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Thursday, December 22, 2005

Electrical power generator Calpine Corporation declared bankruptcy on Tuesday. The San Jose, California based company filed for Chapter 11 bankruptcy protection in U.S. Federal Court, to facilitate debt restructuring and to allow for normal operations to continue. Calpine has obtained secured debtor-in-possession financing from Deutsche Bank and Credit Suisse First Boston totaling $2 billion. The company announced that some of its Canadian subsidiaries would also file for creditor protection under the Companies’ Creditors Arrangement Act. Calpine and its subsidiaries operate natural gas and geothermal electricity generating plants in 21 U.S. states and 3 Canadian provinces.

The recent rise in natural gas prices due to Hurricanes Rita and Katrina has pushed Calpine’s cost significantly above the locked in selling price for its long-term contracts. Calpine has asked the court to void eight long term contracts, including a 20-year contract entered into with the State of California‘s Department of Water Resources and Pacific Gas and Electric Company in 2001.

The company received permission on December 21 from the Federal Bankruptcy Court for the Southern District of New York to use $500 million of its financing to continue operating and to keep paying its employees’ salaries and benefits.

Monday, August 14, 2017

On Friday, several free knowledge, culture and open source oriented organisations — Creative Commons, Mozilla, and the Wikimedia Foundation, amongst others — collectively announced a three-year commitment for a free-culture fellowship to honour Bassel Khartabil’s continuing influence on the open web, during the Wikimedia’s annual conference Wikimania in Montreal, Quebec, Canada. Palestinian-Syrian Khartabil was held in captivity under the Syrian government starting in 2012 and went silent in prison in 2015. Early this month his wife confirmed Khartabil had been executed in 2015.

Khartabil worked as a computer engineer and contributed to Mozilla and Wikipedia. A supporter of free access to knowledge and culture, Khartabil co-founded Syria’s first hackerspace, Aiki Lab, and led Creative Commons’ Syrian project.

The fellowship to honour Khartabil aims to promote free culture in various forms, including art, music, software, and community. On their official blog, Creative Commons said they would encourage applications from the Levant, Middle East, and North Africa.

Amazon Web Services is to act as a supporting partner and the fellows would receive a stipend of US$50 thousand over the course of ten months. The fellowship is to be awarded on a one-year basis, which could be renewed. Additionally, the organisations are to provide up to US$3000 for the candidates to purchase equipment and software.

Promoting candidates from “closed societies” from the countries with a history of oppression of freedom of expression and access to free knowledge, the fellowship laid three requirements for the eligibility. The applicants must have a history of contribution to the open source/access or free culture communities, and propose in their application an initiative promoting free culture values, and in which the fellowship would be their primary work focus. The fellowship applications are to be accepted from February, and the fellowship is to be awarded in April.

Apart from contributing to Mozilla and Red Hat, Bassel Khartabil developed “Aiki”, an open source framework which is currently used by Open Clip Art and Open Font Library. He was listed among Top Global Thinkers by Foreign Policy, and given a Digital Freedom Award by the Index on Censorship.

Khartabil was arrested by the Syrian military in March 2012. Following time in a Syrian General Intelligence Directorate facility, nine months after his arrest he was transferred to Adra Prison, and permitted family visits. He was relocated to an undisclosed facility in October 2015, and executed soon after. His wife, Noura Ghazi Safadi, confirmed Khartabil’s death on August 1 via a Facebook post.

Sunday, February 4, 2007

The Geological Survey of Canada is reporting that there is a higher probability that a major earthquake could strike the south coast of British Columbia within the next week. The alert comes after seismologists began monitoring a grouping of small tremors moving north along the cascadia subduction zone from nearby Washington State.

The phenomenon is called Epesodic Tremor and Slip (ETS), and it occurs on average every 14 months. ETS is causing the fault to begin moving in the opposite direction, in this case, Vancouver Island is actually shifting to the west, instead of to the east. This causes an added pressure on the strained fault line, and leads to the higher probability that a major earthquake could occur.

The Cascadia subduction zone, running from Vancouver Island to northern California is one of the most volatile geologic fault lines in the world. Unlike the well known San Andreas fault, which has the potential of generating earthquakes in the 7–8 range, the Cascadia fault line has the potential of releasing mega quakes in the magnitude 9 range – the size of the Sumatra quake that killed over 250,000 people, mostly from the tsunamis it triggered.

A quake of that magnitude could devastate a wide area, including Vancouver, British Columbia, Victoria, British Columbia, and Seattle, Washington, a denselypopulated area with close to 6 million residents.

The Canadian geological survey points out, however, that this is only a higher probability, and the chances of a cataclysmic earthquake in the next week is still relatively low.

Vancouverites often are unaware of the potential risk right below their feet.

“Living in Los Angeles, we always got those little reminders every time the ground rumbled. We are indeed living in Earthquake Country. Up here, though, we don’t get them as often, so I think people really forget that we live in an earthquake zone. And because we don’t get those little shocks from time to time, that stress is just building and building, and who knows, these little tremors we’re getting now, might be the straw that breaks the camel’s back.”

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Thursday, July 28, 2005

The U.S. House of Representatives approved the Central American Free Trade Agreement (CAFTA) early morning Thursday, with a narrow vote of 217 in favor, 215 against. Voting was held open for an hour, 45 minutes past the House’s 15-minute voting rule as the President along with other supporters lobbied into the night.

The vote was so close, if one House member changed a “Yea” vote to a “Nay” vote, CAFTA would have failed in a 216-216 tie.

In tallying the votes, 25 Republicans, mostly from Midwest Corn Belt and Rust Belt states and the Southeast United States’s textile industrial belt, broke party line to vote against the measure. Two Republicans were present, but refused to vote.

The Democrats presented a more united front. All but 15 Democrats present voted against the treaty. Independent House members, who usually vote with the Democrats also voted against the measure.

Supporters of the measure include President George W. Bush, Vice President Dick Cheney, U.S. Trade Representative Rob Portman and Commerce Secretary Carlos Gutierrez. Opponents included most House Democrats.

The trade agreement already passed the Senate in June. President Bush has said he will sign it into law.

DR-CAFTA encompasses the following components:

• Services: all public services are to be open to private investment.
• Investment: governments promise to grant ironclad guarantees to foreign investment.
• Government procurement: All government purchases must be open to transnational bids.
• Market access: governments pledge to reduce and eventually to eliminate tariffs and other measures that protect domestic products.
• Agriculture: duty-free import and elimination of subsidies on agricultural products.
• Intellectual property rights: privatization of and monopoly over technological know-how.
• Antidumping rules, subsidies and countervailing rights: governments commit to phase out protectionist barriers in all sectors.
• Competition policy: the dismantling of national monopolies.
• Dispute resolution: the right of transnationals to sue countries in private international courts.
• Environmental protection: the enforcement of environmental laws and improvement of the environment.
• Labor standards: the enforcement of the International Labour Organization‘s core labor standards.
• Transparency: the reduction of government corruption.
• Test-Data Exclusivity for pharmaceutical corporations

A compilation of brief news reports for Thursday, December 25, 2008.

The Japanese automobile manufacturer Toyota has reported a sharp decrease in the number of global vehicle sales in November. The firm sold 618 000 cars in that month, a decrease of almost 22% from the same time last year.

This comes several days after Toyota’ prediction that it would have its first annual loss in 71 years.

Sources

• “Toyota sales plunge in November” — BBC News Online, December 24, 2008
• “Toyota’s global sales mark worst drop in 8 years” — Miami Herald, December 24, 2008

Rene-Thierry Magon de la Villehuchet, the fund manager of an investment fund that lost US$1.4 billion to Bernard Madoff’s Ponzi scheme, was found dead on Tuesday, having committed suicide.

De la Villehuchet was found by a security guard in his Madison Avenue office in New York City on December 23. A bottle of sleeping pills and a box cutter were discovered on the floor near his person, and his wrists were slashed.

Sources

• “Suicide Madoff investor was ‘honorable man’” — MSNBC, December 24, 2008
• Ignatius Reilly. “Madoff Suicide: Rene-Thierry Magon De La Villehuchet” — rightpundits.com, December 24, 2008

Thursday, December 10, 2009

American and European scientists say the upgraded Hubble space telescope has spotted the oldest galaxies ever seen. The images were taken with the telescope’s new Wide Field Camera 3 (WFC3) in August this year.

The galaxies are about 13 billion light years from Earth, meaning they formed less than one billion years after the Big Bang — the cosmological model of the initial conditions and subsequent development of the universe.

WFC3 was installed in May this year, during a mission by the space shuttle Atlantis to repair and upgrade Hubble. Experts say the new instrument will let them peer even further back in time, to when the universe was in its infancy. The more distant a galaxy is, the more its light is “redshifted” due to expansion of the universe. Light from the furthest galaxies is shifted to infrared wavelengths invisible to the human eye, but WFC3 can detect these.

The new image was taken in August, in the same region as a 2004 visible light image known as the Hubble Ultra Deep Field. The 2004 photo previously showed the most distant galaxies, but the new infrared pictures from the WFC3 allow even more remote galaxies to be seen.

Capturing the image took four days, and the total exposure lasted 173,000 seconds. In the three months since, twelve scientific papers have been submitted on it. On Tuesday one of these confirmed the galaxies as the furthest ever seen.

They are also the oldest, with the light from them having taken around 13 billion years to reach Earth.

“At these distances, you’re really looking back in time, like you have a time machine,” said Ray Villard, of the Space Telescope Science Institute in Baltimore. “Those things don’t exist anymore.”

The photo could be one of the ultimate achievements of the Hubble telescope, now almost twenty years old.

“These new observations are likely to be the most sensitive images Hubble will ever take,” said Professor Jim Dunlop of the University of Edinburgh.

The servicing mission in May extended the telescope’s life by around five years, but it is scheduled to be replaced by the James Webb Space Telescope in 2014. This will use infrared imaging and have a greater collecting area than Hubble, and it is thought that it may be able make out objects from just 100 million years after the Big Bang.

“We’ve really pushed Hubble to its limits,” said Villard, “and we need a bigger space telescope to go back even farther. It shows us there are really exciting things to look for with the Webb telescope.”

Thursday, December 15, 2005

These are short blurbs about current events in the business world.