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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.

Thursday, November 16, 2006

Buffalo, New York —A proposed hotel that was supposed to be built at the corner of Elmwood and Forest Avenues in Buffalo, New York is apparently off the table. The former proposal was going to be called The Elmwood Village Hotel and would have consisted of 72 rooms and cost between $7 to $10 million American dollars to build.

Today several unknown individuals were seen removing a sign that was dedicated to the “Elmwood Village Gateway,” which signifies the beginning of the Elmwood Village at the formerly proposed project’s location.

Nearly an hour later the men replaced the sign with a different and unexpected sign: “For Sale: 5 commercial parcels and 1 carriage house, By: Owner.” Those 5 “parcels” are 1109-1121 Elmwood and 999 Forest Avenue, which is located in an illegal alley, according to the City of Buffalo, behind the 5 other properties on Elmwood. Hans Mobius owns all properties named in the sale.

Sam Savarino, CEO of Savarino Companies never owned the properties and has repeatadly told Wikinews in exclusive interviews that he still had a “contract to buy the properties” and on October 2, 2006 told Wikinews in an exclusive interview that he “extended” the “agreement to purchase the property[s] and will have it under contract for what we hope is a sufficient period of time.”

“He [Mobius] is undoubtedly concerned because he has lost some tenants and is a bit impatient. I think he has properly portrayed the situation,” said Savarino in an exclusive interview with Wikinews.

Savarino also says that there may be “legal issues” to work out now, before anything else can move forward, regarding the proposal.

“There are some legal complexities that must be sorted out before anything can happen there,” added Savarino.

The welcome sign was; however, not removed entirely. The sign was placed, facing the same direction of north, on the side of the Forest Plaza Art Gallery, a new art gallery located on the corner of Forest and Elmwood.

Nancy Pollina, owner of Don Apparel which was located at 1109 Elmwood, but closed on October 14, 2006 considers this a possible “victory” in regards to the lawsuit filed against the hotel to stop it from being built, alleging that several laws were broken, including not performing an Environmental Impact Study before the proposal was approved by the city, during its approval and the proposal was “rushed.” Patricia Morris, who operates Don Apparel with Pollina, Angeline Genovese and Evelyn Bencinich, owners of residences on Granger Place which abut the rear of the proposed site, Nina Freudenheim, a resident of nearby Penhurst Park, and Sandra Girage, the owner of a two-family residence on Forest Avenue less than a hundred feet from the proposed hotel’s sole entrance and exit driveway, were also plaintiffs in the lawsuit. They filed the suit with a lawyer representing them, Arthur J. Giacalone, on April 25, 2006 in New York State Supreme Court, but the case has never gone to a courtroom.

Giacalone believes that a press release issued in July regarding the project was nothing but a statement to “save face,” but that the placement of the for sale sign might be a way of convincing Savarino to speed up the sale of the properties.

“I thought all along that Savarino’s July press release might be no more than an effort to save face. But we have no way of knowing. Similarly, Mobius might have put the for-sale sign up in an attempt to pressure Savarino into closing the deal. There’s no way to tell,” said Giacalone in an exclusive interview with Wikinews.

In regards to the lawsuit, Giacalone thinks it may now be in “limbo.”

“The lawsuit still sits in limbo,” added Giacalone.

Monday, May 31, 2010

Between nine and nineteen Free Gaza Movement activists died today in international waters when Israeli Defense Force commandos boarded vessels attempting to break the Israeli blockade of Gaza.

Benjamin Netanyahu gave the death toll to be at least 10. Israeli television says that 19 people were killed and 36 were wounded in the confrontation.

The six vessels, called the Gaza Freedom Flotilla, were carrying 10,000 tonnes of humanitarian aid destined for the Gaza Strip, including water purifiers, prefabricated homes and medical equipment. Passengers include several European members of parliament and MPs from Germany, Belgium, Algeria and Israel.

Israeli Deputy Foreign Minister Danny Ayalon said that “the organizers are well-known for their ties with global jihad, al-Qaida and Hamas. They have a history of arms smuggling and deadly terror.” The Israeli military had declared it would not allow the ships to reach Gaza and said the activists were a “provocation intended to delegitimise Israel”. The Israeli Navy had been transmitting messages throughout the night ordering them to turn back, stating: “If you ignore this order and enter the blockaded area, the Israeli navy will be forced to take all the necessary measures in order to enforce this blockade,” and that the Gaza region was a protected military zone.

Huwaida Arraf, one of the organizers, had said that the flotilla was “fully prepared for the different scenarios” that might arise, and organizers were hopeful that Israeli authorities would “do what’s right” and not stop the convoy. She said, “we fully intend to go to Gaza regardless of any intimidation of threats of violence against us,” and that “they are going to have to forcefully stop us.”

The pre-dawn boarding took place in international waters around 150 kilometres (90 miles) off the coast of Gaza. Footage from on the flotilla’s lead vessel, the MV Mavi Marmara, and video released by the IDF, showed armed Israeli commandos boarding the ship from helicopters and fighting with activists. According to the Israel Defense Forces, the activists attacked the commandos with batons, knives and axes. Israeli Prime Minister Benjamin Netanyahu said;

A spokesman for the flotilla, Greta Berlin accused Israeli troops of indiscriminately shooting at “unarmed civilians”. Israel said troops found weapons aboard the Gaza flotilla which were used against the IDF. The allegations were rejected by both the Free Gaza Movement, IHH and Egypt’s foreign minister, who said the boats had been searched before they left port.

Secretary-General of the United Nations Ban Ki-Moon said he was “shocked by reports of killings and injuries of people on boats carrying supplies for Gaza” and called for “a full investigation to determine exactly how this bloodshed took place” and urged Israel to “urgently provide a full explanation”. Palestinian Authority President Mahmoud Abbas called for three days of mourning to commemorate what he called the “massacre” of protesters. Ismail Haniya, the Hamas leader in Gaza, has dubbed the Israeli action as “a crime”.

Turkey’s prime minister describes Israeli raid as ‘state terrorism’ and said Israel violated international laws. Some of the ships were sailing under Turkish flags and media reports indicate that Turkish nationals are among the dead. Turkey demanded an “urgent explanation” from Israel and warned of “irreparable consequences” after the incident. Netanyahu said the raid was self defense. Turkey is withdrawing its ambassador to Israel and is calling on the U.N. Security Council to convene in an emergency session about Israel.

The European Union’s foreign policy chief, Catherine Ashton, has called on Israeli authorities to launch a “full inquiry” into the killing. She “reiterates the European Union’s position regarding Gaza – the continued policy of closure is unacceptable and politically counterproductive.” Germany’s Foreign Minister Guido Westerwelle said he was “deeply concerned” and France said “nothing can justify” the incident. Sweden, Austria, Greece and Spain have said it was important to “quickly establish” what happened, and have summoned the Israeli ambassadors.

The British Foreign Secretary William Hague has called on the Government of Israel to open all crossings for aid to enter Gaza and said Israel should “address the serious concerns about the deterioration in the humanitarian and economic situation and about the effect on a generation of young Palestinians?.” Russia calls attention to the fact that the Israeli interception of a Gaza-bound international aid flotilla took place in international waters, which it said represents a gross violation of international law.

European Parliament President Jerzy Buzek has urged the international Middle East mediators Russia, the United States, the United Nations and the European Union to persuade Israel to end its blockade of Gaza. Thousands of demonstrators took to the streets in Europe. In Greece and France there was clashes with police. There were protests in cities around the Ireland, UK and Italy. In the Middle East there were protests in Turkey, Lebanon and Iran.

The White House said that the United States “deeply regrets” the loss of life and injuries and was working to understand the circumstances surrounding this “tragedy”. The Organization of the Islamic Conference, comprising of 57 countries, described the flotilla incident as “a serious escalation and a flagrant violation of the international law and human values.”

The media has not been given access to the politicians, activists and journalists who were in the convoy or information about deaths and injuries. Israeli Police spokesman Micky Rosenfeld police say it will deport the roughly 50 of the 671 activists in the flotilla except those who refuse to cooperate. The other activists have been sent to jail in the southern desert town of Beersheba after refusing to identify themselves and will remain in detention.

Irishman Dennis Halliday, a former assistant secretary general of the United Nations and the Northern Irish Nobel Peace Prize laureate, Mairead Corrigan Maguire, are aboard the only boat left in the convoy, the Irish MV Rachel Corrie vessel, named after Rachel Corrie. The vessel is now on the way to the Gaza Strip. The Irish Prime Minister Mr Cowen said he believed Israel’s blockade of humanitarian assistance to Gaza was illegal under international law.

Wednesday, February 13, 2008

Ren and Stimpy. Bugs Bunny. Philip J. Fry and Professor Hubert Farnsworth on Futurama. Sparx. Bi-Polar Bear. Popeye the Sailor Man. Woody Woodpecker. You may not think you have ever heard Billy West, but chances are on a television program, a movie, a commercial, or as Howard Stern’s voice guru in the 1990’s, you have heard him. West’s talent for creating personalities by twisting his voice has made him one of a handful of voice actors—Hank Azaria and the late Mel Blanc come to mind—who have achieved celebrity for their talent. Indeed, West is one of the few voice actors who can impersonate Blanc in his prime, including characterizations of Bugs Bunny, Daffy Duck, Elmer Fudd and other characters from Warner Bros. cartoons.

What is the fulcrum in Mr. West’s life that led him to realize a talent to shape personalities with his voice, and how did the discovery of that gift shape him? Wikinews reporter David Shankbone found that like many great comedians, West faced more sour early in life than he did sweet. The sour came from a physically and emotionally abusive alcoholic father (“I could tell you the kind of night I was going to have from the sound of the key in the door or the way the car pulled up.”), to his own problems with drug and alcohol use (“There is a point that you can reach in your life where you don’t want to live, but you haven’t made the decision to die.”).

If sin, suffering and redemption feel like the stages of an endless cycle of American existence, West’s own redemption from his brutalized childhood is what helped shape his gift. He performed little bits to cheer up his cowed mother, ravaged by the fact she could not stop her husband’s abuse of young West. “I was the whipping boy and she would just be reduced to tears a lot of times, and I would come in and say stuff, and I would put out little bits just to pull her out of it.”

But West has also enjoyed the sweet. His career blossomed as his talent for creating entire histories behind fictional characters and creatures simply by exploring nuance in his voice landed him at the top of his craft. You may never again be able to forget that behind the voice of your favorite character, there is often an extraordinary life.

Below is David Shankbone’s interview with renowned voice actor Billy West, who for the first time publicly talks about the horrors he faced in his childhood; his misguided search for answers in anger, drugs and alcohol; and the peace he has achieved as one of America’s most recognizable voice actors.

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.

Monday, March 25, 2019

From March 15 to 17, the Canadian city of Toronto played host to the tenth Furnal Equinox, an annual event dedicated to the “furry fandom.” Wikinews attended. Programming ranged from music to gender, science to art, covering dozens of aspects of the varied subculture. The event’s featured guests were visual artists Moth Monarch and Cat-Monk Shiro, as well as the co-owners of US fursuit costume builders Don’t Hug Cacti.

The event raised nearly CDN$11,000 for Pet Patrol, a non-profit rescue organization in Kitchener-Waterloo, Ontario, run by volunteers. This exceeded their goal of $10,000, the funds needed to finish a rural sanctuary. The furry community is well-known for their charitable efforts. Along with direct donations, the funds were raised through a charity auction offering original artwork, and a fursuit design by guests of honour “Don’t Hug Cacti.” Last year, Furnal Equinox raised funds for a farm animal sanctuary.

While only 10–15% of people within the fandom own a fursuit according to a 2011 study, event organizers reported this year 908 of the 2240 attendees at Furnal Equinox brought at least one elaborate outfit to the event. The outfits are usually based on original characters, known as “fursonas”.

Guests of Honour Cherie and Sean O’Donnell, known within the community as “Lucky and Skuff Coyote”, held a session on fursuit construction on Saturday afternoon. The married couple are among the most prominent builders in the fandom, under the name Don’t Hug Cacti. The scale of their business was evident, as Sean had made over a thousand pairs of “handpaws”, costume gloves.

The couple encouraged attendees to continue developing their technique, sharing that all professional fursuit makers had developed different techniques. They felt that they learned more from failed projects than successful ones, citing the Chuck Jones quote that “every artist has thousands of bad drawings,” and that you have to work through them to achieve. Cherie, known as Lucky, recalled receiving a Sylvester the Cat plush toy from a Six Flags theme park at age 10. She promptly hollowed the toy out, turning it into a costume. Creating a costume isn’t without its hazards: the company uses 450°F (232°C) glue guns. They’re “like sticking your hand in an oven.”

Other programming included improv comedy, dances, life drawing of fursuiters, a review of scientific research by a research group at four universities called FurScience, a pin collector’s social, and workshops in writing.

The “Dealer’s Den” hall was expanded this year, with even more retailers and artists. While many offered “furry” versions of traditional products, at least one business focused on “pushing the boundaries of fursuit technology.” Along with 3D printing a bone-shaped name tag when Wikinews visited, Grivik was demonstrating miniature computer screens that could be used as “eyes” for a fursuit. The electronic displays projected an animation of eyes looking around, blinking occasionally. The maker has also developed “a way to install a camera inside suit heads, to improve fursuiter visibility.” He hopes the tech would reduce suiting risks and accidents. Without the need for eyeholes, fursuit makers would have “more options for building different eyestyles.”

• Image: Nicholas Moreau.

Tuesday, December 4, 2007

In an investigation reported on first by Wikinews, Wikileaks today revealed another chapter in the story of the Standard Operations Procedure (SOP) manual for the Camp Delta facility at Guantanamo Bay. The latest documents they have received are the details of the 2004 copy of the manual signed off by Major General Geoffrey D. Miller of the U.S. Southern Command. This is following on from the earlier leaking of the 2003 version. Wikileaks passed this document to people they consider experts in the field to carry out an analysis trying to validate it. Following this, they set out to assess what had changed between 2003 and 2004; including attempts to link publicly known incidents with changes to the manual.

Wikinews obtained the document and did an in-depth analysis. The American Civil Liberties Union had previously made a request to view and obtain copies of the same document, but was denied access to them.

One of the first notable changes to the document relates to the detainees themselves. Previously they read the camp rules during admission processing. Rules are now posted around the camp in detainees’ languages. The English version of the rules is as follows:

Of concern to groups such as Amnesty International who campaign for the camp’s closure, or Human Rights Watch concerned about prisoner handling under the prisoner of war aspects of the Geneva Convention, is the fact that policy for newly admitted detainees still allows for up to 4 weeks where access to the detainee by the International Committee of the Red Cross (ICRC) may be denied. In addition, guards are not to allow ICRC staff to pass mail to detainees.

A new process has been formed which allows guards to determine whether or not a detainee receives awards, or is punished. The form is called a GTMO Form 508-1 (pictured to the right). According to the manual, the form “is used to determine which rewards the detainee will lose or gain,” but “special rewards” can also be earned, outside of the process. One special reward is time allowed outside. Another special reward is a roll of toilet paper, but the detainee cannot share it with others. Doing so will result in “punishment” and confiscation of the roll. If the detainee already has a roll of toilet paper, he is not allowed to have another.

“Guards need to ensure that the detainee doesn’t receive additional toilet paper when the detainee already has it. The amount given to the detainee will be the same amount as normally distributed to the detainee,” states the manual.

No matter how bad a detainee may act, “haircuts will never be used as punitive action” against them, but they can have hair removed for health reasons. They can, however, be segregated from other detainees.

“If a detainee has committed an offense that requires segregation time, even if a segregation cell is not available, the detainee will receive a shave and a haircut for hygiene and medical reasons. If the detainee is IRFed, the haircut and shave will follow the decontamination process,” adds the manual. Barbers are also part of cell searches.

Despite these changes, a great deal of effort has gone into ensuring the furore over detainee abuse does not recur. Rules governing the use of pepper spray (Oleoresin Capsicum, or OC) appear at an earlier point in the manual with considerable expansion. Infractions such as spitting, throwing water at, or attempting to urinate on guards appear as explicitly listed cases where pepper spray may not be used. Extensive decontamination procedures are included in the document, including immediately calling for a medical check on any detainee exposed to pepper spray. This was not previously present.

As a counter to the clearer instructions on use of pepper spray, Wikileaks asserts that many of the stricter rules for guards (referred to as Military Police or MPs in the 2003 manual) aim to reduce fraternisation that may improve detainee morale and adversely influence any interrogation process. Guards are informed in the manual not to take personal mail and parcels within the detention blocks or at any other duty stations. All electronic devices except issued materiel are prohibited, and guards may face disciplinary action should they keep detainees apprised of current affairs or discuss issues in their personal lives.

Additional restrictions on the detainees’ chaplain are included in the revised document. Wikileaks speculated that many of these changes might have stemmed from the widely publicised case of James Yee. Captain Yee, a West Point graduate, served at the Guantanamo Bay base as a Muslim chaplain to the detainees and received two Distinguished Service medals for his work. Following discovery of a list of detainees and interrogators by U.S. Customs in Florida Yee was charged with sedition, aiding the enemy, spying, espionage, and failure to obey a general order. Eventually all charges were dropped with national security concerns being raised should evidence be released.

The most notable changes surrounding the role of the chaplain include its removal as a permanent position on the facility’s Library Working group and its exclusion from the decision process on appropriate detainee reading material. Wikileaks contacted lawyers representing detainees in the camp to perform their own analysis. Their opinion of the changes were that the library operation had been considerably tightened up. Duplicate books are required for the individual four camps to prevent covert use of books to communicate between camps. Periodicals, dictionaries, language instruction books, technology or medical update information, and geography were additions to the prohibited material. Instructions indicate such books must be returned to the source or donor.

The revised SOP manual makes considerable progress on documenting procedures, even those that are remote possibilities. A lengthy addition details rules to follow in the event of an escape or escape attempt. Laced throughout this procedure is an emphasis on having any such incident fully documented and – wherever possible – filmed. The procedure is explicit in how to recapture an escaped detainee with minimal use of force. One additional procedure covers the admission of ambulances to the main base area. A detailed security protocol to ensure only expected and authorised traffic gains access is included, as is a procedure streamlined to ensure the ambulance arrives on the scene as quickly as possible.

Unchanged from the 2003 manual is the set menu of four ready-to-eat meals (Meal, Ready-to-Eat or MRE) issued to detainees. However, additional steps are to be taken for “MRE Sanitization”; supply personnel must remove anything that can damage waste disposal systems— presumably a military term for toilets. Under normal camp conditions, detainees should be fed hot meals as opposed to MREs, but no details on the variety of menu are included.

Wikinews attempted to get feedback on this. US Southern Command passed a query on to Rick Haupt (Commander, U.S. Navy Director of Public Affairs, Joint Task Force at Guantanamo) who responded that “questions were forwarded along with a request to authenticate the leaked document; a response is pending.” At this time no response to emails has been received from the ICRC or Human Rights Watch.

The Pentagon has requested that the document be removed from Wikileaks because “information with the FOUO (For Official Use Only) label is not approved for release to the public.” They then state that the document can be “made available through a Freedom Of Information Act request through official channels.”

Thursday, June 23, 2011

NASA’s Cassini–Huygens spacecraft has discovered evidence for a large-scale saltwater reservoir beneath the icy crust of Saturn’s moon Enceladus. The data came from the spacecraft’s direct analysis of salt-rich ice grains close to the jets ejected from the moon. The study has been published in this week’s edition of the journal Nature.

Data from Cassini’s cosmic dust analyzer show the grains expelled from fissures, known as tiger stripes, are relatively small and usually low in salt far away from the moon. Closer to the moon’s surface, Cassini found that relatively large grains rich with sodium and potassium dominate the plumes. The salt-rich particles have an “ocean-like” composition and indicate that most, if not all, of the expelled ice and water vapor comes from the evaporation of liquid salt-water. When water freezes, the salt is squeezed out, leaving pure water ice behind.

Cassini’s ultraviolet imaging spectrograph also recently obtained complementary results that support the presence of a subsurface ocean. A team of Cassini researchers led by Candice Hansen of the Planetary Science Institute in Tucson, Arizona, measured gas shooting out of distinct jets originating in the moon’s south polar region at five to eight times the speed of sound, several times faster than previously measured. These observations of distinct jets, from a 2010 flyby, are consistent with results showing a difference in composition of ice grains close to the moon’s surface and those that made it out to the E ring, the outermost ring that gets its material primarily from Enceladean jets. If the plumes emanated from ice, they should have very little salt in them.

“There currently is no plausible way to produce a steady outflow of salt-rich grains from solid ice across all the tiger stripes other than salt water under Enceladus’s icy surface,” said Frank Postberg, a Cassini team scientist at the University of Heidelberg in Germany.

The data suggests a layer of water between the moon’s rocky core and its icy mantle, possibly as deep as about 50 miles (80 kilometers) beneath the surface. As this water washes against the rocks, it dissolves salt compounds and rises through fractures in the overlying ice to form reserves nearer the surface. If the outermost layer cracks open, the decrease in pressure from these reserves to space causes a plume to shoot out. Roughly 400 pounds (200 kilograms) of water vapor is lost every second in the plumes, with smaller amounts being lost as ice grains. The team calculates the water reserves must have large evaporating surfaces, or they would freeze easily and stop the plumes.

“We imagine that between the ice and the ice core there is an ocean of depth and this is somehow connected to the surface reservoir,” added Postberg.

The Cassini mission discovered Enceladus’ water-vapor and ice jets in 2005. In 2009, scientists working with the cosmic dust analyzer examined some sodium salts found in ice grains of Saturn’s E ring but the link to subsurface salt water was not definitive. The new paper analyzes three Enceladus flybys in 2008 and 2009 with the same instrument, focusing on the composition of freshly ejected plume grains. In 2008, Cassini discovered a high “density of volatile gases, water vapor, carbon dioxide and carbon monoxide, as well as organic materials, some 20 times denser than expected” in geysers erupting from the moon. The icy particles hit the detector target at speeds between 15,000 and 39,000 MPH (23,000 and 63,000 KPH), vaporizing instantly. Electrical fields inside the cosmic dust analyzer separated the various constituents of the impact cloud.

“Enceladus has got warmth, water and organic chemicals, some of the essential building blocks needed for life,” said Dennis Matson in 2008, Cassini project scientist at NASA’s Jet Propulsion Laboratory in Pasadena, California.

“This finding is a crucial new piece of evidence showing that environmental conditions favorable to the emergence of life can be sustained on icy bodies orbiting gas giant planets,” said Nicolas Altobelli, the European Space Agency’s project scientist for Cassini.

“If there is water in such an unexpected place, it leaves possibility for the rest of the universe,” said Postberg.

Aviation articles by Wikinewsie Iain Macdonald.

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