Author: Admin

Friday, February 18, 2022

Findings published Monday by a team composed mostly of University of Washington Center for Forensic Science researchers in Nature Human Behaviour report using a form of DNA analysis techniques originally designed for human teeth to track ivory poached from African elephants.

The scientists, in collaboration with the United States Department of Homeland Security, identified the criminal networks that killed the endangered animals and smuggled their valuable tusks across national borders.

The scientists took DNA samples from 4,320 tusks taken from both African bush (Loxodonta africana) and African forest (Loxodonta cyclotis) elephants that were confiscated from 49 separate ivory smuggling events in twelve countries from 2002 to 2019. The scientists found that teeth from the closely related elephants, or even two tusks from the same individual, often surfaced in different shipments that transited through the same ports. The data also showed when criminal networks shifted their operations from between port cities. They inferred poachers were making kills, then separating the tusks at some point along the smuggling route.

The team had been studying DNA analysis on poached tusks for years: in 2018, they found two tusks from different shipments had come from the same animal, which indicated both shipments were from the same kill and transited by the same criminal network. This is the first report of DNA identification tusks that came from elephants in the same families.

Lead author Dr Samuel Wasser said: “Identifying close relatives indicates that poachers are likely going back to the same populations repeatedly — year after year — and tusks are then acquired and smuggled out of Africa on container ships by the same criminal network.” He added: “This criminal strategy makes it much harder for authorities to track and seize these shipments because of the immense pressure they are under to move large volumes of containers quickly through ports.”

Wasser said similar studies will provide law enforcement groups access to a greater range of evidence with which to prosecute poachers and their criminal partners by providing verifiable links between different caches of captured ivory. The researchers concluded in their paper that law enforcement could use their information to discern the ways in which poachers are collaborating.

Humans have used the ivory from elephant tusks to make art, decorations, and tools since prehistory. Many countries have since outlawed the sale of ivory, but poachers continue to kill tens of thousands of elephants each year.

The paper’s authors were from the University of Washington, the U.S. Department of Homeland Security, the U.S. Fish and Wildlife Service, Kenyan-based organisation SeeJ-Africa, the Kenya Wildlife Services, and Singapore’s National Parks Board.

Wednesday, December 21, 2011

Former Salt Lake City mayor and human rights activist Rocky Anderson took some time to discuss his 2012 U.S. presidential campaign and the newly-created Justice Party with Wikinews reporter William S. Saturn.

Anderson served as mayor of Salt Lake City for eight years (2000–2008) as a member of the Democratic Party. During his tenure, he enacted proposals to reduce the city’s carbon emissions, reformed its criminal justice system, and positioned it as a leading sanctuary for refugees. After leaving office, Anderson grew critical of the Democratic Party’s failure to push for impeachment against President George W. Bush, and for not reversing policies on torture, taxes, and defense spending. He left the party earlier this year and announced that he would form a Third party.

Anderson officially established the Justice Party last week during a press conference in Washington D.C.. He proclaimed “We the people are powerful enough to end the perverse government-to-the-highest-bidder system sustained by the two dominant parties…We are here today for the sake of justice — social justice, environmental justice and economic justice.” The party promotes campaign finance reform and is attempting to appeal to the Occupy Wall Street movement. It is currently working on ballot access efforts, and will hold a Founding Convention in February 2012 in Salt Lake City.

Among other issues, Anderson discussed climate change, health care, education, and civil liberties. He detailed his successes as mayor of Salt Lake City, stressed the importance of executive experience, and expressed his views on President Barack Obama and some of the Republican Party presidential candidates. He spoke in depth about former Massachusetts governor Mitt Romney, with whom he worked during the 2002 Winter Olympics, and fellow Utahan, former governor and U.S. ambassador to China Jon Huntsman, Jr..

Thursday, June 22, 2006

The Creative Archive project is a BBC led initiative which aims to make archive audio and video footage available to be freely downloaded, distributed, and ‘remixed’. The project is still in a pilot stage, and is only available to UK residents, but the long-term future of the project could have a major impact on the way audiences interact with BBC content.

The project is partly inspired by the Creative Commons movements, and also by a general move within the BBC to be more open with its assets. Additionally, educational audiences such as schools have expressed an interest in using BBC content within the classroom, both to watch and to create multimedia content from.

So far, clips made available under the licence have included archive news footage, nature documentary footage, and video clips content designed for educational uses. “It’s done very well with the audiences we’ve directed them towards – heavy BBC users,” says Paul Gerhardt, project leader. Users downloading the clips are also prompted to fill in a questionnaire, and so far 10-15% of people seem to be doing something with the material, although the BBC can’t be sure what exactly that is.

One of the biggest limitations within the licence as it currently stands during the pilot scheme is that the material is only available for use by people resident in the UK. The BBC’s Creative Archive sites use ‘geo-IP filtering’ to limit downloads to the UK, but there is some confusion over whether people who create their own content using the material can upload their creations to their own websites. A question within the FAQs for one of the more recent selections of clips suggests that this isn’t possible, saying “during this pilot phase material released under the terms of the Creative Archive Licence cannot be used outside the UK – therefore, unless a website has its use restricted to the UK only, content from the ‘Regions on Film’ archive cannot be published on it.”

“We want people to make full use of this content, whether they cut and paste it or whether they share it, and we completely accept that we’ve got a bit of a contradiction at the moment by saying UK-only and yet encouraging people to put it on their sites to share it with others, because you can’t expect people to have geo-IP restriction technology,” admits Mr Gerhardt. “We’re thinking hard about how to deal with this after the pilot – at the moment it’s quite likely that we’re probably going to need to find a distribution partner outside of the UK, so that if you’re outside of the UK you’ve got roughly the same experience as in the UK, but the content could be surrounded by sponsorship messages or advertising or whatever. Once we’ve done that then leakage from one to the other won’t really matter very much.”

The Creative Archive project has not been without critics from the commercial sector, worried that the BBC giving away their content for free would make it difficult for them to be able to make money from their own content. The BBC has explained to some of the commercial players that the content would be limited during the pilot, would not be available in broadcast quality, and that watermarking technologies would be trialled so that content could be recognised when it crops up elsewhere. The BBC is also investigating a business model for the future where there would be a “close relationship between public access to low-resolution content and a click through to monetising that content if you want to buy a high-resolution version”. People who want to play around with the material might discover they have a talent and then find they need to get a commercial license to use it properly, Mr Gerhardt explains, and the project wants to make it easy for this to happen.

Before the project can go ahead with the full scale launch, it will have to go through a ‘public value test’ to assess its overall impact on the marketplace, and commercial media companies will have a chance to input at this point.

For ease in clearing the rights, all of the content available under the pilot project is factual, but in the future the project could include drama and entertainment content. The BBC may also, in the future, work the Creative Archive licences into the commissioning process for new programmes. “This raises some really interesting ideas – if you have a documentary series, you could use the Creative Archive to release the longer form footage, for instance – that would create a digital legacy of that documentary series,” Mr Gerhardt explains. “The other interesting thought in the longer term would be for the BBC, or another broadcaster, to contribute to a digital pool of archive material on a theme, and then invite people to assemble their own content out of that. We could end up broadcasting both the BBC professionally produced programme accompanied by other programmes that other people had made out of the same material.”

One of the ways that the Creative Archive licence differs from the other ‘copyleft’ licences like Creative Commons, aside from the UK-only limitation, is that the licence currently allows the BBC to update and modify the licence, which may worry those using the licence that their rights could suddenly become more restricted. “The licence at the moment is a draft, and we’ve given warning that we may well improve it, but we wouldn’t do that more than once or twice. The ambition is that by the time we scale up to the full service we would have a fixed licence that everyone was comfortable with, and it wouldn’t change after that.”

“The ambition is to think about creating a single portal where people can search and see what stuff is out there under the same licence terms, from a range of different suppliers. The idea is that if we can create something compelling like that, we will attract other archives in the UK to contribute their material, so we’d be aggregating quite a large quantity.”

The Creative Archive project has captured the interest of many Internet users, who are growing increasingly, used the idea of being able to ‘remix’ technologies and content. Some groups have been frustrated with the speed at which the project is developing though, and with some of the restrictions imposed in the licence. An open letter to the BBC urges the dropping of the UK-only limitation, the use of ‘open formats’, and to allow the material to be usable commercially.

Mr Gerhardt has publicly welcomed debate of the licence, but makes it clear to me that the whole BBC archive will never all be available under the Creative Archive terms. “We will make all our archive available, under different terms, over the next five to ten years, at a pace to be determined. There would be three modes in which people access it – some of the content would only be available commercially, for the first five year or so after broadcast, say. The second route is through a ‘view again’ strategy where you can view the programmes, but they’d be DRM-restricted. And the third mode is Creative Archive. Over time, programmes would move from one mode to another, with some programmes going straight to the Creative Archive after broadcast.”

Others who disagree with the ‘UK-only’ restriction within the licence include Suw Charman, from the Open Rights Group, who has said “it doesn’t make sense in a world where information moves between continents in seconds, and where it is difficult for the average user to exclude visitors based on geography.” On the project generally, though, she said “I think that it is a good step along the way to a more open attitude towards content. It is a toe in the water, which is far preferable to the attitude of most of the industry players, who are simply burying their heads in the sand and hoping that lawsuits and lobbying for new legislation will bolster their out-dated business plan.”

Other organisations currently participating in the Creative Archive scheme include the British Film Institute, the Open University and Teachers’ TV. Two artists have been awarded scholarships to create artworks using BBC archive material, and BBC Radio 1 has held a competition asking people to use the footage in creative ways as backing visuals to music. The process of making the BBC’s archive material fully available may be a long one, but it could end up changing the way that people interact with the UK’s public service broadcaster.

Friday, June 30, 2017

On Wednesday, thousands of citizens gathered in New Delhi’s Jantar Mantar and other cities across India to protest against mob violence against minority communities of Muslims and Dalits, which has increased in recent years. Documentary film-maker Saba Dewan asked for “protest against the lynchings” via a Facebook post on June 24, after a teenage Muslim boy, Junaid Khan, and his brothers were reportedly racially abused, and Junaid allegedly stabbed and killed by a mob, after a dispute last week in Haryana.

About 2000 people gathered for the protest — Not in my Name — in the Indian capital, while several others protested in Bombay, Allahabad, Lucknow, Patna, Hyderabad, Bangalore, Chennai, Kolkata, Thiruvananthapuram, Chandigarh, Kochi, and Jaipur. There were protests held in London as well. The protests came after several instances where people were killed due to mob violence, the victims mostly from the minority communities of Muslims and Dalits. Protesters held placards with messages such as “No Place for Islamophobia”, “Break the Silence”, and “Shed Hate not Blood”. Saba Dewan said, “the protest is against this systematic violence against Muslims and Dalits that is going on in our country at the moment”. The protesters presented poems, songs and danced on stage on the Jantar Manter to express their views. Manish Sisodia, New Delhi’s deputy chief minister, also took part in the protest. In Bombay, protesters were permitted till 7 PM.

“Shouldn’t there be protests against the lynchings especially after the murder yesterday in Delhi NCR by a mob of a 16 year old Muslim boy? If not now then when? Why wait for political formations to organize a demonstration ? Why can’t all of us as citizens repulsed by the violence get together in protest at the earliest next week at Jantar Mantar under the banner – Not in my Name”, Dewan posted on Facebook.

Junaid’s brother Hasseem said the people “were pointing at a packet which had food and saying we should not be allowed to sit since we were carrying beef” even though he told they were not carrying beef. The mob, reportedly threw Junaid’s skull cap, and called them “beef eaters” and “anti-nationalists”. About twenty people were involved in the violence. One man, who was held for the violence told NDTV he was “told by his friends to attack the Muslim boys because they ate beef”. Police arrested four people on Wednesday accused for the violence, police superintendent Kamaldeep Goel told the Press Trust of India.

There have been several instances where people were harassed or killed due to mob violence. At least ten Muslims have been reported victims of the mob violence in the past two years, for beef consumption or transporting cows. Cow is considered sacred in Hinduism and many Hindus in the country view cow as a god or mother. Beef is banned in several states of India and a person found guilty for killing a cow can face a prison term up to ten years. But often, the “gau rakshaks” (cow protectors) have taken the law in their hands and lynched the accused. Some of the claims turned out to be false.

Though India is a secular state, Prime Minister Narendra Modi of Bharatiya Janata Party (BJP), which shares Hindu nationalist views, vowed to ban beef across India. In 2015, ex-Jammu and Kashmir Chief Minister Omar Abdullah said, “Do I assault everyone who eats pork or alcohol?” after Rashid Ahmed was beaten by BJP members for serving beef in a private party. Pork and alcohol are considered haram and hence, their consumption is prohibited in Islam.

“Killing people in the name of ‘gau bhakti’ [cow devotion] is not acceptable”, Modi said yesterday.

File:Oscar5.jpg

Monday, March 6, 2006

The 78th Academy Awards were hosted by Jon Stewart, host of Comedy Central’s The Daily Show.

Crash won the Best Picture award, a surprise for many predictors. Co-producer Cathy Schulman commented “[thank you for] embracing our film, about love and about tolerance, about truth. Thank you to the people all around the world who have been touched by this message. And we are humbled by the other nominees in this category. You have made this year one of the most breathtaking, and stunning, maverick years in American cinema, thank you.”

Paul Haggis and Bobby Moresco also won best original screenplay for Crash.

Directed and co-produced by Canadian Paul Haggis, film distribution rights were purchased for just USD$3 million by Lions Gate Films. Noted film critic Roger Ebert called it his favourite picture of 2005, and the picture made many North American “10 best” lists.

Backstage, Best Director winner Ang Lee commented to the press on how Brokeback Mountain refreshed his will to direct. “Before I get into making this movie, I was very tired from two very ambitious work, The Hulk and Crouching Tiger, Hidden Dragon. I almost wanted to retire. I felt I had enough, I hit the bottom, sort of like my mid life crisis or something, and this movie teach me how to look at myself, how to manage myself in movie making again, enjoying making them, and the movie was shot very simple, nothing special, but most important, it taught me again, it’s about human emotions, drama and acting.”

Foreign Language Film winner Gavin Hood (Tsotsi) commented that he felt the Oscar win would “change the way South Africans view their moviemaking… hopefully it means that people will keep investing in our local stories, because this gives investors a little more confidence and what we want more than anything else is that people and human emotion is universal and we’re more alike than we think we are around the world… we’re actually so similar as human beings inside.”

Tsotsi was the People’s Choice Award winner at the 2005 Toronto International Film Festival, while Crash debuted at the fest in 2004. Capote and Brokeback Mountain both played at the festival days after debuting at the Telluride Film Festival. TIFF’s winners often go on to win Best Picture or Best Foreign Language Film; Wo hu cang long (Crouching Tiger, Hidden Dragon), American Beauty, and Whale Rider are such examples.

Stewart’s humor fell short of expectation for most North American film and television critics who commented on the broadcast.

At one point, Stewart jokingly chastised Hollywood for being “out of touch” with mainstream American values. Actor George Clooney later responded to this notion, saying, “We are a little bit out of touch in Hollywood. It’s probably a good thing. We’re the ones that talked about AIDS when it was just being whispered. And we talked about civil rights when it wasn’t really popular. We bring up subjects. This group of people gave Hattie McDaniel an Oscar in 1939 when blacks were still sitting in the backs of theaters. I’m proud of this Academy, of this community. I’m proud to be out of touch.”

Monday, September 24, 2007

Russ Aegard is running for the Green Party of Ontario in the Ontario provincial election, in the Thunder Bay-Atikokan riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Saturday, July 7, 2007File:Newyorknewyork-corner.jpg

A 51-year-old man fired 16 rounds from a semiautomatic handgun from a balcony overlooking the floor of the New York New York Hotel & Casino in Las Vegas, Nevada. The shooting left four people with non-life threatening injuries. They were treated and released from a local hospital later that morning.

Steven Zegrean was tackled by two off-duty military reservists who held him down until Las Vegas police reached the scene. The incident occurred at 12:15 a.m. PST (UTC-7).

Mr. Zegrean was quickly arrested on felony charges including attempted murder, battery with a deadly weapon and discharging a firearm in an occupied structure. It is believed that he was emotionally distraught.