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Post by ZETAR on Oct 12, 2018 2:30:50 GMT
SHALOM...
EDIT TO ADD:
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Post by WingsofCrystal on Oct 12, 2018 12:06:21 GMT
Good morning Z and all of our lovely UFOCasebookers!
Las Vegas Now
I-Team: What's happened since major announcement to end UFO secrecy?
By: George Knapp and Matt Adams Posted: Oct 11, 2018 04:57 PM PDT
LAS VEGAS - One year ago today, a Pentagon intelligence officer stepped forward to announce that he had been in charge of a secret military study of UFOs.
The statement by Luis Elizondo set off a chain reaction that is still unfolding, and several of the story angles led right here to Nevada.
The I-Team has been keeping track of what's happened over the past 12 months.
The UFO world tends to want it all and want it now, so no matter what Elizondo and his colleagues have said or done since then would be enough for the die hard saucer people but some pretty remarkable things have been made public in the year since the announcement was made on Oct 11, 2017.
The event was organized by rock star Tom DeLonge. On a stage in Seattle with DeLonge was a group of people with extensive military and intelligence backgrounds. They came forward to announce a new initiative to push for an end to UFO secrecy. It's called To The Stars Academy. The event didn't generate a lot of news coverage that day, but that changed once it sunk in that just-retired Pentagon intelligence officer Luis Elizondo was admitting what many had long suspected -- mainly, that the U.S. government has secretly been studying UFO incidents all along, collecting videos, testimony, and other evidence.
"For nearly the last decade, I ran a sensitive aerospace threat identification program focusing on unidentified aerial technologies, it was in this position I learned that the phenomena is indeed real," Elizondo said.
He and To The Stars subsequently arranged for the release of previously unknown Pentagon videos showing encounters between U.S. military pilots and mysterious, highly advanced craft. An explosion of worldwide media coverage followed a front page story in the New York Times.
In addition to AATIP, the program Elizondo headed, another program, sponsored by Nevada Senator Harry Reid and based in Las Vegas was also made public.
The I-Team interviewed Reid and others and released multiple documents related to the secret UFO studies, and we've learned, there have been closed door briefings for congressional staff. So what comes next? One of the goals announced a year ago was the collection and analysis of anomalous materials, that is, bits and pieces of metals or so-called meta-materials, scraps that may have been stashed away for decades that are now undergoing the most advanced analysis possible.
We've already heard hints that some of these materials appear to be beyond anything known to modern engineering. A formal announcement about those findings is expected after the first of the year.
www.lasvegasnow.com/news/local-news/i-team-what-s-happened-since-major-announcement-to-end-ufo-secrecy-/1517658637
Crystal
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Post by WingsofCrystal on Oct 12, 2018 12:15:55 GMT
Apollo Magazine
The dizzying mathematical designs of William De Morgan
by Roisin Inglesby 11 October 2018
Fan tile panel (1872–1904), William De Morgan. Photo: © De Morgan Foundation
‘Decoration is futile,’ wrote the Victorian designer William Morris, ‘when it does not remind you of something beyond itself, of something of which it is but a visible symbol.’ In Morris’s case, the ultimate reference point for design was experience of the natural world – of the ‘close vine-trellis that keeps out the sun […] or of the many-flowered summer meadows of Picardy’. For the ceramic artist William De Morgan, Morris’s follower, colleague and the subject of ‘Sublime Symmetry’, currently at the Guildhall Art Gallery, the ‘beyond’ seems to have been altogether more abstract, a world of shapes and patterns perceived through the study of mathematics.
While Morris’s shadow looms large over the Arts and Crafts movement of which De Morgan was a key member, the exhibition argues that he was not the only, nor indeed the most significant, influence on De Morgan’s ceramics career. Instead, it is De Morgan’s father Augustus who is given credit for equipping his son with a unique design vocabulary. Augustus was the first professor of mathematics at the newly founded University College London, where he made significant contributions to the fields of algebra and logic. He also found time to tutor private students including Ada Lovelace, now known for her contribution to the fields of computing and artificial intelligence.
Organised by the De Morgan Foundation and the London Mathematical Society, the exhibition creates the sense of a fizzing intellectual family environment with mathematics at its centre. The young De Morgan’s exposure to the world of algebra evidently started in infancy, as shown by childhood pictures drawn on the reverse of pages of mathematical equations, student work brought home by Augustus and recycled as scrap for his children. The impression that William received a mathematical education from the cradle is reinforced by De Morgan himself who wrote of the young protagonist in his autobiographical novel Joseph Vance sitting on his mentor’s knee and reading Euclid. The Greek mathematician remained a key influence on De Morgan, who described Euclid’s mathematical treatise Elements as ‘the most entrancing novel in literature’ (though modern readers of De Morgan’s own novels, for which he was principally famous during his lifetime, may have cause to doubt whether he was an especially astute judge of what made a good book).
Although William did not follow in the footsteps of his brother George, who co-founded the London Mathematical Society, he did attend his father’s classes while he was a student at University College. Given William’s self-confessed ‘aversion to letters’ this may have been more out of a sense of filial duty than academic ambition, and he left UCL without a degree, determined, against his father’s wishes, to become an artist. After an unsuccessful stint at the Royal Academy Schools, De Morgan worked briefly for William Morris before establishing himself as a ceramicist. His talent for design and experimental techniques, including the revival of metal-glazed lustreware, ultimately contributed to his position as the most celebrated ceramics designer of his generation.
De Morgan was a notoriously poor businessman and one wonders how the son of a mathematician could have been so woefully ill-equipped to balance his books. Yet despite the limits to William’s mathematical aptitude, he continued to use his early lessons as central artistic principles. The ‘sublime symmetry’ of the exhibition’s title refers to De Morgan’s penchant for creating designs based around the manipulation of geometric forms, in which he used his familiarity with the language of mathematics to create compositional order and repeating patterns.
The exhibition’s centrifugal point is a set of basic mathematical principles De Morgan employed, including symmetry, tessellations and geometric shapes. A striking ruby lustreware dish decorated with three insects exhibits rotational symmetry of overlapping triangles, while the precise vertical symmetry of a fan tile panel draws the eye in and upwards through an explosion of botanical ornament. While aesthetically pleasing, these examples are not in themselves indicative of virtuoso mathematical ability; their accessibility rather than their complexity is emphasised by the accompanying labels, written by local primary-school children. An animal chasing its tail around a plate may exhibit rotational symmetry, but its value lies in whimsy and charm rather than mathematical prowess.
More interesting are the individual tiles that serve as building blocks for larger geometric schemes. While the exhibition contains few physical examples of the ways in which individual tiles could be combined to create large-scale repeating patterns, accompanying images of schemes such as ‘Black Swan and Daisy’ and ‘Peacock and Carnation’ show the impact made possible through translation – the repetition of a pattern in different places throughout a design. De Morgan may have been inspired by his father’s work on infinity, but the dizzying effects also bring to mind the 19th-century craze for kaleidoscopes.
De Morgan was profoundly impressed by Islamic patterns and his designs show the influence of the Turkish ceramics then on view at the South Kensington Museum, now the V&A. There is an apt symmetry of a different kind, therefore, to the fact that the V&A now holds many of his design drawings, a few of which are on display at the Guildhall. It is these preparatory works that show precisely how De Morgan used mathematics to structure designs. Close scrutiny of a sheet showing five designs for plate borders reveals tiny pin pricks in the centre of each circle, evidence of the compass he used to create the swirling segments of each pattern. Nearby is a design for an Italianate dish, one half pricked to allow dark ‘pounce’ to be rubbed through on to the plate. The sheet could then be turned over in order for its mirror-image to be transferred in the same way, creating a perfectly symmetrical design.
While so-called Persian forms clearly inspired De Morgan, his work lacks the spiritual significance of Islamic designs in which endlessly repeating patterns represent the infinite nature of Allah. In place of any religious conviction, object after object in this comprehensive exhibition shows De Morgan’s belief in a guiding principle of the Arts and Crafts movement, that beauty and truth emerge from the joy of craftsmanship and the satisfaction of labour. The experimental nature of De Morgan’s work suggests a delight in combining the possibilities of mathematics with the practicalities of design. The result is a body of work that exploits the certainties of geometry to create a reassuring and enduringly popular form of decoration.
‘Sublime Symmetry: The Mathematics Behind William De Morgan’s Ceramic Designs’ is at the Guildhall Art Gallery, London, until 28 October.
www.apollo-magazine.com/the-dizzying-mathematical-designs-of-william-de-morgan/
Crystal
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Post by WingsofCrystal on Oct 13, 2018 11:00:06 GMT
Good Saturday morning lovely UFOCasebookers
~
Crystal
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Post by swamprat on Oct 13, 2018 14:22:48 GMT
I'm baaaack!
Power came back on at 8:14 this morning. Now I get to clean out the refrigerator and the freezer!
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Post by WingsofCrystal on Oct 13, 2018 16:01:03 GMT
I'm baaaack!
Power came back on at 8:14 this morning. Now I get to clean out the refrigerator and the freezer! Hooray! 🎉 Glad you and your family are safe Swamprat. Crystal
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Post by HAL on Oct 13, 2018 19:20:24 GMT
Hey swamp.
Didn't you post two days ago ?
HAL.
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Post by ZETAR on Oct 13, 2018 21:40:16 GMT
Bombshell Google Leak: ‘Users Behaving Badly’ Justifies Censorship
SHALOM...Z
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Post by swamprat on Oct 13, 2018 23:45:15 GMT
"Hey swamp.
Didn't you post two days ago ?
HAL."
Yeah, Wednesday morning, we evacuated down to our daughter's home in Gainesville. We came back Thursday.
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Post by moksha on Oct 14, 2018 11:30:31 GMT
Bombshell Google Leak: ‘Users Behaving Badly’ Justifies Censorship
SHALOM...Z Glad to hear Swampy is OK and back.
So censorship of the public seems to me, to be part of a cycle. TYTLER
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Post by WingsofCrystal on Oct 14, 2018 12:34:52 GMT
Good mornin' all,
Scientific American
Illuminate How Eyes Develop Color Vision
The mini organs may help scientists develop therapies for eye disorders such as color blindness and macular degeneration
By Diana Kwon on October 12, 2018
Sight begins when light bounces off surfaces and enters our eyes. The muscles of our pupils control how much light passes through, and the clear cornea and lens bend the light and focus it onto the retina, a thin strip of tissue covered in millions of light-sensitive neurons, or photoreceptors.
These nerve cells, named for the way they are shaped—like rods and cones—are where light is converted into electrical signals then sent via the optic nerve to the visual centers of the brain. A paper published October 11 in Science uses a retina grown outside the body to show how cones develop into the eyes’ color sensors.
Our daytime vision depends on the cones because they respond best to bright light (as opposed to the rods, which are sensitive to dim illumination). The pyramid-shaped cells come in three types: blue, green and red—each named after the colors of light they are able to detect. We need all three to perceive the many hues in our surroundings. The most common cause of color blindness—which affects approximately 8 percent of males and 0.5 percent of females of northern European descent—is caused by an inherited defect in red or green cones, which leads to reduced or complete loss in ability to see the two colors those cells detect.
Robert Johnston, a developmental biologist at Johns Hopkins University, and his colleagues wanted to understand how, exactly, developing cells in the human eye decide to become blue, green or red. Prior research had provided some big clues, showing this process occurs in a stepwise manner—blue cells come first, then red and green ones follow—and that thyroid hormone, a molecule secreted by the thyroid gland in the neck, is a critical player in this process. But many of these studies had been conducted on animals such as fish, chicken and mice because of the obvious ethical challenge of experimenting with human tissue. Although researchers can study donated retinas from deceased fetuses, it is nearly impossible to obtain samples for some periods of early development.
To overcome this limitation, Johnston’s team decided to use human stem cells to grow mini retinas, or retinal organoids, in the lab. They then let these miniature organs mature in a dish for nine months to a year “We were growing for them for basically the time that it takes to make a baby,” he says.
At the end of maturation the mini retinas looked remarkably like real human ones. The researchers found similarities in the shape of the cone cells, their distribution across the tissue and the production of various proteins. By closely examining the cone cells as they grew in the retinal organoids, the team found, for the first time in human tissue, the sequence of events that triggered development of stem cells into the various types of cone cells. Cells started turning into blue cones first—between 11 and 34 weeks after the retina started growing—then the red and green cones appeared shortly after. “The [lab-grown] retina recapitulates human development really well,” says study co-author Kiara Eldred, a doctoral student in Johnston’s lab. “It was exciting to know this is a good system to study human development.”
They also found thyroid hormone was needed to activate this process. When the researchers used a gene-editing tool to remove the receptor the hormone acted on, they created mini retinas with only blue cells. On the other hand, they found adding more thyroid hormone early in development caused the organoids to produce green and red ones almost exclusively. “This is really excellent basic biology,” Thomas Reh, a University of Washington biologist who was not involved in the latest study wrote in an e-mail, adding this work supports earlier research conducted in mice. In the mid-1990s Reh and others reported the first evidence thyroid hormone is critical to cone development in mice and chickens. In later studies the researchers outlined the role this molecule played in determining the actual distribution of red, blue and green cones across the retina. There has even been some support for these observations in people—a few clinical investigations have shown premature infants with low levels of thyroid hormone develop color vision defects.
“All the previous findings have been verified [by this study],” says Xi-Qin Ding, a cell biologist at the The University of Oklahoma Health Sciences Center who was also not involved in this work. She adds scientists have also found thyroid hormone is important for maintaining cones in adult animals, and that her lab has found suppressing the activity of this hormone in mice can protect the rodents from retinal degeneration.
According to Johnston, this research could help develop future therapies for eye disorders such as color blindness or macular degeneration, age-related damage to the retina that can result in vision loss. Organoids could not only provide a platform to study those conditions in more detail, but now the fact scientists can control the types of photoreceptors that grow in laboratory retinas means it might be possible to one day “transplant these things directly [into patients] or preprogram stem cells and let them grow up to be the particular cells that we want.”
For now Johnston sees the eye, which has many kinds of nerve cells such as the various photoreceptors and ganglion cells, as an ideal testing ground for a broader inquiry on how our bodies generate different types of neurons. “Recent data from several groups suggests there are hundreds of neuron types just in the eye alone,” Johnston says. “For me, it would be a dream just to contribute to understanding how those neurons are made, and hopefully extrapolate those concepts to other parts of the nervous system.”
www.scientificamerican.com/article/lab-grown-human-retinas-illuminate-how-eyes-develop-color-vision/
Crystal
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Post by WingsofCrystal on Oct 14, 2018 12:40:19 GMT
Watch the right side of the screen, a bright white light appears.
vaultteam6
Published on Oct 13, 2018
This is also a MUFON Case 95547
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Crystal
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Post by thelmadonna on Oct 14, 2018 15:10:33 GMT
Hey there, I took myself over to MUFON to have a look at other more recent sightings. Looked through all the picture uploads, decided the Phoenix sighting was pretty good, so followed it up with a weatherbug time-lapse cam. Guess what his image is replicated on the weatherbug cam. This is link to the actual page. I cant seem to capture the frames but they are there for 15 mins or so www.weatherbug.com/weather-camera/?cam=AZSCIAhwatukee is the area the MUFON report came from and the pic from weatherbug is from The Arizona Science Centre
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Post by swamprat on Oct 14, 2018 20:57:30 GMT
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Post by HAL on Oct 14, 2018 21:03:46 GMT
Not how one would expect flares to behave.
HAL
Edit. missed out the word 'expect'.
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