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Yep this headline is from today, Monday morning.

Some snippets from the article about how efficient things are now that DOGE have injected their code changes into production without testing.

Suddenly forced offline as they were taking claims, the staff members scribbled down clients’ information, then had to wait until later to load it into the computer, doubling or tripling the amount of time and work involved, the employee said.

In other instances, Managers or security guards improvised a solution after the online scheduling system failed, the employee said. They walked out to the reception area, wrote down numbers on paper slips and started handing them out to people waiting in line.

The network crashes appear to be caused by an expansion initiated by the Trump team of an existing contract with a credit-reporting agency that tracks names, addresses and other personal information to verify customers’ identities. The enhanced fraud checks are now done earlier in the claims process and have resulted in a boost to the volume of customers who must pass the checks.

EDIT: here’s an archive link. https://archive.is/FQfBu

Natalia Goncharova The Forest 1913

Oil on canvas.  130 x 97 cm

Museo Nacional Thyssen-Bornemisza, Madrid

In 1913, the year the present “Rayonist landscape” entitled The Forest is dated, Natalia Goncharova and Mikhail Larionov signed the Rayonist Manifesto.

This Russian avant-garde movement was defined by Camilla Gray as the style which “encompasses all existing styles and forms of the art of the past, as they, like life, are simply points of departure for a Rayonist perception and construction of a picture.”

According to this new aesthetic idea which, as the American historian specifies, departed from the concept of perception, both artists showed an interest in the nature of vision and began studying light as the indispensable source of our sensory appreciation of the world. Given that, in order for any object to be seen it must be illuminated, the Rayonists represented in painting the whole sequence of rays that allows us to see a particular scene. “We do not sense the object with our eye, as it is depicted conventionally in pictures and as a result of following this or that device, ” they stated in the Rayonist manifesto. “In fact, we do not sense the object as such. We perceive a sum of rays proceeding from a source of light; these are reflected from the object and enter our field of vision.” 

The Forest, also entitled Rayonist Landscape or Rayonist Perception, which was shown both in Mishen (Target), the exhibition organized by Larionov in Moscow in 1913 marking the new movement’s introduction to society, and in the solo exhibition of the painter’s work organised by the gallery owner K.I. Mikhailova at his Art Salon in Moscow that year, is an illustrative example of Goncharova’s interpretation of Rayonism.

(https://www.museothyssen.org/en/collection/artists/goncharova-natalia)