in Witt Library, London)
Collection Eduard Napoléon Edmond Nortier, Duc de Trevise
With Julius H. Weitzner, New York, from whom purchased in 1957
Paris, Galeries Nationales d'Exposition du Grand Palais, 1982. La Peinture française du XVIIe siècle dans les collections américaines. 29 January - 26 April (also shown at New York, The Metropolitan Museum of Art, and The Art Institute of Chicago, as France in the Golden Age: Seventeenth-century French Paintings in American Collections). Cat. no. 7.
Rosenberg, Pierre. "Quelques Tableaux inédits du dix-septième siècle français...," Art de France 4 (1964), p. 299, n. 15.
Stechow, Wolfgang. Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, pp. 21-22, fig. 72.
Stechow, Wolfgang. "Varieties of Landscape." Apollo 103, no. 168 (February 1976), p. 115.
Rosenberg, Pierre. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art, New York, 1982, pp. 226-27, ill. p. 105. (English version of La Peinture française du XVIIe siècle dans les collections américaines. Exh. cat., Galeries Nationales d'Exposition du Grand Palais, Paris, 1982.)
Laureati, Laura. In Briganti, Giuliano, Ludovica Trezzani, and Laura Laureati. The Bamboccianti: The Painters of Everyday Life in Seventeenth Century Rome. Rome, 1983, pp. 240-41, n. 11.
Hilaire, Michel. Century of Splendour: Seventeenth-century French Painting in French Public Collections. Exh. cat., The Montreal Museum of Fine Arts, 1993, p. 160.
Technical Data
The Encampment is painted on loosely-woven canvas; the original tacking margins have been removed and the painting lined with glue onto a heavier but more finely-woven linen canvas. In some areas a cream-colored imprimatura layer has been added over the red earth ground. There are small areas of overpainting in the sky, along the left edge of the shed, in the foreground and (most noticeably) in the area of the horse's rear legs, rump and tail; examination under UV light indicates that this overpaint is quite old. The overpaint masks the detail of the horse urinating on the ground; some damage was incurred in this area, probably in the attempt to scrape the area prior to overpainting. Pentimenti indicate changes to the head of the boy at far right, and the shadowy figure standing behind the mora players seems to have been added after the tent was painted.
1. See Christopher Brown's discussion of Pieter van Laer's depiction of the game, in Masters of Seventeenth-Century Dutch Genre Painting (exh. cat., Philadelphia Museum of Art, 1984), p. 232.
2. Compare, for example, Miel's Halt at the Inn (Paris, Musée du Louvre, inv. 1451); or the pendant paintings The Cobbler (Besançon, Musée des Beaux-Arts, inv. R.F. 1949-26) and The Boccia Players (Paris, Musée du Louvre, inv. R.F. 1949-25), both dated 1633, which are themselves very close to van Laer.
3. Pierre Rosenberg, "Quelques Tableaux inédits du dix-septième siècle français...," Art de France 4 (1964), p. 299.
4. Etching, 8.3 x 9.8 cm; Bartsch 11, no. 3 from the Horse Series, which can be dated ca. 1635-40.
5. Oil on panel, 36.5 x 50 cm, Kassel, Staatliche Kunstsammlungen, inv. GK471.
6. Oil on canvas, 67 x 88 cm, Caen, Musée des Beaux-Arts.
7. Soldiers at Rest, oil on panel, 43 x 58 cm, Paris, Musée du Louvre, inv. 2818; and Halt of the Bohemians and Soldiers, oil on panel, 37 x 52 cm, Montpellier, Musée Fabre, inv. 836-4-5.
8. Although the artist was previously thought to have been in Rome from 1634 to 1637, J. Bosquet has been able to document Bourdon's presence in France until 1636, and his residence in Rome later in the year. See J. Bosquet, Recherches sur le séjour des peintres français à Rome au XVII siècle (Montpellier, 1980), p. 198.


text:
Dr. Evan Eyler reviews medical content for Healthwise, a nonprofit organization with a mission to help people make better health decisions. Dr. Eyler is a Clinical Associate Professor and Director of Behavioral Health Sciences for the Family Medicine Residency Program at the University of Vermont College of Medicine in Burlington, Vermont.
MD: University of Michigan Medical School, Ann Arbor, MI, 1984
Residency in Family Practice: University of Michigan Hospitals, Ann Arbor, MI, 1984–1987
MPH: Public Health Policy and Administration, University of Michigan School of Public Health, Ann Arbor, MI, 1994
American Board of Family Medicine
Adolescent Medicine, American Board of Family Medicine
Psychosomatic Medicine, American Board of Psychiatry and Neurology
Clinical Associate Professor, University of Vermont College of Medicine, Burlington, VT, 2009–present
This reviewer reported no financial conflicts.
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Published on August 19, 2015
Revenue Statistics in Asian Countries is jointly undertaken by the OECD Centre for Tax Policy and Administration and the OECD Development Centre. It compiles comparable tax revenue statistics for Indonesia, Malaysia, the Philippines, Korea and Japan. The model is the OECD Revenue Statistics database which is a fundamental reference, backed by a well-established methodology, for OECD member countries. Extending the OECD methodology to Asian countries enables comparisons about tax levels and tax structures on a consistent basis, both among Asian economies and between OECD and Asian economies. A special feature in this edition provides country profiles on recent tax administration and related reforms in Indonesia, Malaysia and the Philippines.
|Foreword and Acnowlegements
|Executive summary
|Tax Revenue Trends 1990-2013
|Tax Levels and Tax Structures, 1990-2013
|Country Tables, 1990-2013 – Tax Revenues
Special Feature: Country Profiles of Tax Administration and Recent Related Reforms4 chapters available
Press release
19/08/2015 - Increasing tax revenues is crucial to development in emerging Asian economies
Background and information
Previous editions
Revenue Statistics in Asian Countries 2014: Trends in Indonesia and Malaysia
Other editions of Revenue Statistics
More information
For further information, journalists should contact Maurice Nettley (email@example.com) from the Centre for Tax Policy and Administration, Kensuke Tanaka (firstname.lastname@example.com) from the OECD Development Centre.


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Kent Stevens at the young age of 11 years old started working to help his family. He is a hard working man and understands what hard work is all about.
He served as a school teacher and principal. His wife and two daughters also are school teachers.
Our future is education and Kent Stevens believes all people deserve an education.
He also is a man that cares abotu the people — the elderly, the working people, everyday people like himself.
Kent Stevens knows what hard work is about. He was my principal in school, and even though I was just a kid, I knew he was the kind of man I wanted to be like.
His door was always open to any student.
I feel Kent Stevens was a huge role model in my life, and I want to thank him for that.
Vote for someone that cares. Vote for Kent Stevens.
Brock Douthitt
Spencer County
In October, Habitat held two separate yard sale fundraiser events and we would like to thank the community for all their donations, the volunteer support during the event and all the wonderful shoppers who stopped by to purchase items.
We would also like to thank the owner of the Polymerica building for his willingness and flexibility in allowing us to hold the yard sales in that facility.
I, John Shircliffe, ex-Main Street volunteer, had no authority to take or demand from property owners and any implication otherwise misrepresents me, my role and that of the Main Street Program. Period.
First, allow me to say that I appreciate The Spencer Magnet for allowing readers to express their opinions through this column. I understand that others may not share our views, but these letters to the editor are often very thought-provoking and sometimes inspirational. They help us to be a better Taylorsville by keeping us informed. I hope others will keep the letters coming.
Bill Adkins, who is running in the 4th Congressional District, believes the middle class has long been under assault by special interests. Middle class citizens do not have paid lobbyists protecting them — billion dollar corporations do. Without a strong middle class, the nation cannot survive. Adkins will work for solutions to help defend and rebuild the middle class.
November 6th is approaching and there is one clear choice for County Clerk. Lynn Hesselbrock has restored credibility to the office and made it a pleasurable experience to visit. The clerk's office is in charge of all elections and we must have a person who will make the office accountable and transparent so as to better serve the public. Hesselbrock is that person and I would encourage your support for her on Nov. 6.
Sen. Paul Hornback
I would personally like to thank the residents of Spencer County who participated in purchasing books on conference night at Spencer County Elementary School.
You have done your school a great service by allowing Mrs. Murphy to purchase more books for the library.
All proceeds from this book sale stayed here at SCES.
For the people who ordered books I want to thank you for your patience and understanding. Those books are here and will be delivered after fall break.
Cheryl Stuart
Spencer County
Numerous people have asked what happened at the Sanctuary Center and why people are so angry at "the city."
In a nutshell and in my case, the city poured concrete over my access at 95 E. Main St., The Sanctuary Arts Center, home of characters, storytellers, music makers and artists.
Copyright © 2018
The Spencer Magnet is your source for local news, sports, events, and information in Spencer County, KY and the surrounding area.


text:
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Administering SOLIDWORKS Workgroup PDM
Length: 1 day
To locate an Authorized Training Center near you, click here.
Prerequisites: Basic experience with the SOLIDWORKS software and the Windows™ operating system, and knowledge of SOLIDWORKS file structure and referencing.
Description: The focus of this course is on the fundamental skills and concepts central to the successful use of SOLIDWORKS Workgroup PDM. The intended audience for this course is vault administrators. The topics covered in this course are:
About This Course
Windows® XP
Use of Color
Lesson 1: Planning for PDM
Planning for SOLIDWORKS Workgroup PDM
The Planning Process
Data Management Plan
Transition Plan
The VaultAdmin Tool
Lesson 2: SOLIDWORKS Workgroup PDM Setup
Administrator Topics
The Vault
Vault Backup
Vault Restoration
Case Study: Replace The Vault
VaultAdmin Tool
VaultAdmin Settings
User Accounts
Case Study: User Accounts
Case Study: Groups
Project Access
Project Settings
Case Study: Copy Project Settings
Revision Scheme
Case Study: Create Lifecycles
Standard Libraries
Case Study: Common Parts
Case Study: Toolbox Parts
Vault Settings
Case Study: Global Settings
Custom Properties
Case Study: Adding Custom Properties
Case Study: Index the Vault
Revision Table
Case Study: Revision Table Properties
Lesson 3: Maintaining the Vault
Maintaining The Vault
Case Study: Vault Backup
Case Study: Log Files
Tree Options
Maintaining User Accounts
Case Study: Modify Users
Case Study: Passwords
Regaining Disk Space
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Archiving Files
Case Study: Archiving Files
Update Software
File Conversion
Case Study: Converting Files In The Vault
Lesson 4: Administration Tasks
Administrator Tasks
Mapping Custom Properties
Case Study: Property Mapping
Copy Project
Case Study: Copy Project
Bulk Loading Files
Case Study: Bulk Check In Files
Transferring Projects between Vaults
Case Study: Exporting Projects
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I am currently out at our property in Tara, Queensland which is in a rural area far from what I consider to be the civilized world. My husband felt we were bringing quite enough stuff so I had to leave behind my Jamie Oliver frypan and skillet. It's not that I am without the necessary utensils to create a meal, I have my Sunbeam electric frypan, turbo oven and an assortment of cheap brand frypans and saucepans, Weber and gas range. It's just that now I have moved up to the better quality cookware I really miss all it's great features.
After all Jamie Oliver cookware has a fantastic non-stick finish which means even the eggs don't stick to the pan. Believe me the horrible mess of eggs I am serving up at the moment is not a pretty sight. Everything sticks to the cheap frypan and burns in parts even with the heat turned right down. This is something I am no longer used to as my T-Fal frypan has a red spot that lets me know when the pan is at the right temperature to add food and because of the conductivity of the metal used, it reacts quickly to changes in temperature.
Not only does my lovely Jamie Oliver cookware make cooking a breeze, it also washes up quickly and easily. A task that is not quite so easily undertaken with the cheap homebrand frypan.
So as much as I am enjoying the peace and quiet, the goannas, the ducks, the kangaroos bouncing over the paddock and sitting by the fish filled dam, I am missing my great new cookware.
Speaking of Goanna's, this fellow came to visit while I was sitting out by the dam, throwing bread to the fish. I have been told that they make great eating but I am content just to take his photograph.


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Taliban is the face of all muslim.Two Afghan boys trading yogurt for bread with local police were beheaded by Taliban fighters, an official said.The boys, aged 10 and 16, had traveled to Afghan army and police checkpoints near their home in the southern province of Kandahar, scrounging for leftover food to bring to their families, the officials said.According to Javid Faisal, the spokesperson for Kandahar governor, the boys were swapping a milky drink called lassi for dry bread to feed their flock of sheep and goats.Taliban allegedly warned them to not to trade with or help the police."The boys were on their way back ... when they were stopped by Taliban insurgents who beheaded them," the chief of Zhari district, Jamal Agha, told Reuters. "Both of them were innocent children and had nothing to do with government or foreigners."
The militants have beheaded dozens of people in the last two years, accusing them of aiding the government and its foreign backers led by the United States.A Taliban spokesman, Qari Yousuf Ahmadi, said the group was not involved in the boys' killings.Faisal said the incident occurred on Sunday. Several hours later the bodies and severed heads of the boys were left in their village, he said.Kandahar is the birthplace of the Taliban and one of Afghanistan's most restive provinces.In July last year in the same district, a 16-year-old boy accused by the Taliban of spying for the government was beheaded and skinned. The next month, a girl aged six and a boy of 12 were kidnapped and beheaded in separate incidents in Kandahar and the east of the country. Such incidents highlight the difficulty that Taliban leaders have in enforcing discipline across an estimated 20,000 fighters spread from Afghanistan to Pakistan.The leadership is trying to improve the group's image in case it wants to push forward tentative reconciliation steps and perhaps even enter mainstream politics. But some militant units have proved hard to control, roaming the countryside and killing or maiming those they deem immoral.The beheading occurred the day before seven Taliban insurgents including suicide bombers attacked country's international airport in the capital, Kabul.Also on Monday, six insurgents with suicide vests and heavy guns attacked a government compound in the provincial center of Zabul, wounding at least 18 people.Concerns are mounting over how the 352,000-strong Afghan security forces will cope with an intensifying Taliban insurgency once most foreign troops leave by the end of next year
I was waiting on some honey but there aren't no Queen bee,
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GUY CHAMBERS IS USING HIS sE GEMINI AND z5600a 'ALL THE TIME'
Producer/Songwriter Guy Chambers has been putting the Gemini and z5600a tubes through their paces at Orgasmatron and Mayfair Studios in London and is chuffed with the results. Guy said:
"We've been using the sE Gemini and z5600a for various applications, from vocals, guitar and piano to live drums and we've had fantastic results. These mics are great. We're using them all the time."
Guy Chambers and Robbie Williams have written some of the most popular and successful songs of the past 5 years, such as "Angels" and "Let Me Entertain You". Guy has collaborated on all 7 of Robbie's No.1 albums which to date have globally sold over 37million albums. He also co-produced all the Robbie Williams albums with his long-term production partner Steve Power.
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Acorn2007 needed a new logo design and created a contest on 99designs.
A winner was selected from 190 designs submitted by 47 freelance designers.
Most important elements. Modern, Classy, Innovative yet simple. I run a marketing agency in Ireland. I have lots of designers working for me...I am looking for something different here for this logo. PokerKings.ie will be a safe and secure place for budding poker players to pit themselves against other poker players in Ireland. This is a young modern company looking for a modern design that will reflect the brand values of the company which are FUN, SAFETY and BEST IN CLASS. PokerKings is designed to promote the sport aspect of poker and to push users towards competitions and push them away from the playing pure money tables where they can lose more if they don't know how to play properly
Primarily Males..20+...
Mid to Higher Affluence
Internet Savy
Like New and Modern things
We are looking for a design of the logo for PokerKings.ie
The letters ".ie" should be secondary and allow us to change as we grow to different regions. See as per the logo attached. The .com is secondary as opposed to core to the project.
Some Key Points:
Readability... The words should be crystal clear. Putting weird design over the letters is just not something i like.
I am looking for something that is modern, stylish and simple. I just want a brilliant logo and i will know it when i see it.
Is there a way to demonstrate security...perhaps not...Perhaps simplicity itself will do that...
I recommend not submitting any idea..and taking a little bit of time to think the idea through..the pokerstars.com logo is extremely simple but is classy at the same time.
Over to you guys
Find out how a design contest works or learn more about our logo design services.


text: For more than two decades, WealthEngine has provided wealth intelligence solutions to help fundraising, marketing and business development professionals create strategies to extend their reach and build their prospect pipeline. Our track record of success spans across 21+ years, 3,700+ clients and millions of fundraising dollars raised. Headquartered in Bethesda, MD, WealthEngine provides clients in the United States and the United Kingdom with solutions that provide a complete picture of the people they already know, and tools to find new people they would like to get to know. We work with nonprofits, hospitals, institutions of higher education, political campaigns and advocacy groups of all sizes as well as luxury organizations and financial services firms to help them effectively identify individuals with the net worth, income, lifestyle and affinity to become their next top donor or customer.


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Bathroom Window Treatments & Bathroom Blinds
- Moisture resistant window treatments
- Provide an adequate level of privacy
- Consider room darkening options
- Shutters are a natural fit
- Top picks are faux wood blinds, cellular shades & roller shades
While privacy is a major concern in the bathroom, blinds and shades that are able to withstand high levels of humidity are the best choice. Treatments made out of vinyl, PVC, faux wood, or thick fabric will be durable enough to stand up to the unique environment. These window treatments won't bend, warp, crack, or harvest mildew and are sure to withstand the test of time. Many bathroom shades can be configured with a top down/bottom up lift for the ultimate in flexible privacy. The slats on faux wood bathroom blinds and shutters can be tilted upwards to admit some light while still maintaining privacy.
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Levolor® 2" NuWood Composite Faux Wood Blinds
retail $112.22 $75.19 + an extra 20% off
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customer reviews for bathroom
"Blinds Galore Rocks!"
By A very satisfied cus from San Antonio, TX
We recently purchased these blinds for our bedroom and office. Our overall experience was awesome! I called a couple of times before ordering and everyone was extremly pleasant and helpful. The bliinds arrived in a timely manner ... one of the top rails was damaged. When I called to let Blinds Galore know, they got Levelor on the line and immediately sent out a full replacement of the damaged blind. The blinds are made very well and were a breeze to install! Will defintely refer Blinds Galore and continue to use them in the future!View this product
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The blinds came in good condition and were very easy to install.View this product


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Hermes, Chanel, Missoni, Louis Vuitton. The number of recognizable designer clothes and accessories in Woody Allen's new film "Blue Jasmine" is astounding. And appropriate, considering the story is about a Ruth Madoff-type, fallen socialite named Jasmine (Cate Blanchett), who struggles to reinvent herself after losing all her money.
Throughout the film, Jasmine breathlessly drops designer and brand names, decorating details and high-end addresses. The bags on the luggage carousel that belong to her are Louis Vuitton. Her husband collected vintage Bentleys. She isn't just from New York, she's from Park Avenue. It's as if by repeating a mantra of all the right things and right places she is reassuring herself that all is right with the world.
But as it turns out, she's so consumed by consuming that she doesn't even notice her high-roller investor husband Hal (Alec Baldwin) is cheating on her. "Don't you have everything you want?" he asks, as if his philandering and shady business dealings shouldn't matter so long as her answer is "yes."
Even after the money is gone (along with the husband), Chanel "CCs," Louis Vuitton "LVs" and Hermes "H's" are still so much a part of Jasmine's identity that she can't let them go. She'd rather wear the same Chanel boucle cardigan every day than have to shed that part of herself. And when she meets an eligible bachelor with political ambitions, clearly what he's most interested in is that she looks the part.
Although there are funny moments in the film, it is really a tragedy, most of all because Jasmine has never taken the chance to get to know herself beyond what's on the surface. And certainly she's not alone. With our culture's obsession with striving for a luxury lifestyle and an endless number of TV shows, blogs and magazines telling us how to do it, are we missing something greater about life?
That seems to be the message of "Blue Jasmine." It's particularly interesting to look at this cautionary tale together with Sofia Coppola's film "The Bling Ring," which came out earlier this summer, portraying the real-life story of a ring of teenage thieves so obsessed with the lifestyles of their celebrity counterparts in Hollywood (the Paris Hiltons of the world) that they broke into their homes and availed themselves of all the blingy trappings, again with plenty of on-screen name-checking of Hermes, Louis Vuitton and Chanel.
Most people know you can't buy (or steal) happiness. Even so, many of us will keep trying.
[*UPDATED Aug. 2 at 5:39 p.m.: A earlier version of the photo caption with this post stated that Sonia Grande is the costume designer for "Blue Jasmine." The film's costume designer is Suzy Benzinger.]
Cate Blanchett channels Blanche in 'Blue Jasmine'
Hillary Rodham Clinton to receive first Michael Kors Award
Armani/Casa plays starring role in Liam Hemsworth film 'Paranoia'


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HARTSVILLE, S.C. – Coker College women's soccer coach Dan Muns announced today that Laura Bexell, Tiffany Dayton-Hegedus, Autumn Fetterolf, Jade Hammond, Ashton Knopf, Batavia Mata, Alina Tashjian and Ariana Tashjian have all agreed to play for the Cobras.
"We are extremely happy with the 2014 recruiting class," said Muns. "All eight of these young women are gifted and talented both on the field and in the classroom. They bring terrific diversity to our squad, and we expect them all to make an immediate impact in the classroom, the training ground and certainly in competition in the South Atlantic Conference."
Bexell, a midfielder, comes from Jacksonville High School in Jacksonville, N.C. She was a two-sport athlete for the Cardinals, lettering in tennis and soccer. Bexell was the starting midfielder since 2010 and led her team to four-straight conference championships.
"Laura is a dynamic and energetic force in the midfield," said Muns. "She brings a championship background with her. Her club team won the NC State Cup and is headed to the Region III championships later this summer."
Laura is the daughter of Kevin and Nona Bexell.
Dayton-Hegedus, a goalie, comes from Arundel Senior High School in Odenton, Md. She was a two-sport athlete in soccer and softball for the Wildcats and earned all-county honorable mention honors on the soccer field in 2013.
"Tiffany is a terrific shot stopper and has a strong presence in the air," said Muns. "She comes from the soccer-rich state of Maryland, and we are expecting intense competition at the goalkeeper position with Tiffany joining us."
Tiffany is the daughter of Kari Dayton, Steve Hegedus and Chris Suthard.
Fetterolf, a midfielder, comes from Bethlehem Central High School is Delmar, N.Y. A three-year starter for the Eagles, Fetterolf was a two-time sectional champion as well as the 2013 team captain and MVP.
"Autumn is a defender by trade but also has the ability to score goals," said Muns. "She was clutch this season as she helped her high school team advance through the New York state playoffs, and we expect her game to translate in a similar fashion at the collegiate level."
Autumn is the daughter of Brian and Sheila Fetterolf.
Hammond, a center midfielder and defender, comes from Newsome High School in Lithia, Fla. A member of the Florida Soccer Club, Hammond is a Region C champion as well a starter for the Premier all-star team.
"Jade is very athletic and has a great toolbox in terms of skill set," said Muns. "She is a lynchpin type player in the midfield, but also has the flexibility in her game to make an impact anywhere on the field."
Jade is the daughter of Bryan and Kim Hammond.
Knopf, a goalie, comes from Palmetto High School in Palmetto, Fla. She was a four year-member of the Tigers' soccer team and a three-year captain.
"Ashton is an extreme competitor," said Muns. "She is very technically sound between the posts and also has a very strong set of organizational skills. She is a natural leader and a big-time playmaker."
Ashton is the daughter of Timothy and Lindsey Knopf.
Mata, a center midfielder, comes from Mission Hills High School in San Marcos, Calif. A two-sport athlete in track and field and soccer, she was a three-time player of the week as well as the team leader in offensive points in 2013.
"Tavi is exceptionally creative and sophisticated in the midfield," said Muns. "Her movement in support of the ball and her execution with the ball are definite strengths. Tavi plays at a very high level in talent-rich California, and is an absolute soccer junky."
Tavi is the daughter of John and Dee Malta.
Alina Tashjian, a defender, comes from Walnut Hills High School in Cincinnati, Ohio. Tashjian plays year-round for the Ohio Elite club soccer team. She also played two years of volleyball for Walnut Hills.
"Alina is a physically tough and dominating defender with terrific skills in the air and in distribution," said Muns. "She is accustomed to high-level competition playing her soccer in the tough Midwest Regional Premier League."
Ariana Tashjian, a forward, also comes from Walnut Hills High School and plays year-round for Ohio Elite.
"Ariana scores simple, artistic and spectacular goals," said Muns. "She is a finisher with a very high soccer IQ. She also has a blue collar work ethic that is uncommon in goal scorers. As with her twin sister, Alina, she is carrying on the family soccer tradition in South Carolina."
Alina and Ariana are the daughters of Travis and Kathleen Tashjian.
Release written by media relations intern Aaron Beebe '15.


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Marcel Proust, the famous French writer and philosopher, penned between 1913 and 1927 one of the most famous works in the western literary tradition.
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|Oracle FAQ
|Your Portal to the Oracle Knowledge Grid
Home -> Community -> Usenet -> c.d.o.server -> Re: dynamic sql - output actual string that includes all values from bind variables...
Joel - please accept my apology for not getting back to you.
Thank you very much for the links, and I meant to get back to you on those articles (tw of which I was able to get). I don't have access to Metalink, but I asked the DBA to obtain one of them for me since he has access.
I noticed the following in the article right away the other day, and I need to investigate this further. On the surface it sure sounded like this is what i'm after:
Tracing Oracle Applications using Event 10046 There are four levels available when setting up trace with Event 10046 -
· Level 1 is the default. This level traces all activities
until the trace session is stopped.
· Level 4 provides level 1 tracing and displays the entered
value for all bind variables. Bind variables are the values that the user enters. The code displays these bind variables as: b1, etc. When level 4 is activated, the substituted value for the bind variable is displayed in the trace file.
Anyway, THANK YOU for making my day. You already helped before with the links, and yet you saw this exchange and inquired further to find out if they were helpful. That alone means a great deal to me, and is so refreshing!!!
Anyway, on that note I'm going to read through that article and stop wasting my time combating ridicule in here.
Rick Received on Mon Mar 06 2006 - 16:37:15 CST
Original text of this message


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Entrepreneur Awards
Celebrate excellence and the entrepreneurial spirit!
Since 1990, The John M. Morrison Center at the University of St. Thomas Schulze School of Entrepreneurship has recognized outstanding individuals who personify the spirit of entrepreneurship and demonstrate excellence in the way they conduct business.
The annual Entrepreneur Awards ceremony allows Opus College of Business students to meet and network with alumni, successful entrepreneurs from the community and key St. Thomas stakeholders. The event also allows the university, the Opus College of Business and the Morrison Center the opportunity to publicly renew their commitment to and support of the entrepreneurial spirit.


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In The City 2010
Confirmed bands so far include, No Age, Pulled Apart By Horses, Sky Larkin, HEALTH, Ed Drewett, Glasser, Devlin, Still Corners, The Pierces, Male Bonding, Factory Floor, Oh No Ono, O Children, Mount Kimbie, Monarchy Kisses, Eqyption Hip Hop, Crystal Fighters, White Ring, Kisss, Yuck, Glasser, Skepta, Andreya Triana, Spectrals, Lady Chann, Porcelain Raft, Donae'o, plus many more and a portfolio of media and label showcases including; NME Radar, Drowned in Sound, BBC Introducing, Kerrang!, Last.fm, Now Wave, XFM Xposure, Mobo Awards Tour, Hig Club & Young and Lost Club, Fierce Panda, High Voltage, Gold Dust, Rock Sound, Murkage, Contort Yourself, Clique, Same Teens, Brew Records, Sweatshop Records, Akoustik Anarkhy & Melodic, Red Deer Club, Cutloose plus more.
You can see all of these plug more, along with the ITC Unsigned bands for only £29. Buy your In The City festival wristband here
Keynote speakers include:
- Jay Brown, Jay-Z's Business Partner & Co-Founder of Roc Nation, in conversation with Nick Raphael, MD of Epic Records
- Jho Oakley, manager of Pendulum, Chase and Status and SUb Focus, Nick Halkes, co-founder of XL and Positiva
- Caroline Protheroe, manager of David Guetta and former Head of Dance and Virgin Records will feature on a Dance Panel
- Mike Pickering, MD of the newly re-launched Deconstruction Records and Manchester dance music legend, in conversation with acclaimed journalist Paul Morley
- R.E.M's Manager Bertis Downs will be giving delegates a unique and provacative insight into what it's like to manage one of the world's biggest bands and how the role of the artist manager has changed in recent years
- Ryan Screiber, founder of Pitchfork will also be on Blogging The USA panel
For more information on the keynotes, speakers and panels please visit the In The City website
Delegate passes are available for £200 (plus VAT) and allow you full access to the main conference and priority access to live gigs.
This year, In The City will also be launching The Hive which is aimed at providing stimulating, informative and thought provoking programme for students and emerging artists and budding entrepreneurs (16+), and will take place on the 13th and 14th October in The Malmaison Hotel in Manchester.
The Hive will feature panels, seminars and workshops led by a host of industry professionals, covering a wide range of topics including artist management, music publishing, understanding the media, songwriting & studio production and many others. If you would like more information or to buy a pass for The Hive please visit www.inthecity.co.uk
Follow In The City on Twitter - @ITCManchester
Become a Fan of In The City on Facebook - www.facebook.com/inthecity


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Contact Info
5045 S. Laflin St.
Chicago, IL 60609
Tel: (773) 376-9151
Chicago, IL 60609
Tel: (773) 376-9151
Community Description:
Located in a former Franciscan Monastery in Chicago's "Back of the Yards" neighborhood, Su Casa is a house of hospitality in the Catholic Worker tradition, made up of volunteers and guests living in community who attempt to live out the gospel values of non-violence, personalism, resistance, hospitality, and voluntary poverty. Founded in 1990, Su Casa's current mission is three-fold: to provide a place of healing and hope for destitute Spanish-speaking families, to advocate for social justice in issues related to our work of hospitality, and to partner with our neighbors to make our community a better place to live. Su Casa is a recognized 501(c)3 organization in good standing. Su Casa is located in a former Franciscan Monastery in the "Back of the Yards" neighborhood on Chicago's South Side. (3.8 miles from McCormick Theological Seminary). Historically the site of the Union Stockyards described by Upton Sinclair in The Jungle and the location of the oldest community organization in the country (started by Saul Alinsky), the neighborhood around Su Casa continues to be a made up of working class families, and Su Casa itself is on the border between Hispanic and African American neighborhoods. Outreach to this community currently includes a weekly soup kitchen that servers 80-150 people year-round, a weekly play night for neighborhood children, and an adjacent organic garden which is farmed by "Growing Home," a separate work training program for homeless people. The house has the capacity to welcome up to six families at a time, as well as six full-time volunteers, the average stay of which is 4-6 months. Most of the families are single mothers with children who have been victims of domestic violence, yet Su Casa continues to be one of only a handful of shelters in the city which is equipped to welcome the entire family unit—men, women, and children, and it is especially unique in its ability to work with Spanish speaking people. Additional programming for these families currently includes monthly excursions for the children, birthday celebrations, ESL classes, art programming, and ongoing support from our case manager in obtaining documentation, health care, and job readiness skills.
Position Description:
While participation would be welcome in any of the above activities, the field studies intern would be specifically charged with building partnerships with congregations for the sustainable support of the house. This would include contacting churches in the Chicago area, writing letters to their staff, and where possible speaking and/or preaching as a representative of the Su Casa community. There would be additional opportunities for grant writing, organizing fund-raisers, writing articles for Su Casa's newsletter, starting new community development projects, and being a part of the financial decision-making of the institution. The intern would also be responsible for leading weekly theological reflections for the community, taking part in staff, house, and board meetings, and for maintaining an overall pastoral presence in the house. There would be an opportunity for the intern to live on-site if desired.
Sister Maria Davis, IHM, is the longest standing member of the Su Casa community and currently acts as Su Casa's case manager.
Su Casa is located about 3.5 miles due West of Hyde Park. By Car (20 minutes): 51st St West from Hyde Park to Laflin (beyond Halstead and Racine, before Ashland). Turn Right (North) on Laflin, building is on right. By Bus (40 minutes): Bus 55 to Ashland, Bus 9 four blocks north to 51st St. East three blocks to Laflin St. Turn Left (North) on Laflin, building is on right. By Bicycle (25 minutes): Take Garfield boulevard West past Sherman Park on your right. Turn Right on Loomis, Left on 51st, Right on Laflin, building is on right.


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Delivering your goods from door-to-door on time from one continent to another is one thing. It's quite another to use this transit time to release your company's tied-up capital. Our Distribution & Cross-docking services allow you to increase your warehouse turnover rate, simplify administration and turn fixed overheads into floating costs.
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IRIS is a single platform for booking management, shipment milestones/deviations, invoice tracking & notification management. The application is connected with our entire network of offices and agents.


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Working on an older Corvette is a bit like playing a game of mechanical Whack-a-Mole: knock out one problem, and another one immediately pops up. In the case of our '96 Polo Green coupe, we've recently spent the bulk of our time concussing critters in the differential, the better to prep the car for a planned raft of power upgrades. The solution ultimately came in the form of a heavy-duty Dana 36 diff from Zip Products, which went in with a minimum of fuss and has thus far performed beyond even our admittedly high expectations.
With the diff squared away, it was time to focus our sanative attentions on the car's rebuilt 4L60E transmission. While the factory-issue trans was still cracking off rifle-shot upshifts under wide-open throttle, it had developed a barely perceptible slip when engaging Fourth gear in everyday driving. Around the same time, it sprang a festive fluid leak that left decorative Rorschach patterns on the garage floor. While neither of these issues demanded immediate attention on its own, together they constituted a clear indication that the 80,000-mile gearbox was nearing the end of its useful service life.
Rather than simply overhauling the transmission with new stock components, we decided to load it up with race-spec hardware from drivetrain specialist TCI. The Mississippi-based company provided us with a full complement of severe-duty internals for the trans itself, along with one of its high-stall StreetFighter torque converters to enliven our C4's standing-start acceleration.
To minimize the car's downtime during the rebuild, we also obtained a used stock 4L60E from Vette-parts specialist J&D Corvette in Bellflower, California. J&D shipped us an almost-new unit from a wrecked '94 model, which we turned over to local tuner AntiVenom for the freshening-up work. Once that was done, the AV crew headed back to Source Interlink's lavishly equipped installation center to perform the swap. Follow along now as we take a closer look at both the parts themselves and the highlights of the job.