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Friday, May 16, 2008

Controversy has arisen over the reported presence of blue asbestos on the MV Freewinds, a cruise ship owned by the Church of Scientology. According to the Saint Martin newspaper The Daily Herald and the shipping news journal Lloyd’s List, the Freewinds was sealed in April and local public health officials on the Caribbean island of Curaçao where the ship is docked began an investigation into the presence of asbestos dust on the ship. Former Scientologist Lawrence Woodcraft supervised work on the ship in 1987, and attested to the presence of blue asbestos on the Freewinds in an affidavit posted to the Internet in 2001. Woodcraft, a licensed architect by profession, gave a statement to Wikinews and commented on the recent events.

According to The Daily Herald, the Freewinds was in the process of being renovated by the Curaçao Drydock Company. The article states that samples taken from paneling in the ship were sent to the Netherlands, where an analysis revealed that they “contained significant levels of blue asbestos”. An employee of the Curaçao Drydock Company told Radar Online in an April 30 article that the Freewinds has been docked and sealed, and confirmed that an article about asbestos ran in the local paper.

Lloyd’s List reported that work on the interior of the Freewinds was suspended on April 27 after health inspectors found traces of blue asbestos on the ship. According to Lloyd’s List, Frank Esser, Curaçao Drydock Company’s interim director, joined Curaçao’s head of the department of labor affairs Christiene van der Biezen along with the head of the local health department Tico Ras and two inspectors in an April 25 inspection of the ship. “We are sending someone so that they can tell us what happened, where it came from, since when it has been there,” said Panama Maritime Authority’s director of merchant marine Alfonso Castillero in a statement to Lloyd’s List.

The Church of Scientology purchased the ship, then known as the Bohème, in 1987, through an organization called Flag Ship Trust. After being renovated and refitted, it was put into service in June 1988. The ship is used by the Church of Scientology for advanced Scientology training in “Operating Thetan” levels, as well as for spiritual retreats for its members. Curaçao has been the ship’s homeport since it was purchased by the Church of Scientology.

According to his 2001 statement, Lawrence Woodcraft had been an architect in London, England since 1975, and joined Scientology’s elite “Sea Organization” (Sea Org) in 1986. He wrote that he was asked by the Sea Org to work on the Freewinds in 1987, and during his work on the ship “noticed a powdery blue fibrous substance approximately 1 ½” thick between the paint and the steel wall,” which he believed to be asbestos. He also discovered what he thought was blue asbestos in other parts of the ship, and reported his findings to Church of Scientology executives. Woodcraft discussed his experiences in a 2001 interview published online by the Lisa McPherson Trust, a now-defunct organization which was critical of the Church of Scientology.

Church of Scientology spokeswoman Karin Pouw responded to Radar Online about the asbestos reports, in an email published in an article in Radar on May 1. “The Freewinds regularly inspects the air quality on board and always meets or exceeds US standards,” said Pouw. She stated that two inspections performed in April “confirmed that the air quality is safe,” and asserted that the inspections revealed the Freewinds satisfies standards set by the United States Occupational Safety and Health Administration and the U.S. Clean Air Act.

Pouw told Radar that “The Freewinds will be completing its refit on schedule.” The Church of Scientology-affiliated organization Citizens Commission on Human Rights (CCHR) had been planning a cruise aboard the Freewinds scheduled for May 8, but according to Radar an individual who called the booking number for the cruise received a message that the cruise had been delayed due to ongoing work on the ship. Citing an article in the Netherlands Antilles newspaper Amigoe, Radar reported on May 6 that a team from the United States and supervised by an independent bureau from the Netherlands traveled to Curaçao in order to remove asbestos from the Freewinds.

“I stand by everything I wrote in my 2001 affidavit,” said Lawrence Woodcraft in an exclusive statement given to Wikinews. Woodcraft went on to state: “I would also comment that if the Church of Scientology claims to have removed the blue asbestos, I just don’t see how, it’s everywhere. You would first have to remove all the pipes, plumbing, a/c ducts, electrical wiring etc. etc. just a maze of stuff. Also panelling as well, basically strip the ship back to a steel hull. Also blue asbestos is sprayed onto the outer walls and then covered in paint. It’s in every nook and cranny.”

Many Scientologist celebrities have spent time aboard the Freewinds, including Tom Cruise, Katie Holmes, John Travolta, Kelly Preston, Chick Corea, Lisa Marie Presley, Catherine Bell, Kate Ceberano, and Juliette Lewis. Now magazine reported that Tom Cruise has been urged to seek medical attention regarding potential asbestos exposure, however a representative for Cruise stated he has “absolutely no knowledge” of the recent asbestos controversy. Cruise, Holmes, Travolta and Preston have celebrated birthdays and other events on the Freewinds.

In a May 15 statement to the United Kingdom daily newspaper Metro, a representative for the Church of Scientology said that “There is not now and never has been a situation of asbestos exposure on the Freewinds.” The Asbestos and Mesothelioma Center notes that agencies have recommended anyone who has spent time on the Freewinds consult with their physician to determine if possible asbestos exposure may have affected their health.

Raw blue asbestos is the most hazardous form of asbestos, and has been banned in the United Kingdom since 1970. Blue asbestos fibers are very narrow and thus easily inhaled, and are a major cause of mesothelioma. Mesothelioma is a form of cancer which can develop in the lining of the lungs and chest cavity, the lining of the abdominal cavity, or the pericardium sac surrounding the heart. The cancer is incurable, and can manifest over 40 years after the initial exposure to asbestos.

“This is the most dangerous type of asbestos because the fibres are smaller than the white asbestos and can penetrate the lung more easily,” said toxicologist Dr. Chris Coggins in a statement published in OK! Magazine. Dr. Coggins went on to note that “Once diagnosed with mesothelioma, the victim has six months to a year to live. It gradually reduces lung function until the victim is no longer able to breathe and dies.”

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.

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Wednesday, October 11, 2006

A small aircraft struck an apartment building in New York this afternoon, killing the pilot and a flight instructor. Cory Lidle, a pitcher for the New York Yankees baseball team, was the registered owner of the aircraft and is believed to have been piloting it; his passport was found on the scene. The flight instructor was Tyler Stanger.

The plane, a Cirrus SR20 with registration number N929CD, hit the 26th floor of the Belaire Condominium, a 50 story brick luxury residential building on the Upper East Side at 524 East 72nd Street at York Avenue near the East River in Manhattan, New York City, of which the first 20 floors are a hospital. An eyewitness, present half a block from the building, reported that the plane hit the building, creating an enormous fireball, broke in two and crashed down onto on the street below. Authorities received a 911 call reporting a crash at 2:42 p.m. Eastern time.

New York City mayor Michael Bloomberg gave a press conference at approximately 5:20 p.m. Eastern time to report that the plane was occupied by a flight instructor and a student pilot, but as next-of-kin had not been able to be notified, the identities of the two people on the plane would not be released at this time.

Apartments were seen to be engulfed in flames. The FBI has stated that it was not an intentional attack. The New York area was grey and overcast during the time at crash; however, visibility was not hampered.

After an hour and a half, the fire was extinguished by the FDNY. According to CNN Television ten people have been injured, six of them firefighters. The New York Times, however, reports that eleven firefighters have been injured.

Initial reports suggested that a helicopter was involved, but the FAA has stated that it was a fixed-wing aircraft. CNN Television reported that it was a single-engine fixed-wing plane which left Teterboro Airport, a busy General Aviation airport in New Jersey, circled the Statue of Liberty was tracked on radar until it was lost near the 59th Street Bridge, that the plane may have been having fuel problems or fuel pump problems, and that it was “a pilot in distress.”

Wallace Sines, a source for CNN stated he believes the plane was a Cirrus SR-20 with an installed parachute, which did not deploy. The whole-plane parachute system may have saved the lives of the aircraft occupants had it been safely deployed clear of buildings, but the system is not designed to prevent the trauma associated with a plane impacting a builing. The Cirrus SR-20 was introduced in 2001 and the Cirrus line of 4-seater aircraft has since become one of the most purchased single engine aircraft in the world. The SR-20 does not normally carry an airline-style flight-data recorder, but some are equipped with GPS equipment which logs flight direction, speed and altitude.

The aircraft was owned by baseball player Cory Lidle. He was on board reported by AP. Lidle was killed, according to reports. CNN Television reported that the FBI stated he was at the controls as the only occupant of the plane, and that his passport was found on the ground below the accident.

A little over an hour and a half after the crash, the fire was extinguished after 39 fire units and over 100 fire fighters responded.

The White House has said that there has been no change in the terror threat alert level and that President Bush is being updated constantly.

La Guardia airport was temporarily restricted to no take offs from other airports, however by 4:10 Eastern Time, CNN Television reported that all New York-area airports were open.

CNN Television announced at 3:50 p.m. Eastern Time that as of a few minutes earlier, NORAD is putting fighter aircraft on patrol over certain major American cities as a precautionary measure similar to the actions taken after the 9/11 attacks as a “just in case” measure. It also reported that tomorrow is the 6th anniversary of the attack on the USS Cole in Aden, Yemen.

Moments after the crash, there was a drop in the New York Stock Exchange, however it quickly returned to normal after it was reported that the crash was an accident.

The New York Yankees organization confirmed the plane is registered to Cory Lidle of the New York Yankees, who was planning to fly from New York to Florida, and that some unnamed member of the Yankees organization was on the plane.

One eye-witness interviewed by the BBC stated: “I was wondering why the plane was doing acrobatics and then the next thing I knew was that it had crashed into the building.”She also added that the plane was a small, white, 4-seater winged aircraft and not a helicopter as many news agencies were reporting it to be.

CNN Television broadcast reports from eyewitnesses who reported:

• A pilot who saw the impact stated, “It looked like a pilot who was desperately trying to get to an airport.”
• Another eyewitness who saw the event from the Brooklyn-Queens Expressway, also referred to the incident as appearing as if the plane was “desperately trying to get to LaGuardia” and that as to whether he “clipped” the building, or struck it directly, that “he hit it dead on.”
• “I heard a buzzing noise and then an explosion which looked like a mushroom cloud.”

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Wednesday, May 20, 2009

A copy of a letter written to the Prime Minister of Canada Stephen Harper by a Canadian man facing the death penalty in Saudi Arabia has been obtained by The Canadian Press. In it, Mohamed Kohail pleads with the prime minister to utilise “every way possible to get me out of this situation.”

Kohail, 23, of Montreal, was sentenced on March 3, 2008 to be publicly executed following a confession for murder at a Saudi school. Kohail claims the confession was obtained under duress. The Saudi Supreme Court advised the lower court on April 9, 2009 to renounce the death penalty; however, the request was refused.

Munzer Al-Hiraki, 19, was killed in an after-school fight in January 2007, allegedly after Kohail’s brother, Sultan, insulted a girl. The brothers claim that the fight involved a large group of boys, and felt they were acting in self defense.

Sultan, 16 at the time, said that Mohamed came to his rescue with a friend, only to be greeted by a group armed with knives and clubs. Witnesses for the brothers say that Al-Hiraki had arrived at the school with carloads of friends to seek vengeance on Sultan.

“I was tortured to sign a confession. I was misinformed that I would be allowed out of custody the moment I signed it,” said Kohail.

In the letter, delivered by Canadian MP Deepak Obhrai last December, Kohail continues, “Mr. Harper, I have been in jail for two years now. I am imprisoned with hundreds [of] high-profile criminals in Saudi Arabia for a crime that I did not commit. I’ve lost my hair, two years of my life and see death coming to me closer every day.”

Kohail received 80 days to appeal the sentence. “There were nine hearings in total and only one time was the lawyer for Mohamed and his friend allowed in the courtroom; not even Mohamed’s father, Ali (was allowed in),” said a relative.

Harper is seeking clemency for the Kohail brothers. “It has to be worked within the confines of the Saudi law and it’s important to recognize that and work with the Saudi officials to come to a resolution,” said Foreign Affairs Minister Lawrence Cannon. According to the letter, the Canadian government began seeking clemency March of 2008.

If the court continues to uphold the death penalty, the only other option is the payment of dia, or blood money, in exchange for forgiveness — but Al-Hiraki’s family seeking CA$5 million.

Sultan Kohail is a juvenile who is out on bail awaiting to be tried in adult court on murder charges. The Convention on the Rights of the Child forbids execution of youths under the age of 18, which Saudi Arabia officials declare they comply with. However, the Convention also prohibits execution for crimes committed as juveniles no matter when the court sentences them.

Born in Palestine, the Kohail brothers moved to Canada in 2000, and became Canadian citizens in 2005. They moved to Jiddah in 2006.

In October 2007, Canadian Public Safety Minister Stockwell Day said, “We will not actively pursue bringing back to Canada murderers who have been tried in a democratic country that supports the rule of law.” Previously Canada consistently sought clemency from all foreign governments after the death penalty was abolished in Canada in 1976.

Since the beginning of 2009, 36 people have been executed in Saudi Arabia. 102 were executed in 2008 and 158 were executed in 2007.