Monthly Archives: September 2019

Monday, March 9, 2009

According to a report released by the United Nations’ World Health Organisation (WHO), over four thousand people have died from cholera in Zimbabwe, while 89,000 total cases of the disease have been reported. A spokeswoman for the WHO, however, said that the real death toll is higher due to under-reporting because of difficulty reaching certain areas of the country.

The cholera outbreak has been blamed on the collapse of the country’s health infrastructure and water systems.

However, the WHO also said that the epidemic seemed to be slowing down. The number of cases a week have recently been averaging around 4,000 to 4,500 cases per week, down from an earlier peak of about eight thousand cases per week.

The epidemic has spread to neighbouring countries, with South Africa having reported 59 deaths and 12,324 cholera infections since November last year.

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Friday, January 28, 2005

Ted Turner, the founder of CNN, last Tuesday accused Fox News of being a propaganda mouthpiece for the Bush administration. He likened the network’s current popularity to Adolf Hitler’s rise to power in pre-war Germany, and criticised the “dumbing down” of news which left the public uninformed of crucial issues.

Turner said, “Adolf Hitler was more popular in Germany in the early 1930s than people that were running against him.”

Fox News in turn accused CNN of simple sour grapes.

In a statement, the channel claimed that Ted was “understandably bitter having lost his ratings, his network and now his mind – we wish him well.”

Turner resigned from his post as Vice President of AOL Time Warner in January 2003. He remains one of America’s largest private landowners, possessing approximately two million acres of land.

Fox News remains the highest rating 24-hour news channel on US cable – but has been highly criticised for its perceived right-wing bias.

Recent House Committee on Government Reform figures by the US Democrats show that the US Administration spent over $US88 million on public relations contracts in 2004, of which 41 per cent were awarded on a non-competitive basis.

Thursday, July 1, 2010

A court in England, UK has jailed a policeman for ten months after he was convicted of defrauding his car insurance company.

Police Constable Simon Hood, 43, arranged for a friend who dealt in scrap metal to dispose of his Audi TT, then claimed it had been stolen.

Hood had been disappointed with the car’s value when he tried to sell it two years after its purchase in 2008. He arranged for friend Peter Marsh, 41, to drive the vehicle to his scrapyard in Great Yarmouth, Norfolk. Marsh then dismantled the vehicle with the intent of disposing of it, but parts were later found wrapped in bubblewrap at Ace Tyre and Exhaust Centre.

Marsh picked up the TT from outside nearby Gorleston police station. Records show mobile phone conversations between the conspirators that day in March, both before and after the vehicle was reported stolen. The pair denied wrongdoing but were convicted of conspiring to commit insurance fraud after trial.

The fraud was uncovered after Hood told former girlfriend Suzanne Coates of the scheme. It was alleged before Norwich Crown Court that he had confessed to her in an effort to resume their relationship. Coates said that after the pseudotheft, Hood told her “he didn’t want to look for it. He said it would be like looking for a needle in a haystack, which I thought was a bit strange.”

Shortly afterwards Hood suggested they should become a couple once more, she said; she challenged his version of events regarding the car: “He said he did it but I couldn’t tell anyone. He said he did it with Peter. Peter had a key and took the car away and it was going to be taken to bits and got rid of so it was never found.”

Hood was defended by Michael Clare and Marsh by Richard Potts. Both lawyers told the court that their clients had already suffered as a result of the action in mitigation before sentencing. Clare said Hood had resigned from the police after fifteen years of otherwise good service and risked losing his pension. “It is not a case where his position as a police officer was used in order to facilitate the fraud,” he pointed out. “His career is in ruins.” Hood is now pursuing a career in plumbing.

Potts defended Marsh by saying that he, too, had already suffered from his actions. His own insurers are refusing to renew their contract with him when it expires and his bank withdrew its overdraft facility. His business employs 21 people and Potts cited Marsh’s sponsorship of Great Yarmouth In Bloom as amongst evidence he supported his local community.

Judge Alasdair Darroch told Marsh that he did accept the man was attempting to help his friend. He sentenced Marsh to six months imprisonment, suspended for two years and ordered to carry out 250 hours of community service. He was more critical of Hood:

“As a police officer you know the highest possible standards are demanded by the public. You have let down the force. You knew throughout your career that policemen that get involved in serious dishonesty get sent to prison.”

Wednesday, February 4, 2009

A new historic physics record has been set by scientists for exceedingly small writing, opening a new door to computing‘s future. Stanford University physicists have claimed to have written the letters “SU” at sub-atomic size.

Graduate students Christopher Moon, Laila Mattos, Brian Foster and Gabriel Zeltzer, under the direction of assistant professor of physics Hari Manoharan, have produced the world’s smallest lettering, which is approximately 1.5 nanometres tall, using a molecular projector, called Scanning Tunneling Microscope (STM) to push individual carbon monoxide molecules on a copper or silver sheet surface, based on interference of electron energy states.

A nanometre (Greek: ?????, nanos, dwarf; ?????, metr?, count) is a unit of length in the metric system, equal to one billionth of a metre (i.e., 10^-9 m or one millionth of a millimetre), and also equals ten Ångström, an internationally recognized non-SI unit of length. It is often associated with the field of nanotechnology.

“We miniaturised their size so drastically that we ended up with the smallest writing in history,” said Manoharan. “S” and “U,” the two letters in honor of their employer have been reduced so tiny in nanoimprint that if used to print out 32 volumes of an Encyclopedia, 2,000 times, the contents would easily fit on a pinhead.

In the world of downsizing, nanoscribes Manoharan and Moon have proven that information, if reduced in size smaller than an atom, can be stored in more compact form than previously thought. In computing jargon, small sizing results to greater speed and better computer data storage.

“Writing really small has a long history. We wondered: What are the limits? How far can you go? Because materials are made of atoms, it was always believed that if you continue scaling down, you’d end up at that fundamental limit. You’d hit a wall,” said Manoharan.

In writing the letters, the Stanford team utilized an electron‘s unique feature of “pinball table for electrons” — its ability to bounce between different quantum states. In the vibration-proof basement lab of Stanford’s Varian Physics Building, the physicists used a Scanning tunneling microscope in encoding the “S” and “U” within the patterns formed by the electron’s activity, called wave function, arranging carbon monoxide molecules in a very specific pattern on a copper or silver sheet surface.

“Imagine [the copper as] a very shallow pool of water into which we put some rocks [the carbon monoxide molecules]. The water waves scatter and interfere off the rocks, making well defined standing wave patterns,” Manoharan noted. If the “rocks” are placed just right, then the shapes of the waves will form any letters in the alphabet, the researchers said. They used the quantum properties of electrons, rather than photons, as their source of illumination.

According to the study, the atoms were ordered in a circular fashion, with a hole in the middle. A flow of electrons was thereafter fired at the copper support, which resulted into a ripple effect in between the existing atoms. These were pushed aside, and a holographic projection of the letters “SU” became visible in the space between them. “What we did is show that the atom is not the limit — that you can go below that,” Manoharan said.

“It’s difficult to properly express the size of their stacked S and U, but the equivalent would be 0.3 nanometres. This is sufficiently small that you could copy out the Encyclopaedia Britannica on the head of a pin not just once, but thousands of times over,” Manoharan and his nanohologram collaborator Christopher Moon explained.

The team has also shown the salient features of the holographic principle, a property of quantum gravity theories which resolves the black hole information paradox within string theory. They stacked “S” and the “U” – two layers, or pages, of information — within the hologram.

The team stressed their discovery was concentrating electrons in space, in essence, a wire, hoping such a structure could be used to wire together a super-fast quantum computer in the future. In essence, “these electron patterns can act as holograms, that pack information into subatomic spaces, which could one day lead to unlimited information storage,” the study states.

The “Conclusion” of the Stanford article goes as follows:

The team is not the first to design or print small letters, as attempts have been made since as early as 1960. In December 1959, Nobel Prize-winning physicist Richard Feynman, who delivered his now-legendary lecture entitled “There’s Plenty of Room at the Bottom,” promised new opportunities for those who “thought small.”

Feynman was an American physicist known for the path integral formulation of quantum mechanics, the theory of quantum electrodynamics and the physics of the superfluidity of supercooled liquid helium, as well as work in particle physics (he proposed the parton model).

Feynman offered two challenges at the annual meeting of the American Physical Society, held that year in Caltech, offering a $1000 prize to the first person to solve each of them. Both challenges involved nanotechnology, and the first prize was won by William McLellan, who solved the first. The first problem required someone to build a working electric motor that would fit inside a cube ¹/₆₄ inches on each side. McLellan achieved this feat by November 1960 with his 250-microgram 2000-rpm motor consisting of 13 separate parts.

In 1985, the prize for the second challenge was claimed by Stanford Tom Newman, who, working with electrical engineering professor Fabian Pease, used electron lithography. He wrote or engraved the first page of Charles Dickens’ A Tale of Two Cities, at the required scale, on the head of a pin, with a beam of electrons. The main problem he had before he could claim the prize was finding the text after he had written it; the head of the pin was a huge empty space compared with the text inscribed on it. Such small print could only be read with an electron microscope.

In 1989, however, Stanford lost its record, when Donald Eigler and Erhard Schweizer, scientists at IBM’s Almaden Research Center in San Jose were the first to position or manipulate 35 individual atoms of xenon one at a time to form the letters I, B and M using a STM. The atoms were pushed on the surface of the nickel to create letters 5nm tall.

In 1991, Japanese researchers managed to chisel 1.5 nm-tall characters onto a molybdenum disulphide crystal, using the same STM method. Hitachi, at that time, set the record for the smallest microscopic calligraphy ever designed. The Stanford effort failed to surpass the feat, but it, however, introduced a novel technique. Having equaled Hitachi’s record, the Stanford team went a step further. They used a holographic variation on the IBM technique, for instead of fixing the letters onto a support, the new method created them holographically.

In the scientific breakthrough, the Stanford team has now claimed they have written the smallest letters ever – assembled from subatomic-sized bits as small as 0.3 nanometers, or roughly one third of a billionth of a meter. The new super-mini letters created are 40 times smaller than the original effort and more than four times smaller than the IBM initials, states the paper Quantum holographic encoding in a two-dimensional electron gas, published online in the journal Nature Nanotechnology. The new sub-atomic size letters are around a third of the size of the atomic ones created by Eigler and Schweizer at IBM.

A subatomic particle is an elementary or composite particle smaller than an atom. Particle physics and nuclear physics are concerned with the study of these particles, their interactions, and non-atomic matter. Subatomic particles include the atomic constituents electrons, protons, and neutrons. Protons and neutrons are composite particles, consisting of quarks.

“Everyone can look around and see the growing amount of information we deal with on a daily basis. All that knowledge is out there. For society to move forward, we need a better way to process it, and store it more densely,” Manoharan said. “Although these projections are stable — they’ll last as long as none of the carbon dioxide molecules move — this technique is unlikely to revolutionize storage, as it’s currently a bit too challenging to determine and create the appropriate pattern of molecules to create a desired hologram,” the authors cautioned. Nevertheless, they suggest that “the practical limits of both the technique and the data density it enables merit further research.”

In 2000, it was Hari Manoharan, Christopher Lutz and Donald Eigler who first experimentally observed quantum mirage at the IBM Almaden Research Center in San Jose, California. In physics, a quantum mirage is a peculiar result in quantum chaos. Their study in a paper published in Nature, states they demonstrated that the Kondo resonance signature of a magnetic adatom located at one focus of an elliptically shaped quantum corral could be projected to, and made large at the other focus of the corral.

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.

Aviation articles by Wikinewsie Iain Macdonald.

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