text:
by Tony
- Bracelet mommy and baby wore at the hospital.
- 1st hat baby was given by the hospital and blanket they were wrapped in. Could include a 4x6 photo with it for instant visual instead of digging up photos later.
- A printed list of the top 10 (or 40) music hits the week the baby was born. You could include of more than one genre, such as pop, rock, country and/or latin (you don't know what music they'll be into later on).
- 1 photo of mommy each month to show the pregnancy progression.
- Copy of the local newspaper the day of birth, as well as from the city of birth for the parents, should they not be from there. Store in a acid-free sleeve you can purchase at places like Michael's so the papers won't turn yellow.
- Cards received at the hospital and / or baby shower.
- Outfit the baby was wearing when 1st arrived home (accompanied with a 4x6 photo for instant visual).
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text:
Sign In
Deduplication Manager service crashes even when there is no job or task running.
Error Message
Log Name: Application
Source: Application Error
Event ID: 1000
Task Category: (100)
Level: Error
Keywords: Classic
Faulting application name: spad.exe, version: 6.605.312.820, time stamp: 0x5032b509
Faulting module name: spad.exe, version: 6.605.312.820, time stamp: 0x5032b509
Exception code: 0xc0000005
Fault offset: 0x000000000001e0cb
Faulting process id: 0x52c8
Faulting application start time: 0x01ce3953aa42c9db
Faulting application path: C:\Program Files\Symantec\Backup Exec\spad.exe
Faulting module path: C:\Program Files\Symantec\Backup Exec\spad.exe
Report Id: 01c2d0d4-a5ee-11e2-88f9-782bcb4d7778
A hotfix is now available for this issue in the current version(s) of the product(s) mentioned in this article. Refer to the Hotfix link under Related Documents at the end of this article to obtain the hotfix needed to resolve the issue.
Backup Exec 2010R3 Rev 5204 Service Pack 3 (TECH203157)
Backup Exec 2012 Rev 1798 Service Pack 2 (TECH203155)
Terms of use for this information are found in Legal Notices.

subset: commoncrawl


text:
Ahmed Kamal wrote:
another idea, is when a denial occurs, and we get this nice balloon, it would contain 2 buttons - AutoFix: automatically attempts changing the offending file's context, as per the recommended action - Exempt: changes the policy such that the offended application runs in an unrestricted selinux domain.
Whilst this can definitely be an option, I would be very, very, wary about putting it on the first screen the user sees, else they will get into the habit of clicking it. Could it be possible, perhaps, to use permissive domains (or whatever they are called) from the .26 kernel inside of s-c-selinux or s-c-services to fulfill this role?
IMHO, the policies will never be perfect. Mortals can't really "fix" the policy coz it's too complex. The Exempt is what the end users need, or they turn off the whole thing On Thu, Jul 17, 2008 at 10:55 PM, Robin Norwood <rnorwood redhat com> wrote:On Thu, 17 Jul 2008 14:19:07 -0500 "Arthur Pemberton" <pemboa gmail com> wrote:On Thu, Jul 17, 2008 at 2:17 PM, Daniel J Walsh <dwalsh redhat com>John Dennis designed setroubleshoot to be able to send its messages to an upstream collector, it seems to me that adding a button to report the message upstream would be easy. The problem is where is the upstream infrastructure to handle all the messages. dwalsh redhat com Is probably not a good place.I would think not. Does the infrastructure team have any web service or sorts that can accept these log messages?Probably not, but it sounds like a fairly easy turbogears project. The data is in XML? Is the format defined anywhere? The app would need to process the XML to check for duplicates, and display the results. If the format is well-defined and we can say "If fields x, y, and z are the same, then this is a duplicate report", then it should be nearly trivial. -RN -- Robin Norwood Red Hat, Inc. "The Sage does nothing, yet nothing remains undone." -Lao Tzu, Te Tao Ching -- fedora-devel-list mailing list fedora-devel-list redhat com https://www.redhat.com/mailman/listinfo/fedora-devel-list
-- Benjamin Lewis Fedora Ambassador ben lewis benl co uk ----------------------------------------------------------------------- http://benl.co.uk./ PGP Key: 0x647E480C "In cases of major discrepancy, it is always reality that got it wrong" -- RFC 1118
begin:vcard fn:Benjamin Lewis n:Lewis;Benjamin org:benl.co.uk adr:;;;Cwmbran;;;United Kingdom email;internet:ben lewis benl co uk x-mozilla-html:FALSE url:http://benl.co.uk version:2.1 end:vcard
Description: OpenPGP digital signature


text:
Originally posted on AllWrestlingNews.com | Last updated 12/9/12
- The latest episode of WWE Countdown looks at shocking WWE returns: - Lilian Garcia is returning to work full-time with WWE after being hit by a car in Los Angeles several weeks back. She tweeted the following on Saturday: "Back w a vengeance! At airport about to embark on a month long journey w @WWE & family Christmas! 1st stop VA 4 #TTTT 2 perform 4 Troops!" - As seen earlier this week, WWE posted a video on YouTube looking back at Colt Cabana's time in WWE as Scotty Goldman. This has caused a lot of speculation online about Colt returning to the company. Word going around is that the video was likely added as part of a potential feature on Jewish Superstars that was pitched for the Hanukkah season. WWE's website published a feature on most memorable Jewish stars earlier this weekend and Goldman was on the list. Unless it's being kept a secret, PWInsider reports that there are no talks between Cabana and WWE at this time.
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text:
Are you looking for a fun book to read? Take along Princess Arabella wherever you go. With this story's beautiful drawings, special animations and a pre-recorded storyteller, children are sure to have a magical time. By touching the screen, children will discover the hidden surprises and animations. This makes the story perfect for long drives or for cuddling up on the couch at home.
'Princess Arabella wants to play' is an interactive book suitable for children between the ages 4 and 10 years old. The story is based on the Princess Arabella books written by Mylo Freeman which are available at the bookstores.
- Discover fun animations and sounds on every page.
- The texts are also suitable for young readers.
- Children can listen to the recorded storyteller.
- You can read and listen in both English and French. Also available in the App Store are the English/Dutch or English/German version.
We also have an iPad version of Princess Arabella wants to play. It's named "Princess Arabella wants to play plus". The story contains both short texts and the complete story and can be read in four languages; French, English, German and Dutch.
Do you like the Princess Arabella App? Please leave a review behind in the AppStore.
Supported Devices:
- iPad
- iPhone
- iPod Touch


text:
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I do wish all these people who failed to get their act together and enter in time would stop cluttering up the forum with their requests.
Most manage to post only one, but you've managed THREE.
Agreed. You've posted three posts in the SAME forum section? Why? Do you think that people will not see just one of them?
Given that all 3 messages were posted at 19:36, give them a break and assume they had an issue with their browser and did not mean to post 3 ? I find RW one of the more flakey websites for ie/chrome/safari.


text:
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I'm no expert, but I think there are three severities of calf strain. Grade one is a strain with minimun tearage, probably takes about two to three weeks healing.
Grade two is what I had about a year ago, a proper tear. I felt like someone had whacked me on the calf and I suddenly couldn't put any weight on it. I couldn't run on it for five weeks, after seven I was nearing full movement on it, although it was still a little stiff..
Grade three is a major tear which can require surgery and will keep you out for weeks if not months.
Sounds like you may have a grade two. Do keep up the 'RICE' and don't be tempted to run too soon, you could make it worse just when you think it's getting better.
If it helps, I found that I could ride a bike normally after just one week, thus keeping my core fitness up. Riding didn't seem to use the part of the calf that I tore. Mind you getting on and off was difficult!
Thanks. I've read about the 3 grades of calf injury, and was kinda hoping it was number 1 rather than 2.
24 hours on, I can still feel it, though I can't say it's actually painful -- just a little sensitive. I can't feel any physical bumps or similar in the calf (though admittedly I don't know what I'm looking for). I need to get to a physio ASAP I guess. In the meantime, if I am going to be off the road for a few weeks, if I'm able to keep working on my fitness in the gym, that will be a major help.
Roughly you're looking at 3 weeks healing for a grade I tear, 6-8 for grade II and 12 for grade III
Ice, compress, elevate
Keep CV conditioning going with cycling if pain-free
Get to physio for proper diagnosis


text:
Australian Broadcasting Corporation
Investigative TV journalism at its best.
Read the Program Transcript from Quentin McDermott's report "Fake", first broadcast 8 June 2009.
Date: 08/06/2009
QUENTIN MCDERMOTT: For many, it's a world of glamour, excitement, imagination and the promise of profit.
But like some cheap airport thriller, Australia's art world is now buzzing with scandal.
One prominent gallery owner has run off with his investors' money, after selling fakes to his clients.
AUCTION ATTENDEE: He was pressurising people so hard into buying and filling them up with wine, and pushing the sales thing, and you could see that some of the paintings were dodgy, I mean.
QUENTIN MCDERMOTT: The gallery owner, Ron Coles, is now being chased by a motley crew of creditors, not all of them traditional art-lovers.
AUCTION ATTENDEE 2: I feel sorry for you Ronald, but I hope the bikies get ya'.
QUENTIN MCDERMOTT: Some of the works in his gallery were fakes of prominent artists like David Boyd.
DAVID BOYD, ARTIST: Anybody who knew anything about or who was familiar with DB's work would know that that's not by DB, that's all. Anybody who's familiar with it.
(Excerpt of footage of Robert Dickerson and Jenny Dickerson looking at drawings)
JENNY DICKERSON, DICKERSON GALLERY SYDNEY: This is the one you hadn't seen before.
ROBERT DICKERSON, ARTIST: I wish I'd never seen it.
JENNY DICKERSON, DICKERSON GALLERY SYDNEY: It's pretty bad isn't it? It's a forgery, there's no doubt about that.
QUENTIN MCDERMOTT: Art fraud is as old as art itself. But now Australia's most revered living artists are taking up the cudgels against fakers who rip them off.
(Vision of Robert Dickerson tearing up the forged drawing)
(End of Excerpt)
QUENTIN MCDERMOTT: They want the fakers and fraudsters brought to account and they want the fakes destroyed.
Tonight on Four Corners, how artists, buyers, galleries and auction houses are fighting back against the industry's underbelly.
(On Screen Text: Fake! Reporter: Quentin McDermott)
QUENTIN MCDERMOTT: If you know your Australian art, you'll recognise this style as a Fred Williams. The parched brown earth, the hummock rising from the plain, the scattered trees on the hillside.
But this is not a Fred Williams. The artist's name is William Blundell.
He is probably Australia's most prolific producer of fakes, only he calls them innuendoes.
QUENTIN MCDERMOTT (to Will Blundell): So Will, how long has it taken you to paint this innuendo?
WILL BLUNDELL: Oh about half an hour, yes.
QUENTIN MCDERMOTT: Was it difficult to paint?
WILL BLUNDELL: Very easy, it's a very simplistic style that he has, he does a thin undercurrent colour, then he just goes over, and he has a habit of twisting the brush, like in this technique.
QUENTIN MCDERMOTT: In the wrong hands this painting might be passed off as the real thing, but Blundell denies he has ever done this himself. He claims to have a more ethereal motive.
QUENTIN MCDERMOTT (to Will Blundell): Why did you decide to paint it?
WILL BLUNDELL: Well, for just a couple of hours I felt like Fred. Sometimes it happens, it could be Tom, it could be Arthur, it could be anybody, so.
QUENTIN MCDERMOTT: Which Australian artists have you um painted most innuendos of?
WILL BLUNDELL: Well it's a toss-up between Streeton and Whiteley, it's very close, because over the years I've had a certain amount of demand for people to furnish their walls. So I'd say Streeton, yes.
(Except of footage from "Four Corners" 1999)
QUENTIN MCDERMOTT: Will Blundell became famous ten years ago after his paintings did indeed end up in the wrong hands.
His patron, Sydney art identity Germaine Curvers had died, leaving behind a vast array of innuendoes, many of which she had passed off as originals and sold to unsuspecting clients.
Four Corners challenged Blundell about this at the time.
SALLY NEIGHBOUR, REPORTER: And what do you call an innuendo?
WILL BLUNDELL: It's an inference to another artist's work.
SALLY NEIGHBOUR, REPORTER: Not a fake?
WILL BLUNDELL: I don't know why you'd want to come out with that word, I think that's rude.
(End of Excerpt)
QUENTIN MCDERMOTT: Rude or not, the innuendoes painted by Will Blundell and sold by Germaine Curvers through her Paddington gallery, made her hundreds of thousands of dollars in profit, and earned Blundell a sharp rebuke from Brett Whiteley's widow, Wendy.
(Excerpt continued)
WENDY WHITELEY, BRETT WHITELEY'S WIFE: Blundell's obviously a gutter-rat, but he's certainly no artist.
(End of Excerpt)
WILL BLUNDELL: To do these only keeps the artist alive. That's why I've painted so many of the Whiteleys. There may be complaints about them, that they are on the fringe of copyright, but since I've started executing a lot of his works, they seem to be going up in price.
So Mrs Whiteley shouldn't be calling me a gutter-rat. She should be happy that I've helped her own collection.
(Excerpt of footage from "Four Corners" 1999 continued)
QUENTIN MCDERMOTT: Stuart Purves is a prominent gallery owner who worked hard with Wendy Whiteley to take the Blundell pictures off the market.
QUENTIN MCDERMOTT: They had a drastic solution for dealing with them.
(End of Excerpt)
STUART PURVES, DIRECTOR AUSTRALIAN GALLERIES: There were some drawings in an auction, quite a number of drawings once, where we, which were all the duds, innuendos as they were called at the time.
We negotiated the purchase of those to stay out of auction for very little money, and then Wendy and I, Brett's widow, we were, we were involved in that and we burnt them.
QUENTIN MCDERMOTT: How many?
STUART PURVES, DIRECTOR AUSTRALIAN GALLERIES: Two hundred.
QUENTIN MCDERMOTT (to Ken Polk): William Blundell has featured in two previous Four Corners, one in the mid 1980's and one ten years ago. Is he a criminal?
KEN POLK, CRIMINOLOGIST, UNIVERSITY OF MELBOURNE: No, ah in fact you have to be very clear about that. Blundell has never been convicted in a court of law of engaging in criminal fraud. He produces an enormous volume of his what he calls innuendos, but remember copying or producing works of the style of an artist is not a crime, never has been and shouldn't be.
The problem occurs as those works come back into the market and the issue is it a fraud has to do with what does the person know who's trying to sell the art? If the person who knows who's trying to sell the art that it's not say a Streeton, then they're engaging in a fraud, so at that point they're the criminal, not Blundell.
QUENTIN MCDERMOTT: Tim Goodman, CEO of one of Australia's most successful auction houses, Bonhams & Goodman is one specialist who says he has never been taken in by Will Blundell.
TIM GOODMAN, CEO BONHAMS & GOODMAN: He's one of those colourful characters without which I believe the world would be a worse place.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Well here we are in the store-room I'm afraid it's not very glamorous, auction-room stores are usually pretty untidy places, but these are all the pictures that were seized by New South Wales police.
QUENTIN MCDERMOTT: And how many?
TIM GOODMAN, CEO BONHAMS & GOODMAN: About 410.
QUENTIN MCDERMOTT: Tim Goodman is now advising New South Wales police on what is proving to be one of the biggest scandals ever to hit the Australian art market.
(On Screen Text: 2008)
RON COLES: Yes that's the price, 19,500. Yes well that's right.
QUENTIN MCDERMOTT: The scandal centres on this man, Ron Coles, and his investment gallery.
His taste in art was popular, D'Arcy Doyle's paintings were a particular favourite, and he had a close association with the painter's widow Jennefer Doyle, but sometimes the paintings he sold were fake.
QUENTIN MCDERMOTT (to Tim Goodman): Were you shocked to find these fakes coming out of the Ron Coles gallery?
TIM GOODMAN, CEO BONHAMS & GOODMAN: Look after nearly 40 years in the business I don't know that a lot shocks me these days, but yes I was surprised because I've known Ron Coles for many years and I've always had very good dealings with him so it was a very big surprise.
Yes well that's right, yeah from those early days when they were three and four thousand, it's amazing now that same size are forty-five thousand, so you've done extremely well.
(Excerpt of footage of George Lusis showing Quentin McDermott a painting)
QUENTIN MCDERMOTT: George Lusis was one of numerous investors who were sucked in by the Ron Coles patter.
GEORGE LUSIS, ART INVESTOR: Well he was very smooth. I mean he and he was likeable. Everything, everything was mate and the people he thought, obviously he was likeable because the trust, he exuded with you know the people that dealt with him and over the years, so he had a good business yeah.
QUENTIN MCDERMOTT: Up until recently, Ron Coles enjoyed a good reputation. He regularly consigned paintings to the major auction houses, and he even loaned a painting to the Australian War Memorial in Canberra.
These letters, obtained by Four Corners, record the sale in 1992 of four of Coles' paintings, three Streeton's and a George Washington Lambert, to the War Memorial, for a total of $322,000.
But Four Corners has established that these letters are forgeries, and the sales were never made. The Australian War Memorial says it "does not, and never has had, these four works of art. We do not believe these are genuine letters as the signatures are different and they are not on our official letterhead. The Memorial has never purchased any work of art from Mr Coles."
If Coles produced these letters and used them as a record of sale, he did so fraudulently.
To many Coles' investment schemes seemed a good bet, they came with a guarantee to return a profit on all paintings sold one year after purchase or your money back.
QUENTIN MCDERMOTT (to George Lusis): The very first one you bought off him made you quite a good profit didn't it?
GEORGE LUSIS, ART INVESTOR: Yeah it was a Streeton and I paid $25,000 for it. It was Roses I think it was called and that was probably about 15 years ago and that was my the first one I bought for my super fund and it was, paid $25,000 in a space of three months he'd sold it for $38, but it really was a call-bird. When I look back now he did that a few times to get you in and then ah, and then he's got you.
(On Screen Text: 2004)
RON COLES: I don't mind buying million dollar paintings, but buying shares really worries me. I don't know shares, I prefer tangible assets.
QUENTIN MCDERMOTT: Many of Ron Coles' clients bought paintings from him as super fund investments. Under current tax rules, they were not allowed to keep the paintings at home, and instead left them with Coles to store at his galleries.
But last year investors started to realise many of the paintings they owned were vanishing, along with the proceeds of sales.
GEORGE LUSIS, ART INVESTOR: I lost a Sidney Nolan, "Elephants" and it was valued over $100,000 and also a Norman Lindsay which was not quite as much but around, I think about $50,000.
QUENTIN MCDERMOTT: Do you think you will ever get them back?
GEORGE LUSIS, ART INVESTOR: No (laughs) no way in the world, no.
QUENTIN MCDERMOTT (to Time Goodman): I can see here the Broken Hill artist Pro Hart's work.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Well it may look like Pro Hart's work but sadly it isn't, and it's one of I think, ten pictures signed by Pro Hart that have been confirmed now by the estate of the late artist as being fake.
QUENTIN MCDERMOTT: Are they good fakes, or terrible fakes?
TIM GOODMAN, CEO BONHAMS & GOODMAN: They're pretty average fakes.
QUENTIN MCDERMOTT: Ron Coles was selling duds, and among his stock of fakes were Pro Harts, David Boyd's, and Arthur Streeton's, a veritable who's who of Australian art.
Some of the genuine paintings that passed through his hands were tampered with. One in particular, the Art Gallery of New South Wales discovered, suffered the unkindest cut of all.
BARRY PEARCE, HEAD CURATOR AUSTRALIA ART, AGNSW: We recently had an example of a painting sold by Ron, Ron Coles to somebody who brought it in for one of our Thursday appraisals. It was a Sidney Nolan painting that had been sold to this person for a very large sum of money.
It was a New Guinea subject showing an Indigenous figure standing in a landscape with the genitals exposed. And the painting which was sold by Mr. Coles to this person, well the painting had, the genitals were missing.
So at some point between buying the painting at auction someone had removed the genitals to make the painting more respectable.
(Excerpt of footage of comparison between original painting and forgery)
QUENTIN MCDERMOTT: Now you see it, now you don't.
(End of Excerpt)
QUENTIN MCDERMOTT: But Sidney Nolan isn't the only painter whose works, held by Coles, were tampered with.
Ken Knight is an established artist who started exhibiting with Coles seven years ago and had two successful exhibitions with him since then.
Taking pride of place in his Central Coast home is this unique picture, a 1996 collaboration with the internationally renowned Australian painter, Arthur Boyd.
Ken Knight started the painting on a visit to Bundanon on the Shoalhaven River, where Arthur Boyd lived and worked.
KEN KNIGHT, ARTIST: I had this overwhelming urge to paint, and so I did a an appropriation on one of, based on one of Arthur's paintings and I had this crazy idea in the process of doing it that I might ask Arthur to finish it, so I sort of painted half of it and left it with Arthur, and his studio assistant on my behalf asked him, and lo and behold I got it back with Arthur's signature as well as a new painting.
QUENTIN MCDERMOTT: Having a master co-sign this painting was entirely open and transparent.
But when the 400 odd paintings seized by the police from Coles' gallery were examined, a new and unexpected signature was discovered.
(Excerpt of footage of Tim Goodman showing Ken Knight a painting)
TIM GOODMAN, CEO BONHAMS & GOODMAN: Ken you'll be amazed to see these pictures. This one here, do you recognise that at all?
KEN KNIGHT, ARTIST: Yes, yes that's a favourite location, Sydney Harbour above Fisher Bay. Middle Harbour.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Well let me show you something that'll knock your socks off.
KEN KNIGHT, ARTIST: Well that's not my signature.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Now what do you make of that signature?
KEN KNIGHT, ARTIST: A. Streeton.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Exactly. How about that?
KEN KNIGHT, ARTIST: There's something wrong there.
(End of Excerpt)
TIM GOODMAN, CEO BONHAMS & GOODMAN: There were several pictures that were signed by Arthur Streeton, the great Heidelberg School painter who is most remembered for his impressionist images of Sydney Harbour and these pictures were clearly not by Streeton and in fact they looked remarkably like the work of Ken Knight.
KEN KNIGHT, ARTIST: Well I didn't know how to react initially, I mean it almost seemed a bit of a joke, strange sense of flattery, but I mean I just was astounded and, and rather annoyed. I mean an artist spends all his life trying to produce good paintings, trying to maintain integrity and a professionalism and it's the very last thing that any artist would want and felt totally violated.
(Excerpt continued)
KEN KNIGHT, ARTIST: Look at this, it looks as if it's been sanded and aged, is it yellow varnish? Or a glaze?
TIM GOODMAN, CEO BONHAMS & GOODMAN: There's some weird finish, the varnish looks like it's been yellowed.
QUENTIN MCDERMOTT: It wasn't just a case of adding Arthur Streeton's signature to this painting, it had also been deliberately and skilfully aged, in order to dupe unsuspecting buyers into paying far more for it than it was actually worth.
TIM GOODMAN, CEO BONHAMS & GOODMAN: What would you have sold that for, if you don't mind me asking?
KEN KNIGHT, ARTIST: The painting's about 15 years old, gallery price 15 years ago, it would have been, $3,500 - $4,000 at the time. And how.
TIM GOODMAN, CEO BONHAMS & GOODMAN: If it was a real Streeton, it'd make you know, half a million plus, that sort of size. Slight difference, no offence Ken.
KEN KNIGHT, ARTIST: I'm not dead yet, gee.
(End of Excerpt)
QUENTIN MCDERMOTT: The Ken Knight Streeton's weren't the only ones in the Ron Coles collection.
This artwork was sold by Coles as a Streeton to a private buyer for $50,000. She sold it back to Coles, when she realised it was a fake.
Later Coles apparently sold it again with a price tag three times higher.
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: In my opinion this particular painting is not by the hand of Sir Arthur Streeton. Very clumsily painted, materials and technique very recent and it's just a very poor imitation of the work of Sir Arthur Streeton.
QUENTIN MCDERMOTT: Did Ron Coles sell it to anyone?
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: Yes, I understand that he did.
(Excerpt of footage of Tim Goodman meeting with David Boyd)
TIM GOODMAN, CEO BONHAMS & GOODMAN: David, nice to see you, it's been a long time.
DAVID BOYD, ARTIST: Indeed, indeed yes.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Jasmine, hi. Nice to see you too.
JASMINE BOYD: You too.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Now I wish we were meeting under slightly more exciting circumstances.
DAVID BOYD, ARTIST: Well, we can always do that, next time.
QUENTIN MCDERMOTT: Ron Coles also insulted the reputation of one of Australia's most popular living artists, David Boyd.
DAVID BOYD, ARTIST: Yes I'm right, just get me balanced.
QUENTIN MCDERMOTT: Tim Goodman has had the unhappy task of showing David Boyd the several paintings seized from the Coles collection, and purportedly signed by Boyd, which are fakes.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Now to my eye, having had the privilege of selling many of your works over the years, immediately my eye tells me that that's just totally wrong.
DAVID BOYD, ARTIST: That's a complete, this face is completely out for example. They're not, they're not characteristic. And that movement here, that's not, although there is a bit of movement in it, it's not characteristic.
TIM GOODMAN, CEO BONHAMS & GOODMAN: But what about this tree?
DAVID BOYD, ARTIST: The tree itself, you see, again the tree is wrong, the colour used here, those two colours there, well I never used that at all. And this is not characteristic at all, it's too articulated, that tree, you see? That's out of character.
(End of Excerpt)
QUENTIN MCDERMOTT: David Boyd is concerned about the effect these fakes will have on the buying public.
DAVID BOYD, ARTIST: In a way it's sort of flattering to have someone copying your stuff even though they're trying to make some boodle of out it. But otherwise I don't think, I, well naturally it's not fair to the people who buy paintings, mmm.
QUENTIN MCDERMOTT: Ron Coles didn't respond to Four Corners' request for an interview. As the police continue to investigate his activities, Coles has declared himself bankrupt and disappeared from view.
Another artistic family that's endured a long history of fakes, is the Dickerson's.
Robert Dickerson is an elder statesman of the art world, and his wife Jenny has worked hard to protect his reputation.
They have had to contend with a succession of fakes, one early example being this work, called "Blue Boy".
JENNY DICKERSON, DICKERSON GALLERY SYDNEY: Some years ago a young man brought a painting into our Melbourne gallery and asked for an authentication of this painting or a valuation. He wanted it to be authenticated. And my son Stephen who runs the galley in Melbourne thought the painting looked a bit odd.
STEPHEN NALL, DICKERSON GALLERY MELBOURNE: I just felt that it was not correct, and not possible to authenticate, but nevertheless I took a photograph and I said that I would show my step-father and my brother Sam Dickerson in Sydney.
QUENTIN MCDERMOTT: The painting was a forgery, and the Dickerson's had a stroke of luck when Stephen Nall was photographing the painting. It showed a reflection of the man who had brought it in.
(Excerpt of a photograph of "Blue Boy" with the reflection of a man)
STEPHEN NALL, DICKERSON GALLERY MELBOURNE: After that he turned up as a house painter at the gallery in Sydney requesting a biography of Dickerson, signed by Dickerson. As a result the police were called and they went to his flat in Bondi, found a number of works by different artists on easels, presumably in the process of being finished off for the purpose of sale.
JENNY DICKERSON, DICKERSON GALLERY SYDNEY: There were paintings all around the room. And there was an Olsen and a Streeton. And there was a, on the easel was a Dickerson awaiting a signature. No wonder he wanted a signed book.
QUENTIN MCDERMOTT: Some time later the fake was offered for sale at an auction. After Stephen Nall raised the alarm, the painting was withdrawn and, finally, taken out of circulation.
QUENTIN MCDERMOTT (to Stephen Nall): How much was it being offered for?
STEPHEN NALL, DICKERSON GALLERY MELBOURNE: Sixteen thousand dollars, so had I not by chance seen that the picture was in that auction, there would be a person in the community who would pay $16,000 and be, have a worthless piece of paper.
QUENTIN MCDERMOTT (to Wayne): This is the painting known as 'Blue Boy'. Did you paint that?
WAYNE: No.
QUENTIN MCDERMOTT: Four Corners has found the man who took the painting into the Melbourne gallery. He's a former forger who says he's gone straight.
QUENTIN MCDERMOTT (to Wayne): Did you take that painting into the Melbourne gallery?
WAYNE: No.
QUENTIN MCDERMOTT: For valuation?
WAYNE: No.
QUENTIN MCDERMOTT: And to be photographed?
WAYNE: No.
QUENTIN MCDERMOTT: A photograph was taken of it. Do you recognise that person?
WAYNE: I could.
QUENTIN MCDERMOTT: Mmm?
WAYNE: I could.
QUENTIN MCDERMOTT: It's you isn't it?
WAYNE: It appears to be me yes. It's not hard to do.
QUENTIN MCDERMOTT: What do you mean by that?
WAYNE: Oh, photo-shop.
QUENTIN MCDERMOTT: He denies he created this fake, but he agreed to be interviewed on the condition that his full name wasn't revealed.
QUENTIN MCDERMOTT (to Wayne): Who is creating these fakes?
WAYNE: There's a plethora of people. Yeah, it'd be Chinese, which are quite they're getting there, they're not very good but they're getting there. People like myself who are commissioned to paint without a signature or with a signature.
The Dickerson signature is, it's quite childlike so I could do it with my eyes closed. I don't need a book.
QUENTIN MCDERMOTT: Who commissions you?
WAYNE: Right across the field from galleries, people with money to invest, friends, that's about it.
QUENTIN MCDERMOTT: Wayne was also responsible for selling this fake Dickerson, "Pensive Girl", at a Bonhams & Goodman auction.
TIM GOODMAN, CEO BONHAMS & GOODMAN: Once we established that the Dickerson was a fake and we received the picture back and refunded the money to the buyer, we then assisted the police to arrest the vendor who had faked the drawing.
WAYNE: It was sold at Goodman's. From there it was on-sold or commissioned to Eva Breuer art gallery and from what, from what I know that it was spotted by Jennifer Dickerson and subsequently I was charged with receiving monies by deception.
QUENTIN MCDERMOTT (to Wayne): Do you recognise this artwork?
WAYNE: Yes that's one of mine.
QUENTIN MCDERMOTT: This fake Dickerson led to Wayne's conviction. He was sentenced this year, but only to repay the money and do 40 hours community service.
QUENTIN MCDERMOTT (to Stuart Purves): Is the law tough enough?
STUART PURVES, DIRECTOR AUSTRALIAN GALLERIES: No.
QUENTIN MCDERMOTT: In what sense?
STUART PURVES, DIRECTOR AUSTRALIAN GALLERIES: It's not frightening enough. I think it should be like robbing a bank, if you rob somebody's idea and someone's culture and copy it. You know "track and whack" I used to say, but they tell me that's very old fashioned now.
QUENTIN MCDERMOTT (to Wayne): I've got one more to show you here. I'd love you to tell me about it. Here it is.
WAYNE: Never seen it before.
QUENTIN MCDERMOTT: It's a fake, it's a John Olsen.
WAYNE: It's a good one.
QUENTIN MCDERMOTT: It's a little frog, and I've been told by Tim Goodman that you created it.
QUENTIN MCDERMOTT: Remarkably Wayne now works in his spare time as a private consultant to art investors.
QUENTIN MCDERMOTT (to Wayne): If it is a fake, is it a good one?
WAYNE: It appears to be a good one. It's raw, it looks a bit weathered, it's not perfect.
QUENTIN MCDERMOTT: So you don't know anything about it?
WAYNE: No.
WAYNE: I'm poacher turned gamekeeper. I consult for others. They ask me my opinion on works of art that they're prospective buyers of.
QUENTIN MCDERMOTT: Do you have a particular talent for spotting fakes that other art consultants don't have?
WAYNE: I do. I'm a, I'm a criminal, so I've lived their side not to their extreme not the money that's involved, and I've been on the other side.
QUENTIN MCDERMOTT: How many fakes have you spotted?
WAYNE: Quite a lot. Oh, in 20 years, couple of hundred.
JENNY DICKERSON, DICKERSON GALLERY SYDNEY: This is the EBay site that there were actually two Dickerson's on, and a Coburn, a Nolan, and two or three other paintings.
And they actually used us as a reference. They put our website on and said, "A whimsical female face typical of Dickerson's work, please see the following website". Well I wasn't thrilled with that.
QUENTIN MCDERMOTT: As recently as last year, several fakes purporting to be by major Australian artists, including Robert Dickerson, were advertised on EBay. The works were on sale for thousands of dollars each.
JENNY DICKERSON, DICKERSON GALLERY SYDNEY: And I showed it to Bob and Bob said "that's rubbish". He said "that's not mine". And he said "not only that, that Charlie Blackman's wrong too". And then I showed him. It was pretty hard. They were very tiny thumbnails and he squints into the computer and said "well I don't think the Nolan or the Drysdale are right" and I said "goodness me".
STEPHEN NALL, DICKERSON GALLERY MELBOURNE: This is an issue that we need to address in legislation with perhaps the creation of an art crimes register so that you can have works that are stolen, works that are faked, and works that are otherwise problematic for any number of reasons, put onto the register so that the public can be aware of what's going on.
(Excerpt of footage of Albert Tucker painting, "Faun Attacked by Parrots")
QUENTIN MCDERMOTT: One work which could feature in such a register is this painting, "Faun Attacked by Parrots", attributed to Albert Tucker.
In the last two years its authenticity has been called into question.
(End of Excerpt)
QUENTIN MCDERMOTT (to Geoffrey Smith): Is it genuine?
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: Ah it is problematic. Now what I mean by problematic is that it does not have a clean bill of health.
QUENTIN MCDERMOTT: Geoffrey Smith is an advisor to the Tucker estate, and one of Australia's leading art academics.
He has found no record of the painting in the Tucker estate archives, in the painter's own card index, or in any of Tucker's photographs.
Dealers have claimed that the painting was shown in an exhibition that Albert Tucker held at a gallery in Mexico in 1969, and that a label indicates this.
But Geoffrey Smith says this history or provenance is false.
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: None of the boxes of this painting are ticked and therefore it is a problematic picture.
QUENTIN MCDERMOTT: Is it a fake?
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: In my opinion, it does not appear to be by the hand of Albert Tucker. I mean, I am very um, you know it's not black and white for me. But it is a picture that will not be included in the catalogue raisonné that I'm preparing on, on the oil paintings of Albert Tucker.
QUENTIN MCDERMOTT: How would you describe that part of the provenance that relates to the art exhibition in Mexico?
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: Manufactured.
QUENTIN MCDERMOTT: Fraudulent?
GEOFFREY SMITH, NATIONAL HEAD OF ART, BONHAMS & GOODMAN: Yes.
QUENTIN MCDERMOTT: Two years ago the painting was taken to Deutscher Menzies. The auction house was extremely keen to place the painting in its next sale.
Its Chairman Rod Menzies told the vendor "We look forward to marketing your Tucker masterpiece" and offered a guaranteed sale price of $280,000, in order to secure the painting.
But after consulting with the painter's widow Barbara Tucker, the vendor was told, "This work may not be the authentic work of Albert Tucker".
The painting was withdrawn from sale, and later bought back by the Melbourne dealer Peter Gant who had previously tried to authenticate the painting.
Peter Gant maintains that the painting is not a fake, and its provenance is not fraudulent.
He refuses to say where the painting is now, and whether he will try to sell it again.
BARRY PEARCE, HEAD CURATOR AUSTRALIA ART, AGNSW: I think cases like this dent the confidence of people who want to buy or get involved in collecting. And it's certainly a dent to the reputation of the dealers or the agents who are selling the works, because you know, a lot of people who are collecting, who are novice collectors have to, have to trust their agents that what they're getting is good value, and what they're getting is genuine. So yes, that, it could have, such a case could have wide-reaching damage.
QUENTIN MCDERMOTT (to Robyn Sloggett): How many problematic works are there circulating in the art market right now?
ROBYN SLOGGETT, DIRECTOR CENTRE FOR CULTURAL MATERIALS CONSERVATION, MELB. UNIV.: Um well if we're talking problematic we're talking about works that don't have secure provenance or are out and out fakes or have slipped identities which means someone's got a work that they thinks' by Arthur Streeton that's been hanging in their family home for 50 years, they truly believe it is but there's no evidence to support that.
I am inclined to think there's probably about 10 per cent of the market that fits into those various categories.
TIM GOODMAN, CEO BONHAMS & GOODMAN: There are always going to be rogues and fortunately in the art world I can, I can absolutely undertake that the art world is made up of mostly very honest and ethical professional practitioners, but like every other industry there are always going to be a few people that don't play by the rules.
QUENTIN MCDERMOTT: In part, because proving intent to deceive is so hard, successful prosecutions are few and far between. Only once in the last thirty years has a jail sentence been handed down for art fraud in Australia.
In November 2007 a middle-class couple from Melbourne, Pamela and Ivan Liberto, went to jail, after being convicted of obtaining money by deception by faking the work of Aboriginal artist Rover Thomas, who died in 1998.
Pamela Liberto is in poor health, and the couple served just nine months of a largely suspended three year sentence.
But whatever else their spell in jail may have achieved, it hasn't led them to express remorse for the crimes they were convicted of. Tonight they speak out for the first time.
QUENTIN MCDERMOTT (to Ivan Liberto): Ivan first of all, did you do it?
IVAN LIBERTO: No, I didn't, I find it really funny.
QUENTIN MCDERMOTT: Did you or anyone you know create these paintings?
IVAN LIBERTO: Yeah but no I didn't do it no. I'm sorry I interrupted.
QUENTIN MCDERMOTT: Pamela did you do it?
PAMELA LIBERTO: No.
QUENTIN MCDERMOTT: Did you or anyone you know.
PAMELA LIBERTO: No.
QUENTIN MCDERMOTT: Create these paintings?
PAMELA LIBERTO: No.
QUENTIN MCDERMOTT: Pamela and Ivan Liberto were able to sell fake Rover Thomas paintings at three of Australia's biggest auction houses, Sotheby's, Christie's, and Lawson Menzies.
They made more than $300,000 from the sales. But they now claim they are the scapegoats for an industry that fails to nail the real culprits.
QUENTIN MCDERMOTT (to Ivan Liberto): Why do you believe the Auction Houses pursued you and decided that these paintings were fake?
IVAN LIBERTO: Well it's possibly because they had other occasions where some fakes had been found but couldn't nail anybody on it, we were the right people to nail, the easy people to nail at the right time.
QUENTIN MCDERMOTT (to Robyn Sloggett): You've built up quite a large file on this case haven't you?
ROBYN SLOGGETT, DIRECTOR CENTRE FOR CULTURAL MATERIALS CONSERVATION, MELB. UNIV.: We have an enormous amount of material actually, and it's all contained in this database.
QUENTIN MCDERMOTT: The key expert witness in the case against the Liberto's was Associate Professor Robyn Sloggett, from Melbourne University.
Her painstaking forensic work on scores of artworks has helped to determine whether or not they are authentic.
ROBYN SLOGGETT, DIRECTOR CENTRE FOR CULTURAL MATERIALS CONSERVATION, MELB. UNIV.: This one's Roads Cross. This is interesting because we've got some very good images here of how the work's been manipulated. So here we've got some white dots, you can see that the paint's been laid down over the top to make it look like dust.
We've also got the two layers here, the dark brown underneath and then the lighter ochre, which is obviously a two-part application which Rover Thomas would never have been interested in doing.
QUENTIN MCDERMOTT: So very carefully constructed by whoever faked this, and not painted in the normal natural way that Rover Thomas would have done so.
ROBYN SLOGGETT, DIRECTOR CENTRE FOR CULTURAL MATERIALS CONSERVATION, MELB. UNIV.: That's right, so it's been constructed to look as if it's a very loose construction but in actual fact it's highly fabricated.
QUENTIN MCDERMOTT: As far as the Liberto's are concerned, Professor Sloggett's science counts for little.
QUENTIN MCDERMOTT (to Pamela and Ivan Liberto): Are the paintings genuine?
IVAN LIBERTO: Well.
PAMELA LIBERTO: I, I believe the paintings are genuine, but then I'm not an art expert, but in my heart I believe they're genuine Rover Thomas paintings and I am quite sad, not, sad is probably the wrong word, I don't think they should've been destroyed.
QUENTIN MCDERMOTT (to Robyn Sloggett): So what should auction houses be doing when they receive works like this which are actually quite skilfully made?
ROBYN SLOGGETT, DIRECTOR CENTRE FOR CULTURAL MATERIALS CONSERVATION, MELB. UNIV.: Check the provenance. I mean this all came down to the word of the Liberto's basically and I guess that's whether auction houses trust their clients or not and they probably shouldn't trust their clients without having the ability at least to verify.
QUENTIN MCDERMOTT: There are signs of a consumer backlash against fakes in the secondary art market.
QUENTIN MCDERMOTT: Two weeks ago the owner of this painting, attributed to Rover Thomas, accepted a refund from Rod Menzies of $36,600, the price she paid for it at a Lawson Menzies auction in 2005.
The deal was reached in secret after the owner threatened to appear on Four Corners.
The owner believes the painting, "Grugrugi Owl", may not be authentic. It comes from one of Victoria's most controversial art dealers, Neil McLeod.
Artwork consigned by Neil McLeod is not accepted by two of the country's biggest auction houses, Sotheby's and Bonhams. The issues for them are questions over provenance and authenticity.
The painting has been examined by Robyn Sloggett. Her preliminary report, obtained by Four Corners, says "at this stage, in view of the evidence available, the work cannot be ascribed to the oeuvre, or body of work, of Rover Thomas."
Rod Menzies told Four Corners he had purchased the painting back "to preserve its reputation" until further analysis is undertaken.
Neil McLeod would not agree to an interview, nor did he respond to questions from Four Corners.
As some senior specialists see it, the art world needs more scholarship, more complete catalogues of artists' works and a national database of forgeries and fakes.
BARRY PEARCE, HEAD CURATOR AUSTRALIA ART, AGNSW: Now if that was to happen then this re-emergence of forgeries somewhere else down the track with the potential to, you know, financially damage someone would be certainly minimised.
(Excerpt of footage of conversation between Tim Goodman and David Boyd)
TIM GOODMAN, CEO BONHAMS & GOODMAN: That was the one that was most obvious to me as being wrong.
DAVID BOYD, ARTIST: Yeah, yeah.
(End of Excerpt)
QUENTIN MCDERMOTT: Until that happens, the danger remains that a small number of gallery owners will cheat the public, wittingly or unwittingly, by selling fakes.
QUENTIN MCDERMOTT (to Ken Polk): Have the police been proactive enough in investigating and prosecuting wrongdoers?
KEN POLK, CRIMINOLOGIST, UNIVERSITY OF MELBOURNE: No not at all, they tend to avoid the problem of art crime, they tend to avoid the problem of art fraud, they tend not to know anything about it, they tend not to be very interested in it.
One of the difficulties is that the cases don't come up that often, and therefore there's no expertise in the police to deal with this issue. Every time these cases emerge, the police have to be trained right from the beginning, so it's a major problem.
QUENTIN MCDERMOTT (to Stuart Purves): How can buyers be better protected?
STUART PURVES, DIRECTOR AUSTRALIAN GALLERIES: By helping themselves, really by helping themselves. Most people are trying desperately to help each other in a rather fragile cultural world. It's an interesting mix, culture and money and it causes all sorts of intriguing things.
It builds great galleries, museums and so on that handle the works of art for everybody to see over the years, and it causes a slight criminal side as well. And the buyers have got to take their part in it by being absolutely sure, being tougher if you like from whom they're buying the work of art and say prove it to me.
QUENTIN MCDERMOTT: At least one major problem may be about to be solved. Will Blundell has had an epiphany.
QUENTIN MCDERMOTT (to Will Blundell): Do you paint looking out of the window here?
WILL BLUNDELL: Occasionally, yes, and I go down and do a lot of work on the corner over there near the rocks, and in the evenings here the horizon is excellent, with a lot of eggshell greens. I find the light here is beautiful.
QUENTIN MCDERMOTT: In the twilight of his unique career, he wants to become an artist in his own right.
WILL BLUNDELL: I'm trying to divert onto a new style. I've been experimenting with a lot of new colour schemes and in a form of abstract art, like a thousand people at Central Railway with the crossing. And you just put hundreds and hundreds of little heads and little bits of red and blue to show colour, a couple of parasols here and there.
Very quick, very sharp, without any hesitation and you stand off it from 20 feet and its a thousand happy souls there in a big town sucking in the air.
(Excerpt of footage of Pamela Liberto's YouTube video)
QUENTIN MCDERMOTT: Pamela Liberto too, is experimenting with some new painting styles of her own and spruiking the art she painted in jail, on YouTube.
(End of Excerpt)
PAMELA LIBERTO: I have never had any art lessons, in fact even at prison the lady never really gave you art lessons, she would just sort of sit down and there were a few paints there and she would say "oh just do some paintings for therapeutic" you know that sort of, but I've had no training whatsoever.
QUENTIN MCDERMOTT: And you certainly won't be painting in the style of Rover Thomas?
PAMELA LIBERTO: No.
IVAN LIBERTO: Perhaps she should.
QUENTIN MCDERMOTT: The last word belongs to the artists who feel both angered and bemused by what's occurred.
For David Boyd, it's the idea of a chance meeting with the man who's tried to steal his reputation.
DAVID BOYD, ARTIST: I mean, he's a dishonest wretch and a cheat, that's all. What do you say to a cheat if you're invited to say anything? I don't think I'd say anything to him at all. I think I would probably walk past with my nose in the air or something like that.
QUENTIN MCDERMOTT: For Robert Dickerson, it's the chance to protect his reputation by taking more direct action.
(Excerpt of footage of Robert Dickerson tearing up a forged drawing)
[End of transcript]
Please note: This transcript is produced by an independent transcription service. The ABC does not warrant the accuracy of the transcript.


text:
Data delayed 15 mins. See terms
Behind the Wheel is a web series dedicated to the sustainable innovation, cutting edge design and technologies from CNH Industrial and its brands. A journey to discover some of the Company's most interesting aspects from products to expertise, told by the people who know them best.
Thanks to the rise of new technologies such as Virtual Reality and the increasing capacities of High Performance Computing (HPC), the days of crash test dummies and costly physical prototypes are becoming a distant memory in the automotive and capital goods sectors. The CNH Industrial Design Analysis & Simulation department works internationally, collaborating on the early stages of product development and engineering to map out new agricultural machinery, construction equipment, commercial vehicles and powertrains years before the final products arrive in the marketplace.
The CASE Rodeo - Each year Case Construction Equipment (CASE) hosts a Rodeo; a throwback to western cowboy culture that celebrates the unsung heroes of the construction site. The CASE Rodeo gives professionals from the construction sector the chance to show off their skills through a series of challenges on the brand's latest machinery. Watch them battle it out!
Mechanizing the grape harvest - In this episode of 'Behind the Wheel' we take you to the rolling hills of Chablis, one of France's most famous wine regions. Follow a grape harvester from our New Holland Agriculture brand, the global leader in self-propelled grape harvesting machines, and see how our technology is contributing to the creation of an exceptional bottle of wine in terms of quality, taste and a sustainable environmental impact.
The CNH Industrial Design Center - Through an interview with David Wilkie, Director of the CNH Industrial Design Center, the fourth episode of 'Behind the Wheel' depicts how the products from CNH Industrial's brands evolve from the drawing board to the real world where they are used to build infrastructure, deliver goods, transport people, cultivate fields, put out fires and much more.
Iveco and the first step in autonomous truck driving - In the third episode of its 'Behind the Wheel' web series, CNH Industrial follows the Iveco platoon on its journey to Rotterdam for the European Truck Platooning Challenge, the first ever voyage of semi-automated truck platoons on public roads. Through interviews with CNH Industrial's Innovation and Institutional experts and Iveco Brand President Pierre Lahutte, the episode chronicles the issue at hand and the steps being taken by the Company and its partners to move platooning technology into its next phase.
How Magirus helps firefighters to save lives - In the second episode of its 'Behind the Wheel' web series, CNH Industrial takes you to Ulm, Germany, the home of its global firefighting equipment brand Magirus. A group of visiting journalists are put through their paces at the brand's Fire Fighter Academy. Watch them as they travel up the world's tallest turntable ladder, take practice aim with powerful water hoses and take a spin in the famous Dragon fire engine.
The New Holland tractor that could change the face of sustainable farming - In the first episode of its 'Behind the Wheel' web series, CNH Industrial takes a closer look at the methane tractor prototype from its brand New Holland Agriculture and its potential to revolutionize the future of sustainable farming.
Behind the Wheel: how Virtual Reality is building the machines of tomorrow
Behind the Wheel: The CASE Rodeo
Behind the Wheel, episode 5: How New Holland Agriculture helps make a great glass of wine
Behind the Wheel, episode 4: the CNH Industrial Design Center
Behind the Wheel, episode 3: the first step in autonomous truck driving
Behind the Wheel, episode 2: the Magirus Fire Fighter Academy
Behind the Wheel, episode 1: the New Holland tractor that could change the face
of sustainable farming


text: Cinegrain CITY Color Grades/LUTS (Win/Mac) | 122 MB Apply the color palette of these references to your images. Load standard LUT files into Resolve, Photoshop, After Effects, Baselight, Flame, Nuke, Premiere, etc. Features * Even load Full Node Trees directly into your DaVinci Resolve PowerGrade to have a bag of tricks that only industry vets have. * 24 Color Grades. OS - Windows XP, Windows Vista, Windows 7, Windows 8 / MacOSX 10.7 or Later Home Page - Code: http://www.cinegrain.com/color/city Buy Premium From My Links To Get Resumable Support,Max Speed & Support Me Code: Download ( NitroFlare ) http://nitroflare.com/view/60EDFA5D89FD441/d5n6y.Cinegrain.CITY.Color.GradesLUTS.WinMac.rar


text:
All right, now I don't want to alarm anyone here, so if you are of a nervous disposition you may wish to cover your head with a blanket for this bit.
Yes, that's right, a mere seven days separate us from the howling festival of panic that is Christmas day. You know, that day when the dog eats three rolls of sellotape and a metre of tinsel and spends the morning doing gift-wrapped vomits behind the sofa; the cat manages to eat a large chunk of the turkey you left in that supposedly secure cupboard to defrost and you have to perform origami with bacon to disguise the teethmarks; several children eat so much chocolate that they regard your lovingly prepared and cooked dinner with cries of revulsion (and you only have to hope that it's because of all the chocolate and not because they've seen beyond the Bacon of Disguise); all available batteries fall down between the sofa cushions into the Land that Lies Beyond and are never seen again, meaning that you sit and look at all those wonderful new (battery operated) devices you were given and make 'brrm brrmm' noises as you try to work out what they are for; it rains, and the wonderful family walk you go on to work up an appetite for Christmas dinner is blighted by the lack of wellington boots and coats and the smallest child has to go out wearing slippers and a bin liner, whilst you wear riding boots and your smart coat and are mistaken for a Cossack.
That day.
So, as you increasingly desperately wrap the presents you bought in a feverish panic last weekend whilst trying to remember whether your mother in law is the one who is almost fetishistic about almonds or the one who is so severely allergic to nuts that she can't even sniff a Snickers bar without being confined to bed, and worry about whether the Frankie Boyle DVD was the best present for that rather prissy family down the road, and why the cat is being so quiet in the kitchen - just remember to relax, enjoy yourself, and, if all else fails, drink an entire bottle of Baileys and join the dog behind the sofa.
And if you need additional things to take your mind off Christmas, then go over and read the Choc Lit Blog where, from 19th December, you will be able to find out about Choc Lit authors Christmasses. Although I don't think any of them mention the Bacon of Disguise. But I bet they all know what it is...
Covering the work of a very diligent cat. Come on, you've all done it...
Sunday, 18 December 2011
Tips for surviving Christmas - The Bacon of Disguise... lost batteries, and hoping that no-one has to wear a bin liner this year.
Posted by Jane Lovering at 13:43
2 comments:
- Cat Marsters/Kate Johnson said...
Number one upside of being a vegetarian: the cats wouldn't deign to steal my Christmas lunch.
The Demon Puppy is, however, still totally unforgiven three years after she ate an entire, unwrapped box of chocolates.
- 18 December 2011 at 18:11
- Kate Allan said...
I shall make a note of the bacon tip
- 21 December 2011 at 10:27
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text:
Approved for public release; distribution is unlimited.
Document created: 1 December 05
Air & Space Power Journal - Winter 2005
Lt Col Ed "Mel" Tomme, USAF
Col Sigfred "Ziggy" Dahl, USAF
|Editorial Abstract: The near-space region is emerging as an important operational domain for the war fighter. This article is derived from a larger, more fully documented treatise on near-space operations entitled The Paradigm Shift to Effects-Based Space: Near-Space as a Combat Effects Enabler, available at the Web site of Maxwell Air Force Base's Airpower Research Institute: https://research.maxwell.af.mil/papers/ay2005/ari/CADRE_ARI_2005-01.pdf.
|We choose to . . . do the other things, not because they are easy, but because they are hard.
—John F. Kennedy
Military commanders must know, intrinsically, the nature of their battlefields and be able to act swiftly and decisively to changes in that environment. There is nothing new about this fact. History is overflowing with examples of the victory or defeat resulting directly from it.
Twenty-four June 217 BC: As the early rays of dawn crested the steep hills surrounding the crystal blue waters of Lake Trasimene, -Roman proconsul Caius Flaminius pulled his heavy cloak closer about his shoulders. A thick fog blanketed the lush plain that held his magnificent, 25,000-strong Roman army. Flaminius, a cunning hunter, was herding his archenemy Hannibal Barca with his advancing troops. A patient general, Flaminius knew better than to engage the wily Hannibal, who was still more than a day's hard ride to the southeast, until the time and conditions were right.
His advisors had urged him to send scouts out in advance of his main body, but Flaminius was concerned about revealing his exact position and thought it better to let Hannibal guess. He knew that Hannibal would soon be caught between the jaws of two formidable Roman forces and defeated once and for all. The Roman general had seen the campfires of the Carthaginians in the distant hills the preceding evening. He thought scouts were completely unnecessary in these conditions and could only work against him. Flaminius was badly misinformed.
High upon a hill, Hannibal Barca watched the barely visible Roman standards as they moved ghostlike through the fog that blanketed the valley below. Hannibal had arrayed his army in such a way as to block egress through the winding trail that cut through the pass to the east, but kept his main fighting force of Iberians and Africans quietly camped on the steep hillsides amongst the boulders and scrub trees.
This was the second morning that Hannibal had been camped in this natural amphitheater, and he had noted the dense morning mists the day prior. His men were less than a half mile from the elite Roman troops, poised for a sudden attack. He sent the command to execute a close-phased attack with signals easily seen from the high hilltops. Moving through the fog, the Roman army had no warning as the Carthaginian masses sliced into them from above. Before noon, Flaminius, along with 15,000 of his warriors, lay dead. Many thousands more were captured or wounded. "How could this possibly be?" the Roman must have thought. Hannibal knew the values of a robust intelligence network, meteorology, long-range communications, and most importantly, the inherent advantage of owning the high ground.
Jump forward 2,222 years: what would you say if we told you the US military was seriously considering augmenting its intelligence-gathering and communications infrastructures with helium-filled balloons? You would probably say we were crazy. However, it is true, and once we get past the "giggle factor," we think you will agree that the concept has a lot of merit. Like Hannibal, our leaders also know the value of a robust intelligence network, meteorology, long-range communications, and the inherent advantages of owning the high ground, and we are moving out sharply to capitalize in this regime.
The near-space concept, as it is currently called, involves floating payloads into a region of the stratosphere where winds are light and weather virtually nonexistent. From that extremely high vantage point, the payloads have line of sight for hundreds of miles to the horizon, becoming long-range communications relays or providing intelligence over theater-sized areas. The purpose of this article is to show why the near-space concept can become a valuable layer in our nation's system of command, control, communications, computers, intelligence, surveillance, and reconnaissance (C4ISR) systems, with strengths that the other layers do not or cannot provide. The reason we call it near-space is that it provides similar effects to what satellites have traditionally given us without having to go into orbit. Others prefer to call it "far-air." It really does not matter. After all, what is in a name? It is a medium that we need to exploit to get space effects.
Many functions that are currently done with satellites could be performed, for tactical and operational commanders, using near-space assets more cheaply and with greater operational utility. To fully understand this fact, one must be able to grasp what the word "space" means to the war fighter. Sadly, too many people define space as a place where we operate satellites. That mind-set is, in a word, counterproductive. Space is not just a place and is not based on a specific platform type. To the warrior, space is a medium from which war fighters get effects—the proverbial "ultimate high ground." If it has no direct effect on the battlefield, a war fighter has little use for it, especially in a time of crisis. Typically, space effects are strongly related to C4ISR. Until recently a large fraction of our C4ISR effects has been delivered from satellite platforms. The reason for operating in such a manner was that, in general, no other way existed to obtain similar effects. The extreme costs of space were easily justified due to the monopoly on the ability to provide the needed effects. However, with the advent of near-space concepts, the same effects can be obtained in a different way, especially for operational and tactical users. It is the individual effect that is paramount for the war fighter, not the platform or the environment where the platform resides. The primacy of the concept of space as a set of related effects, rather than a location or a set of platforms, is a true paradigm shift—and one long overdue.
The near-space operating regime has many strengths. It also has its own weaknesses. This article is a top-level comparison of how space effects can be delivered from near-space, satellites, manned ISR, and unmanned aerial vehicles (UAV). Satellites will be shown to have great strengths for strategic missions where freedom of overflight is required. However, for operational and tactical missions—primarily after or just before commencement of hostilities—we argue that near-space holds strong advantages. Near-space assets that can provide stay-and-stare persistence for days, months, and perhaps even years should soon be available. These mission durations will soon exceed those of UAVs and begin to approach those of satellites. Near-space provides persistence and proximity that orbital mechanics prohibits, with a price tag that space launch cannot approach.
It is important to note that we do not advocate replacing satellite assets with near-space assets. On the contrary, near-space allows our high-dollar strategic assets to do their jobs even better by relieving them of many of the stressors that tactical and operational commanders place on them during times of crisis.
So why do we need to go to near-space? Four factors are significant: orbital mechanics, fuel, cost, and weather. These factors deny commanders the one thing they want most in a C4ISR system: stay-and-stare persistence. There are surprisingly few national ISR assets actually orbiting the earth. These assets are frequently needed for higher-priority missions and are so heavily tasked with strategic missions that they may not be readily available to operational or tactical commanders.
Similarly, communications resources, regardless of where the nodes are located, never seem to be available in sufficient quantity. Satellite-based communications are very expensive to field and generally have limited bandwidth and availability. Those assets with continuous availability are extremely expensive to build, and the costs of boosting them to their distant geosynchronous Earth orbits (GEO) put them well beyond the price range of operational and tactical commanders. The existing alternatives—terrestrial communications systems such as cell phone networks—are difficult and time consuming to set up and are not responsive on a moving battlefield. The currently fielded constellation of communications, navigation, and ISR satellites does an exceptionally good job of providing strategic space effects.
However, even as good as they are as currently envisioned and employed, it is impossible for our limited non-GEO assets to provide a constant, staring presence on a timescale of days, weeks, or months over a selected target or area of interest without fielding a much larger constellation of assets. Nongeostationary satellites measure their persistence in pass times instead of hours. For example, most low Earth orbit (LEO) satellites have a specific target in view for less than 10 minutes at a time and revisit the same sites only infrequently. This kind of persistence is stroboscopic at best. Costing billions or at least millions each, countering the strobe-like view with multiple satellites to provide staring persistence is almost prohibitively expensive. Additionally, satellites can only carry very limited amounts of maneuvering fuel, so their orbits and times overhead are very easily predicted—a fact many of our enemies exploit.
C4ISR space effects are also provided by air-breathing platforms. While much more responsive than orbital assets and capable of returning much higher resolution imagery, due to their limited numbers and limited loiter times, airborne assets still cannot always provide the persistent look needed by battlefield commanders.
Physical limitations due to orbital mechanics and fuel consumption prevent long-term persistence for both orbital and airborne platforms. As a result of being tied to expensive, limited-quantity platforms operating in the traditional media of space and air that do not have the capability to stay on station for extended periods of time, battlefield commanders have only a limited chance of tasking an asset that provides all the information or communications capability they need when and where they need it.
Again, thinking about space as just a location or a set of platforms is an artificial constraint that distracts from the whole point of launching satellites into orbit—getting the desired effects for the war fighter. We do not launch satellites just to launch them—space launch is a very expensive proposition. We launch satellites only when we determine them to be the best way to get the desired effects related to their missions in spite of their costs.
From the above discussion, it is obvious that there is a gap in our ability to deliver persistent C4ISR effects. There is also a gap in the altitudes covered by military assets, as shown in figure 1. These two gaps can be simultaneously filled through the use of near-space platforms. Near-space platforms operating in the altitude gap can provide the missing persistent communications and ISR effects desired by war fighters.
|Figure 1. Graphical depiction of the gaps filled by near-space
Near-space is well below orbital altitudes. Being roughly defined as the region between about 65,000 and 325,000 feet, it is too low for sustained orbital flight and above the region where air-breathing engines and wings work very well. Operating in near-space offers a number of benefits. Some of these benefits are footprints approaching those of satellites, proximity to the war fighter, survivability, low cost, responsiveness, flexibility, and, above all, persistence. Although our definition of near-space reaches to the boundary of space, we cannot currently sustain operations throughout that entire region. We can, however, comfortably achieve long-term presence in near-space below about 120,000 feet. The lower limit of near-space was not only determined from operational considerations, being above controlled airspace, but meteorological ones as well. The 65,000-foot level is above the troposphere, the region of the atmosphere where most weather occurs. There are no clouds, thunderstorms, or precipitation in near-space. Turbulence and strong winds, the bane of large balloons at lower altitudes, are not the norm in near-space. In fact, there is a region between about 65,000 and 80,000 feet where average winds are less than 20 knots, with peak winds being less than 45 knots 95 percent of the time. Near-space is a much better place for lighter-than-air vehicles to operate than lower altitudes.
The footprint, the area in which the platforms can provide their space effects, covered by near-space assets, is very large. Footprints are mission driven. For example, the ground-based node of a ground-to-space (or ground-to-near-space) communications link generally requires the space-based link to be a specified angle above the horizon to ensure connectivity. The footprint for such a mission would be the area on the ground from where the platform would appear to be at least the specified angle above the horizon. To use two near-space platforms as nodes in a communications link -requires an unobstructed line of sight between the two. In contrast, a signal detection sensor only needs line of sight to the signal source, so its footprint extends to the horizon as seen from the platform.
Figure 2 shows the extent of these footprints covered by platforms at two representative near-space altitudes, one at the bottom of the regime shown over Washington, DC, and the other at an altitude easily within reach of current technology depicted over Colorado Springs, Colorado. As described above, three footprint rings are shown for each platform: ground communications, signal detection, and communications links. It is important to note that most ISR sensors would not be able to image the entire footprint at any one time; those fields of view are sensor, not platform, dependent and are typically much smaller than the possible regions for imaging shown by the footprints.
Figure 2. Footprint sizes for platforms at 65,000 and 120,000 feet for three mission restrictions
While near-space platforms are high enough to provide space effects across theater-sized regions, they are much closer to their targets than their orbital cousins. Distance is critical to resolving features in images and receiving low-power signals. Optical resolution is closely related to range—double the distance, halve the resolution. Considering a point at nadir, near-space platforms are 10–20 times closer to their targets than a typical 400-kilometer LEO satellite. This distance differential implies that optics on near-space platforms can be 10–20 times smaller for similar performance, or the same size optics can get 10–20 times better resolution. Similarly for communications, the power received by a passive antenna drops off roughly as the square of the distance to the transmitter. A passive antenna on a satellite that received one watt of power from a transmitter would receive several hundred watts on a near-space platform, implying that it could detect much weaker signals. The signal strength improvement for active systems such as radar would be about a factor of 100,000.
These examples of near-space platforms at nadir are also best cases for the satellites. Any off-nadir angle only increases the distance differential, increasing the near-space signal strength and resolution advantages markedly. When you realize that most communications satellites orbit not at 400 kilometers but at 35,000 kilometers above the earth, one to two thousand times further than near-space, it is apparent that the received power difference between the two locations is almost unimaginably large.
Though it seems counterintuitive, near-space platforms are inherently survivable. They have small radar and thermal cross sections, making them fairly invulnerable to most traditional tracking and targeting methods. They also tend to move very slowly compared to traditional airborne targets. At near-space altitudes, they are very small optical targets as well (try spotting a 747 without a contrail during daylight), showing up well only when they are brighter than the background at dawn and dusk.
Thus, the acquisition and tracking problem is very difficult even without considering what sort of weapon could possibly reach them at their operating altitudes. Manned aircraft and surface-to-air missiles (SAM) could be a threat at the lower end of near-space, but even if they were able to acquire, track, and guide on a near-space platform, their probability of kill would likely be low. Economics also discourages such an exchange, as the trade between an inexpensive, quickly replaceable near-space platform and even a relatively cheap SA-2 would rapidly become cost prohibitive.
Although the near-space advantages in footprint size, resolution, received and radiated power, cost, and survivability are significant, perhaps the most useful and unique aspect of near-space platforms is their ability to provide responsive persistence, the ability to deliver their space effects to battlefield-commander-specified locations around the clock with no gaps in coverage. The greatest persistence that a commander can currently expect from an air-breathing asset is about a day or so for a Global Hawk. In contrast, one near-space platform, currently receiving technology demonstration funding, will be able to stay on station for six months, and planned follow-ons are projected to stay aloft for years.
In all fairness, near-space platforms do have some weaknesses, the foremost being launch constraints and overflight restrictions. Large helium-filled balloons present large cross sections subject to the effects of wind and turbulence during inflation, launch, traverse of the troposphere, recovery, and deflation. Inflation times on the order of hours will probably require the construction of hangars to protect against the wind. These constraints are not showstoppers. Very large balloons (up to 300 times the volume of the Goodyear blimps) have routinely launched for years with similar constraints, and lightweight, inflatable hangars suitable for deployment are commercially available. The susceptibility of near-space vehicles to low-altitude wind means design constraints and employment concepts need to enable missions of sufficient duration to allow for launch and recovery when the weather meets system requirements and may necessitate construction of hangars for some types of platforms. Such considerations are required to ensure seamless coverage of the area of interest. Satellites face similar launch constraints, but those constraints are applied only once—during launch. UAVs and manned aircraft are also subject to similar launch-and-recovery constraints, although their limitations are less stringent than those for near-space platforms. Construction of hangars for near-space platforms is a relatively minor project when compared with construction of the launch infrastructure for other types of platforms.
The last weakness of near-space that we will discuss is overflight rights. One of the chief strengths of satellites is that by treaty they are allowed to overfly any part of the earth. Space is an international domain. Near-space assets, being kept aloft by buoyant forces, are considered air vehicles and are subject to air laws. Sovereign nations control the airspace above their borders. Thus, the deep-look capability we depend on satellites to deliver is not something that near-space can supplant. Even considering these weaknesses, near-space assets can form an additional layer of persistence between satellites and air-breathers, complementing both and making the combination of systems more survivable, capable, and redundant by their presence. They accomplish this by
• staying and staring for much longer than any envisioned airborne asset could ever hope because they have on-station times proposed to be on the order of months or years;
• getting their lift from buoyancy, not from fuel;
• moving slowly enough and at such high altitudes that overcoming drag requires a minimal draw on their power supplies;
• having large footprints that are not offset by the extremely fast orbital speeds and short pass times of satellites;
• improving upon the long-term persistence traditionally provided by satellites while providing the on-call responsiveness of airborne assets; and
• being on-station when and where a battle-field commander needs them.
Near-space assets provide the answer to the needs for organic persistence so poignantly stated by the coalition commanders of recent conflicts.
Until very recently, the distinction of space as a set of effects instead of as a medium was irrelevant because satellites were the only platforms that could deliver space effects. However, a convergence of several technologies has changed the capabilities landscape, now making this distinction an important one. Evolutionary advances in several disparate disciplines have led to a revolutionary advance in capability. Some technologies contributing to this revolution are power supplies including thin, lightweight solar cells, small, efficient fuel cells, and high-energy-density batteries; the extreme miniaturization of electronics and exponential increase in computing power, enabling extremely capable, semi-intelligent sensors in very small, lightweight packages; and very lightweight, strong, and flexible materials that can resist degradation under strong ultraviolet illumination and are relatively impermeable to helium or hydrogen.
Taken alone, the above technologies, in general, are progressing at normal evolutionary rates. There have been few, if any, large and unusually rapid increases in capability in any of the fields. However, when those technologies are combined into a system called a near-space platform, the convergence of the technological advances allows a revolutionary, transformational increase in capability. It is the advent of these near-space platforms that requires a reevaluation of the concept of space as it applies to the war fighter from a platform/medium point of view to a mind-set of effects.
A near-space platform is designed to be a sort of "truck." Just as an 18-wheeler's cargo type is unimportant as long as it meets specified weight and volume requirements, a near-space platform's payload type is unimportant as long as the payload mass and power requirements are within specified ranges. Due to the inherent payload flexibility, the following discussion of near-space platforms will not generally include specific payloads. Instead we will describe the two basic types of near-space platforms currently being investigated for military use—free floaters and maneuvering vehicles.
Free floaters are basically the simple weather balloons many people imagine when they think of lighter-than-air. Very inexpensive, they are very straightforward to construct and launch, but lack the station-keeping capabilities of their more complex brethren. Once launched, they are at the mercy of the existing winds. These balloons can take tens to thousands of pounds to over 100,000 feet, but more typical payloads are in the range of tens of pounds. Free-floater systems have already demonstrated commercial viability and military utility as communications platforms. The Air Force Space Battlelab's Combat SkySat program is an example of a free-floater system currently in use.
Other than the continual constellation replenishment necessary to ensure persistent coverage, the biggest drawback to most military free-floater concepts would seem to be that their payloads generally cannot be recovered. The best that could be hoped for was to use a parachute or a short-range paraglider-recovery system to get a payload back. Innovative balloonists have devised a way around this free-floater limitation. By encasing the payload in a high-performance, autonomous glider, we can safely recover and reuse expensive or sensitive payloads. The payload is sent aloft just as it would have been on a conventional free-floating system. However, instead of destroying the payload as it drifts out of theater, as the balloon approaches the maximum range of the glider, the glider is cut loose from the balloon. The payload then autonomously glides back from hundreds of kilometers away, staying aloft for several hours before landing safely on relatively small, unprepared surfaces. Once safely back on the ground, the payload and glider can be quickly reattached to another balloon and floated again. Only the very cheap balloon part of the system is lost on each mission. The Talon TOPPER project, part of the Air Force's Tactical Exploitation of National Capabilities (TENCAP) program, is a concrete example of this concept.
We see free floaters as useful primarily for missions where a horizon field of regard is useful, missions such as communications, moving-target detection, and signals interception where only a line of sight to the signal source is required. With a horizon-sized footprint, highly accurate payload steering is not a critical ability. Free floaters are much less useful for missions requiring precise navigation such as overhead imagery.
As we designed the concept, constellation replenishment is only a stopgap measure on the road to the true promise of near-space. While there will still be niche missions for free floaters in the future, true near-space effectiveness will soon rely on maneuvering vehicles that can fly to and station-keep over specified points. Such platforms are the functional cross between satellites and airborne platforms, providing the large footprint and long mission durations commonly associated with satellites and the responsiveness of a tactically controlled UAV. These vehicles will use a variety of schemes for propulsion, including conventional propellers and unconventional buoyancy-modification schemes that allow vehicles to propel themselves by porpoising through the air at about 30 to 50 knots, enabling them to overcome all but the most unusual near-space winds. No integrated maneuvering vehicle has yet been flown in near-space. However, according to the military's ballooning experts at the Air Force Research Laboratories, the reason for this problem has been a lack of sustained, significant funding required to start such a project rather than an insurmountable technical challenge.
Several programs are currently in the works. The Navy has a lower-altitude pathfinder flying and has established a significant funding line for its near-space follow-on. The Army expects to fly a larger-scale demonstration vehicle in 2007. Many other maneuvering-vehicle concepts are on the drawing board, being funded by numerous government agencies and the civilian sector. Maneuvering vehicles do not require the continual replenishment of free floaters to provide persistence. Their payloads are large enough to be militarily useful, and they can be recovered for repair and reuse. Maneuvering vehicles are the revolutionary technology primarily behind the paradigm shift to effects-based space. Figure 3 shows some current concepts.
|Figure 3. Three proposed near-space maneuvering vehicles. Left to right: GlobeTel's Sanswire, Techsphere Systems' AeroSphere, and the New Mexico State University Physical Sciences Laboratory's Advanced High-Altitude Aerobody (AHAB).
Again, we do not advocate eliminating satellites or UAVs. However, in many circumstances near-space assets are the better choice for providing tactical/operational communications and ISR space effects for a number of reasons. When cost is the concern, near-space has no peer. Their inherent simplicity, recoverability, relative lack of requirement for complex infrastructure, and lack of space-hardening requirements all contribute to this strong advantage for near-space assets. Requiring only helium for lift, near-space platforms do not require expensive space launch to reach altitude. If the payloads they carry malfunction, they can be brought back down and repaired. Should they become obsolete, they can be easily replaced. Additionally, the infrastructure cost savings involved with near-space are huge. Near-space assets require extremely minimal launch infrastructure. Compare the cost of a simple tie-down and an empty field or an inflatable hangar to building a space-launch complex or even to building a hard-surface runway. The low price of near-space assets enables operational commanders to own and control fleets of them, for the price of a single national asset.
The space effects needed at the tactical and operational levels of war are persistent and responsive communications and ISR, both of which enable command and control. Orbital mechanics prohibit staring-type persistence by individual satellites in any orbit except in the distant (and expensive-to-reach) geostationary belt. Fuel considerations limit the loiter of air-breathing assets to at most a few days. Conversely, many near-space assets are specifically designed to have the ability to stay and stare for months at a time. Near-space's forte will be persistence.
Responsiveness is another self-evident need for commanders. Unforeseen requirements for imagery or communications arise constantly as a result of friction and the fog of war (ask Flaminius). Once on orbit, satellites are all but unresponsive. It takes an enormous amount of energy to change the orbit of a satellite. Satellites are also nonresponsive to launch taskings.
Air breathers, both manned and unmanned, are extremely responsive. They can be launched in minutes to hours, and once on station they can be redirected at will. Near-space platforms are also extremely responsive compared to satellites and almost as responsive as air breathers to launch and redirect. In general, near-space maneuvering vehicles require about a minute per 1,000 feet to ascend, so it takes about two hours for them to be on station at 120,000 feet. They also cruise more slowly than most air breathers, so getting to their assigned stations will take longer. However, once there they can stay for a very long time. Operational risk is substantially reduced because of the single launch-and-recovery cycle that produces months of duration on station. The stay-and-stare capability, wider field of view, and near-UAV-quality resolution provided by near-space assets could easily enable much more effective use of high-demand UAV assets by acting as cuing mechanisms. They can multiply the asset-limited UAV force by sending them only where their additional capabilities for enhanced resolution and force application are needed.
So, if satellites are so expensive and so nonresponsive and if they are physically unable to provide persistence, why, then, do we buy them at all? The answer today is the same as it has been since the 1950s—freedom of overflight. The importance of freedom of overflight cannot be overemphasized as a positive aspect of orbital operations. Satellites are the only legal means by which overhead ISR can be performed deep inside the territory of sovereign nations during peacetime. This is of paramount importance, as it enables many C4ISR effects that no other platform can perform. However, once war is declared or hostilities commence, near-space becomes the clear choice to achieve the space effects required for many operational and tactical missions. During hostilities, airspace sovereignty over enemy territory is no longer a consideration—near-space assets can operate above the same locations that air breathers can, subject to similar enemy threats. Near-space assets can then provide organic C4ISR. UAVs provide exactly this sort of local control, but the footprint of a UAV can be much smaller than that of a higher-flying near-space asset, and the near-space platform has the persistence advantage. The following table provides a comparison:
When one looks at the desired tactical and operational space effects, it is evident that there are large niches where near-space assets perform much better than orbital and air-breathing assets. When one understands that it is effects that matter on the battlefield instead of the platform or medium from which the effects are delivered, near-space makes much more sense for many applications. There are also missions that satellites do extremely well, and for which near-space is not competitive. The point is that a layered approach whose goal is to enable space effects in the most economical, effective way will direct the acquisition of the appropriate platform using the appropriate medium, turning the current acquisitions methodology of medium-then-platform-then-effect on its head.
In conclusion, operationally responsive space really means operationally responsive space effects. Near-space does indeed seem to be the obvious solution to that problem. It can provide many of those effects more responsively and more persistently than space itself. The shift in mind-set to this concept is of such a magnitude that it will require a substantial rewrite of current military space doctrine. It may also require a reorganization of Air Force and Department of Defense force structure to most efficiently realize the benefits of centralized, seamless effects-based space. Near-space is the catalyst for these significant changes. The paradigm shift must occur. The time for near-space is definitely now.
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|Lt Col Ed "Mel" Tomme (USAFA; MA, University of Texas at Austin; DPhil, Oxford University, UK) is deputy director of Air Force Tactical Exploitation of National Capabilities (TENCAP) in the Space Warfare Center at Schriever AFB, Colorado. A 1985 distinguished graduate of the United States Air Force Academy, he has flown and instructed in the T-37 Tweet, F-4G Wild Weasel, T-3 Firefly, and TG-7 Motorglider. After earning his doctorate in plasma physics, he taught physics at the US Air Force Academy, where he became the only officer ever recognized as both the outstanding academy educator by the dean and the outstanding associate air officer commanding by the commandant. Championed by the commander of Air Force Space Command and the chief of staff of the Air Force, Colonel Tomme has briefed his concept for utilizing the near-space regime for military purposes to over 200 flag officers since April 2004.
|Col Sigfred J. "Ziggy" Dahl (BA, University of Washington; MA, Webster University) is the director of Air Force Tactical Exploitation of National Capabilities (TENCAP), Space Warfare Center, Schriever AFB, Colorado. He has more than 2,000 operational fighter hours in the F4D/E/F and the F-15E. His space experience began in 1994 in the Space Warfare Center, where he was instrumental in developing real-time information into/out of cockpit technologies, GPS enhancements, and increasing GPS-guided-weapons accuracy. He was selected to lead stand-up of the USAF Weapons Instructor Course Space Division. Colonel Dahl draws on experiences from several assignments with the US Army. He commanded the 5th Air Support Operations Squadron; served as the 1st Air Support Operations Group's deputy commander for transformation at Fort Lewis, Washington; and served as air/fighter liaison officer and terminal air controller supporting conventional, Stryker, Ranger, and special forces operations. Most recently, he served in combat with Coalition Joint Task Force-7 and Coalition Provisional Authority, Baghdad, Iraq, as the first Iraq Air Component Coordination Element director in 2003.
The conclusions and opinions expressed in this document are those of the author cultivated in the freedom of expression, academic environment of Air University. They do not reflect the official position of the U.S. Government, Department of Defense, the United States Air Force or the Air University
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