Sunday, December 4, 2016

Interpol on Friday evening arrested Abdul ‘Bhola’ Rehman in Bangkok, Thailand. Rehman, 46, is accused of starting a 2012 garment factory fire in Karachi, Pakistan that killed over 250.

Initially thought to be accidental, the fire is now believed to have been set deliberately by an extortion group targeting the factory’s owners. Rehman is accused of receiving an order to start the fire. He is expected to be extradited to Pakistan where he is facing charges under terrorism legislation.

The Pakistani Interior Ministry was ordered by a court to arrest Rehman and another suspect, Hammad Siddiqui, with assistance from Interpol. A third accused, Zubair alias Lala, is detained in Pakistan. Around a dozen further suspects are under investigation.

The Ali Enterprises factory fire in Karachi’s Baldia Town area was among the worst industrial disasters in Pakistan. A judicial enquiry found insufficient emergency exits, insufficient safety training, overcrowding due to bulky equipment, and insufficient regulatory oversight all contributed. German firm KIK, the facility’s main customer, paid compensation to victims.

Once facing now-abandoned murder charges, the factory’s owners are now being treated as witnesses. Papers lodged before Sindh High Court in February last year suggested an extortion plot. A reinvestigation commenced the following month, and earlier this year police confirmed they too believed an extortion gang to be responsible.

Rehman was arrested at the Royal Garden Home Hotel, where he was staying alone. He is alleged by some reporters to have connections with the Pakistani Pak Sarzameen Party and Muttahida Qaumi Movement, something both organisations deny. He is also alleged to have worked for Karachi’s local government.

Rehman’s wife said he was innocent.

Sunday, January 27, 2008

Viktor Schreckengost, the father of industrial design and creator of the Jazz Bowl, an iconic piece of Jazz Age art designed for Eleanor Roosevelt during his association with Cowan Pottery died yesterday. He was 101.

Schreckengost was born on June 26, 1906 in Sebring, Ohio, United States.

Schreckengost’s peers included the far more famous designers Raymond Loewy and Norman Bel Geddes.

In 2000, the Cleveland Museum of Art curated the first ever retrospective of Schreckengost’s work. Stunning in scope, the exhibition included sculpture, pottery, dinnerware, drawings, and paintings.

Friday, February 2, 2007

An advertising campaign for shows on Adult Swim, a programming block on Cartoon Network, which is owned by Turner Broadcasting, gave local and federal law-enforcement a scare when devices were discovered on eight different bridges and roads.

The U.S. city of Boston was snarled in traffic jams January 31 as police investigated devices with flashing lights representing a cartoon character were placed around bridges and other areas throughout the city.

Different governmental agencies were brought in to help deal with the problem, which was later found to be no threat, as described by Boston Police Department spokesperson Eddy Chrispin. A bomb squad was deployed under supervision of the FBI, Boston police, the US Coast Guard, and different federal agencies.

The advertising campaign, for the widely popular program Aqua Teen Hunger Force, featuring characters from that series, was in place for two to three weeks in Boston, New York, Los Angeles, Chicago, and many other major US cities.

Two people have been arrested for alleged participation in this incident.

Turner Broadcasting Systems hired New York marketing firm Interference Inc. which in turn hired individuals in the various cities to place the devices promoting the cartoon’s fifth season, scheduled for a February 23 premiere. Road and rail traffic was disrupted by police as they investigated and removed the devices.

The mostly flat devices resemble two-foot-square Lite-Brites with batteries attached to the bottom and visible wires.

G4TV has dubbed the incident “Aquagate” on its broadcast of Attack of the Show segment The Feed.

It is not known why the devices took police several weeks to notice, nor why the devices were believed to be dangerous.

Saturday, August 13, 2011

British Prime Minister David Cameron has stated that a change in police strategy is appropriate following what many feel to be an inadequate response to the rioting that has overrun many cities across England. Riots started in Tottenham on Saturday night after the fatal shooting by police of Mark Duggan, a 29-year-old taxi driver who the Independent Police Complaints Commission state was in possession of a handgun, but did not fire it.

During the Parliamentary debate on the riots, David Milliband, the Labour leader, called on Cameron to reconsider cuts to police budgets. Chancellor of the Exchequer George Osborne described the communities where the rioting occurred as being “left behind” and “cut-off from the economic life-blood of the rest of the country”, and called for solutions to the “deep-seated social problems”

One avenue the Prime Minister is said to be considering is changing regulations on social media services like Twitter, Facebook and BlackBerry Messenger, the latter being used to communicate between groups of rioters. The Open Rights Group and Big Brother Watch came out in opposition to any plans to restrict communication using social media, with Jim Killock of the Open Rights Group warning that such regulation would be abused by the police and private companies.

In Southampton, England, three people were arrested by police for the suspicion of using Twitter or BlackBerry Messenger to encourage the rioting. The government is “working with the police, the intelligence services and industry to look at whether it would be right to stop people communicating via these Web sites and services when we know they are plotting violence, disorder and criminality,” said Cameron.

The Prime Minister also announced that he would consider using the army to support the police in controlling future rioting, and also that he would consult with William J. Bratton, CBE, who had been the chief of police in Los Angeles and a police commissioner in New York City and Boston. Bratton is quoted as saying that arrests are not the only way to solve societal problems which lead to rioting and unrest: “You can’t arrest your way out of the problem.”

Thursday, October 10, 2019

On Monday, United States District Court Judge Victor Marrero issued a ruling against President Donald Trump finding that New York City prosecutors could view his tax records after a subpoena issued by a grand jury. The Manhattan district attorney’s office is investigating Trump over alleged hush money paid to two women with whom he has been alleged to have had affairs. Such payments could be considered bribery. President Trump sued Manhattan District Attorney Cyrus R. Vance, Jr. and his own tax preparer Mazars USA to block the release of eight years of tax returns to the grand jury, but Judge Marrero dismissed the president’s lawsuit. The president’s legal team appealed the decision to the Second Circuit Court of Appeals, which issued an administrative stay to Marrero’s order about an hour and a half after the district court ruling.

The appeals court ruling placed a stay on the district court’s ruling until it hears arguments from the president’s lawyers and District Attorney Vance’s office. According to a court clerk, arguments in the case would be scheduled as soon as the week of October 21, with briefs from both parties due in the intervening time until then.

Trump had asked the United States District Court for the Southern District of New York intervene in a New York City criminal proceeding, in which a subpoena had been issued to Trump’s tax preparer. He sought such intervention to prevent Mazars from releasing his tax returns, arguing that, as president, he should be immune from prosecution, and that, by extension, his tax preparer, Mazars USA, could likewise be exempt from investigation. Marrero rejected this argument:

The notion of federal supremacy and presidential immunity from judicial process that the President here invokes, unqualified and boundless in its reach as described above, cuts across the grain of […] constitutional precedents. It also ignores the analytic framework that the Supreme Court has counseled should guide review of presidential claims of immunity from judicial process. Of equal fundamental concern, the President’s claim would tread upon principles of federalism and comity that form essential components of our constitutional structure and the federal/state balance of government powers and functions. Bared to its core, the proposition the President advances reduces to the very notion that the Founders rejected at the inception of the Republic, and that the Supreme Court has since unequivocally repudiated: that a constitutional domain exists in this country in which not only the President, but, derivatively, relatives and persons and business entities associated with him in potentially unlawful private activities, are in fact above the law.

Because this Court finds aspects of such a doctrine repugnant to the nation’s governmental structure and constitutional values, and for reasons further stated below, it ABSTAINS from adjudicating this dispute and DISMISSES the President’s suit.

Following Marrero’s order, the appeals court issued a stay, delaying Mazars’ compliance with the subpoena until it could review the case.

Trump responded to the ruling via Twitter, attacking the subpoena as a political strategy: “The Radical Left Democrats have failed on all fronts, so now they are pushing local New York City and State Democrat prosecutors to go get President Trump.”

The Manhattan district attorney’s office began its probe into Trump’s financial affairs after his former lawyer Michael Cohen was convicted of federal campaign finance law violations connected to payments made to porn actress Stormy Daniels and former Playboy model Karen McDougal to remain silent about alleged affairs with Trump. Cohen is serving a three-year-long prison sentence.

Trump has admitted to ordering the payments, according to prosecutors, but the U.S. Justice Department maintains a policy of not charging the sitting president with crimes.

In recent United States history, it has been customary, but voluntary, for presidential candidates to release their tax returns when running for office. Trump was the first president to refuse to do so since 1976. Trump has cited an Internal Revenue Service audit as prohibiting him from releasing them. The president has a lawsuit to prevent a New York State law from allowing the House of Representatives’ Committee on Ways and Means from gaining access to his records.

Thursday, June 21, 2007

A recall issued last week for Thomas the Tank Engine toys made in China and containing lead-based paint, is the latest scare for consumers, and follows recent scandals involving Chinese-made pet food, pharmaceuticals, toothpaste and other toys, The New York Times has reported in a series of articles.

Last week, RC2, a U.S. toy company based in Oak Brook, Illinois, issued a recall for its popular wooden “Thomas the Tank Engine and Friends” train sets. The recall involved 1.5 million “Thomas Wooden Railway” vehicles and train sets sold at toy stores and various retailers across the U.S. from January 2005 through June 2007.

A subsequent recall has been issued in the United Kingdom, where Thomas the Tank Engine was originated in the 1940s as a character in a children’s story by the Reverend W.V. Awdry. Around 70,000 toys are involved in the U.K. recall, according to The Guardian.

“RC2 has determined that the surface paints on the recalled products contain lead. Lead is toxic if ingested by young children and can cause adverse health effects,” the Consumer Product Safety Commission said in a press release dated June 13. “Consumers should take the recalled toys away from young children immediately and contact RC2 Corp. for a replacement toy,” the commission said.

Those “adverse health effects” could include brain and nerve damage, especially in young children, as well as blood and brain disorders. Severe lead poisoning causes vomiting, diarrhea, convulsions, anemia, loss of appetite, headaches and in particularly high doses, coma and death.

In an article on Monday, The New York Times reported that recalls have been issued for 24 different toys in the U.S. in the past year, and every one of them was made in China. According to the Toy Industry Association, toys made in China account for around 70 percent to 80 percent of all the toys sold in the U.S., The Times said.

“These are items that children are supposed to be playing with,” Prescott Carlson was quoted as saying by The Times. Carlson is a co-founder of a child-safety website called Imperfect Parent, which tracks recalls of toys and other baby products. “It should be at a point where companies in the United States that are importing these items are held liable,” Carlson said.

RC2 would not comment to The Times, and a Consumer Product Safety Commission spokesman would not say how long ago the problem with the lead paint was discovered.

For a follow-up article on Tuesday, The Times visited a factory in Dongguan, in China’s Guangdong province, where the “Thomas and Friends” toys are made. The paper interviewed workers and took photos on the factory floor.

“You’re intruding,” a factory manager identified only as Zhong was quoted as telling the reporters. “Tell me, why exactly are you here?”

During the visit, a reporter, translator and a photographer were detained by factory officials, and released a day later after local police and government officials intervened.

The factory also produces other toys for RC2, including toy John Deere trucks, NASCAR racing models and M&M’s cars, The Times said. RC2 makes the toys under licenses from various companies. The “Thomas and Friends” toys are made under license from Hit Entertainment, which owns the “Thomas” brand.

According to RC2, items in the “Thomas and Friends” recall are:

• Red James Engine & Red James’ # 5 Coal Tender
• Red Lights & Sounds James Engine & Red James’ #5
• Lights & Sounds Coal Tender
• James with Team Colors Engine & James with Team Colors *#5 Coal Tender
• Red Skarloey Engine
• Brown & Yellow Old Slow Coach
• Red Hook & Ladder Truck & Red Water Tanker Truck
• Red Musical Caboose
• Red Sodor Line Caboose
• Red Coal Car labeled “2006 Day Out With Thomas” on the Side
• Red Baggage Car
• Red Holiday Caboose
• Red “Sodor Mail” Car
• Red Fire Brigade Truck
• Red Fire Brigade Train
• Deluxe Sodor Fire Station
• Red Coal Car
• Yellow Box Car
• Red Stop Sign
• Yellow Railroad Crossing Sign
• Yellow “Sodor Cargo Company” Cargo Piece
• Smelting Yard
• Ice Cream Factory

Toys listed that are marked with codes containing “WJ” or “AZ” are not included in the recall.

Earlier, RC2 said that customers would have to cover shipping costs to return the toys to the company. It later agreed to cover postage after angry complaints by parents, The Times said in an article yesterday. Refunds will take about two months.

Sunday, May 21, 2006

Three days after the Internet release of the free content 3D short Elephants Dream (see Wikinews coverage), we exchanged e-mails with Ton Roosendaal about the reaction to the film, open source filmmaking, and the changes to Blender that resulted from the production. Ton Roosendaal is the lead developer of the Blender 3D rendering and modelling software that was used for the movie. He is also the chairman of the Blender Foundation, a non-profit organization which was formed in support of the software and projects like Elephants Dream.

How much money did the Blender Foundation spend on producing the movie? Has the money been fully recouped by DVD orders and donations?

We still have to finish the final bookkeeping for this project. It has been executed in co-production with the Netherlands Media Art Institute, and we each had our own internal budgeting for the project. When you exclude expenses of pre-production and producer personnel, the total budget was about 120,000 €, of which we covered half. Our contribution was roughly covered half by the DVD sales, and half by European Union support (http://www.uni-verse.org consortium).

One of the most common criticisms of CGI films is focus on technology over content. For instance, Final Fantasy: The Spirits Within flopped with audiences, in spite of being an undisputed technical milestone. I’ve seen many reviews that criticized the plot of “Elephants Dream” as too bizarre or confusing. In retrospect, are you happy with the story development process?

Haha, I knew the story and plot would get a mixed acclaim. There’s a couple of reasons I’d like to mention for it.

First of all; the criticism resembles how people witness Blender itself, too. Many people expect that Free Software is an easy accessible mass audience product. We get a lot of complaints by non-artists that they can’t get into the software easily, whilst the complexity of commercial products like Maya or Houdini is perceived as a confirmation of its “quality”. Apparently an Open Movie created similar expectations with the audience.

Luckily we also got many positive reviews of the artistic result of the movie. It is quite abstract, but definitely has many layers of information, inspiring many of the viewers to see relevant real life messages hidden here.

For this project we’ve teamed up with the Netherlands Media Art Institute, internationally renowned as a resource for video art. So for Elephants Dream, we’ve had the luxury to challenge ourselves to create real independent artistic content as well. The artists had a lot of freedom from the start; they were responsible for the concept, story and creative development of the entire movie. This has resulted in a lot of quite personal choices, based on what the artists liked to do themselves. I really cherish such an approach, it has resulted in a very motivated team working crazy hours the last months to get it all realized.

But, most importantly; the main target of our project was not only to create a 3D movie short, but to experiment with ways to improve the efficiency and quality of open source development. On this aspect only, this project was just a huge success, and the main reason for our sponsors (the DVD pre-sale) to support it. I know they might have liked a cartoonish funny movie with furry animals better, but for that you get already pretty well served by the bigger 3D animation studios. 🙂

I’m the first to admit that – looking back especially – certain aspects worked out quite weakly; there’s loose ends and questionable decisions, especially in story development and continuity. That’s just the risk of doing experiments, and nothing I regret really. The five artists from our user community who were invited to make the movie were young people with no professional background in filmmaking. Their personal incentive to participate in this project was also to learn from it, and to create a good portfolio for their future career. I’ve witnessed them grow in competence in the past year enormously, something I’m incredibly proud of.

On the technical level, the only major criticism I’ve seen of “Elephants Dream” is the character animation, especially in the opening scene — many reviewers felt that the movements seemed a bit unnatural. Do you agree with these criticisms? If so, what do you think can be done to improve on that level?

Yeah, the challenge the artists set themselves – to use quite realistic personages – is also something that easily works against you. In many animation movies they introduce characters in the beginning in a way you get used to their specific characteristic movements, so you accept a certain level of non-realism easily. (Check the weird walk cycles in The Incredibles for example). Another aspect is that we’ve started work on the first scenes, and ended with the last scenes. I can clearly see the animation quality increase, and that whilst the ending scenes were done in much less time due to time constraints.

We also didn’t schedule to do 9.5 minutes of animation either…. Originally it was more like 6. But, it’s always easier to look back to define the right decisions, eh? 🙂

I’m very happy with the reviews we got so far; luckily the movie was perceived as a professional quality product, and reviewed based on comparisons with what the big studios come up with. Even when we couldn’t satisfy all these quality demands, it has luckily not been branded as a pathetic presumptuous attempt by amateurs!

Do you think there is hope for a full-length open movie project in the near future? Would the Blender Foundation be interested in such a project, or do you intend to continue focusing mainly on shorts?

I’d like to wait a little while with defining what a next project would look like. Given the constraints of “organizing projects to improve open source development”, we might have not much choice either. It would probably mean to work with a new team each time, so most likely be based on shorts only. On the other hand, there’s also clear signals that this approach works well, and creates excitement and involvement of a lot of people, also from producers and sponsors. That might enable us to set up a next project based on larger targets. For a full-length feature film however, we should involve a sufficient amount of experienced film makers as well, and/or invite the first team to participate again. That would put a lot of pressure on the required budget…. You can’t do that based on a 1000 DVD pre-sale target. Would more be like 20,000 or so…. 🙂

How did the process of making the movie feed back into the development of Blender? Are there major technical changes that were made only or primarily because of the film?

Already during the pre-production phase the artists have defined the key targets for Blender development. This then was coordinated with the online development community too. I’ve done the most crucial (re-)development mostly myself, though. Especially on the character animation tools, on the rendering pipeline and compositing tools.

It is especially the latter I’m most satisfied with. In 3D movie production the compositing stage creates a giant content bottleneck. By transparently integrating this in our render-pipeline, a very efficient workflow has been achieved. And, not to forget, Blender now also offers the first production-level open source compositor on the market!

The current summary you can find in our work-in-progress release notes.

What are the key technical features in Blender you want to add or improve for future movie projects?

Depends on what the movie is about! There’s always hundreds of features you can work on. However, we’ll have to work on that anyway, movie project or not. There’s a lot of professionals using Blender now, and they can’t wait for the Blender Foundation to do movies! Look at this studio for example:http://www.plumiferos.com/

I read that at least one proprietary software package, Reaktor, was used for the sound effects. Is this because no equivalent free software solution exists yet? Will future projects have a “free software only” policy?

We’ve limited the “Open Source tools” requirement to our own Studio Orange only. That was what we could keep in control at least, and I can tell you it was not always easy even… 🙂

For sound and music we’ve decided from the beginning to seek an external sponsor. We have chosen to work with the best quality studio and composer we could find, preferably using open source, but not as a prerequisite.

My own competence is solely within the CG [computer graphics, Ed.] side of movie making. When it comes to music editing, or video encoding and DVD authoring, I could only decide to choose to work with external parties with proven competences in that area. I have to be practical in projects like this, especially to ensure it will be realized.

Hopefully, now we’ve got so much attention world wide, we can involve more non-CG open source next time, too. I will definitely strive for the maximum here, but it will fully depend on the amount of professional support we can get.

Blender itself was originally closed source freeware, until it was “liberated” through a fundraising campaign. If you could choose one proprietary application to “set free” where such a goal could be realistically achieved, which one would it be?

Well, the “realistically achieved” demand makes it quite difficult. 🙂 Looking back at similar cases, like Mozilla and OpenOffice.org, it was always very circumstantial. It just happens sometimes, you can’t organize something like this to happen in advance. The only common denominator is “a company in troubles”… so, who’s in trouble now?

What is your personal favorite computer-animated full-length film?

Uuuh… that differs every week! Probably Ice Age (the first one). Mostly because they didn’t overdo showcasing 3D technology so much, but created truly adorable characters and great funny gags.