U.S. President Donald Trump is sending a $4.4 trillion budget request to Congress that includes money for a southern border wall and building up the military, but is projected to increase the federal deficit by more than $1 trillion. White House officials all but acknowledged the proposal unveiled Monday has little chance of becoming law Congress alone controls federal government spending. But the White House insisted the budget proposal still sends an important message about Trump's priorities. "This is a messaging document," White House budget director Mick Mulvaney told reporters at a briefing Monday. The Trump budget calls for major cuts to domestic programs such as Medicare, Medicaid and food stamps. But the plan would still not balance the federal budget, in part because of reduced federal revenue due to tax cuts passed last year. Democrats widely rejected the plan. House Minority Leader Nancy Pelosi called the proposal a "brutal collection of broken promises and staggering cuts." The proposal's failure to eliminate debt is also likely to upset some Republicans, who have traditionally opposed budget deficits. "It's simply adjusting to the Washington, D.C., we live in," Mulvaney said, stressing that the new budget plan would help "turn the tide" on national debt. The White House proposal builds on the massive, two-year spending bill passed last week by Congress and signed by the president. That bill includes a major boost for the military, as well as domestic programs. Mulvaney, a former lawmaker and long-time opponent of federal debt, has acknowledged he likely would not have supported the bill were he still in Congress. But he said the new White House proposal does not mean that all of the money approved by Congress must be spent. "These are spending caps, these are not spending floors," he said. Under the two-year budget deal reached last week by Congress, the Pentagon will get a record-high $700 billion for 2018 fulfilling a Trump campaign pledge. "We took care of the military like it's never... What is probably true about the military - they will be voting for Trump - they are very happy with this budget - not enough information - they oppose budget deficits
they are very happy with this budget
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For years, Aimee Lind, a librarian at the Getty Research Institute, has been struggling with ways to make architecture archives more accessible to users. To help solve this problem, she co-founded the California Architecture Archives Network (or CalArchNet) with her Cal Poly SLO colleague Jessica Holada. Together they have organized a series of one-day mini-conferences designed to foster dialogue and collaboration among librarians, archivists, and curators at California institutions that house architecture archives. The goal of these semiannual meetings is to create a space for convergence among professionals who intersect with architectural archives in different ways. Architecture archives, often containing large drawings and scale models, present unique problems due to their size and fragility. CalArchNet participants are interested in improving the overall user experience for visitors to the archives by looking for solutions to obstacles to access. This space for an informal exchange of ideas provides an opportunity to be transparent about the challenges repositories face when managing and processing architecture holdings, as well as encourages investigation and experimentation into ways new technologies may help to solve accessibility issues, such as improved interaction with digitized collections via the IIIF protocol or 3D-scanned facsimile models and virtual walk-throughs. October 27 marked the third meeting of CalArchNet, held at the Palm Springs Art Museum, Architecture and Design Center, with representatives from 13 institutions in attendance. Topics discussed included historic site preservation research methodology, leveraging statewide resources to enhance discovery of collections, security considerations, GIS mapping technologies, and the use of linked open data to make connections between collections. The day concluded with a curator-led tour of the exhibition Albert Frey and Lina Bo Bardi: A Search for Living Architecture. If you're an archivist, librarian, or curator working with architecture... Who is Albert Frey - An Architect - A smart man - not enough information - A librarian
not enough information
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Emily Nagoski is a badass Ph.D. who teaches human sexuality. She wrote a book Come As You Are. Here's a secret: the entire sexology community was eager to get their mitts on her book, it was very exciting. I can't recall the last time there was that much hullabaloo about one book. In this important book, Dr Nagoski explains the interplay between sexual desire and stress a concept that gives us a unique insight into what is going on in women's sex lives. THE ACCELERATOR AND THE BRAKES This concept is a big deal. Think of the accelerator and the brake of a car. Each pedal acts independently from one another; you can press on the accelerator and you can stomp on the brakes. You can even press both at the same time. We don't often press them at the same time in fact, I was specifically told NOT to do that in driver's ed but anyhow, pretend you do. If you press both pedals all the way to the floor of the car, do you stop or go? That's right, you STOP! Ok, now get this, your brake pedal is all the stress you have and your accelerator is your sexual desire. In the same way that the brake and accelerator of a car are two separate pedals yet also inextricably linked, so are your stress and your arousal. They are not the same things, yet have everything to do with one another. If your stress level is high, the majority of women have brakes that turn on, meaning, no matter how much sexy stuff is going on around her, she does not want sex at all. It is like she is pressing down the brakes and the accelerator at the same time. This isn't the case for all women; some women have extremely sensitive brakes or extremely sensitive accelerators. And as Nagoski has found, while this correlation between stress and sexual desire is more common for women, men experience it too (just not quite as often). What did Dr. Nagoski write? - Clear Your Mind - not enough information - Catch Me If You Can - Come As You Are
Come As You Are
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This week I shot my Interview with Claire Bridge. Myself and Riah travelled, I would say all the way out too Wheelers Hill, but it's really not that far away, unless you live on the North side, which we both do. Riah and I carried our gear on two trains and 1 bus to get to Claire's studio out in Wheelers Hill. I can see why Claire lives here as it's a pretty beautiful place, it's still suburban but there are trills, hills and birds everywhere, and for someone that's passionate about the environment I can see why she lives here. Meeting Claire was awesome, after having spoken via phone or email for so long, it was nice to speak to her in person. The filming of the interview went extremely smoothly, I'd put this down to having planned out everything, such as all the questions I was going to ask prior to the interview. By this stage I had helped Riah film as well as Elise and it was noticeable how much smoother Riah's interview went because she had pre-planned her questions. Rather than spending an hour asking various questions that you might not use anyway, it's much more efficient to spend 20 minutes covering exactly what you want to cover. By this stage I'd also had practise setting up lights, doing sound and getting camera shots for people's portraits so I already knew everything I wanted to shoot. Our setup was pretty simple, two large lights, one on Claire's front right and one on Claire's front left, two Canon EOS 60D DSLR's at different positions (one straight on, one to the side), a Sony H2N handy recorder and a lapel mic. Everything ran super smoothly, we did the interview first then myself and Riah shot various things in Claire's studio. Whilst shooting various things in Claire's studio we also got a chance to both speak to her which was nice, discussing what it is like to be a woman in Melbourne's art scene and finding out who some of her favourite artists were. Overall the experience was also, I have a lot of friends who are artists so I hope to do more artist portraits in the future. What field was Claire a part of? - something involving Melbourne's art scene - not enough information - something involving interviews - something involving lighting
something involving Melbourne's art scene
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