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The time is 18:00 (UTC) on June 2nd, 2006, and this is Audio Wikinews News Briefs.

Thursday, March 2, 2006

Buffalo, New York —In an unanimous vote, the City of Buffalo‘s Planning Board voted to table the Elmwood Village hotel Proposal, postponing voting on legislation for up to 30 days.

The Board said its decision was due to the lack of public involvement, saying that there have not been enough meetings.

The Elmwood Village Hotel is a proposed project by Savarino Construction Services Corporation and was designed by Karl Frizlen of The Frizlen Group. The hotel would be placed on Elmwood and Forest Avenues in Buffalo, New York. In order for the hotel to be built, at least five buildings, that include both businesses and residents, must be demolished.

The Forever Elmwood Corp. is a Buffalo-based non-profit organization founded in 1994. Justin Azzarella, the Executive Director for the organization voiced support for the proposal, stating: “I am here today to lend Forever Elmwood’s support the hotel project. Particularly, Forever Elmwood is encouraged by the fact that this building follows the more stringent Elmwood Village Design Guidelines. We have been speaking with Savarino Construction, and they have promised us [Forever Elmwood] that they will engage the community further, including the surrounding Block Clubs and businesses. For that reason, while Forever Elmwood is in support of this project and the type of project that it is, we are asking also that the project be tabled so that the community can be further engaged. Specifically the surrounding Block clubs which include the Granger, Claremont, Asland and The Lincoln Parkway Block Clubs.”

“Because of the excellent work that Karl does and the game plan that they have, I think its an ideal use of this particular location. I think that this particular type of development needs to be encouraged and promoted as opposed to roadblocked,” said a man who owns five properties near the proposal site.

However, Evelyn Bencinich, a resident of Granger Place and whose house would be located directly behind the hotel said, “My property value will be depreciated or non-existent because no one is going to want to live behind a multi-story hotel. We are facing up to a year of noisy and dangerous demolition and construction. Children, pets and even drunk rebellers could wander on site and get hurt. Traffic tie-ups caused by large machinery and garbage bins is inevitable. Where will pedestrians walk? We could experience increased unsanitary flooding in our yards and basements due to the digging and cementing for the underground parking garage. Rats will be displaced into the immediate neighborhoods and be in great abundance. Once we get past the year of nightmare construction, what if you build it and they don’t come? We could ultimately have a seven million dollar rooming house on our corner.”

Patty Morris, co-owner of Don Apparel with Nancy Pollina at 1119 Elmwood also asked that the project be tabled saying, “this has only been public knowledge for less than two weeks and the public never saw the redesign. How can you vote on anything that no one has seen yet? The Board cut off Morris saying, “so specifically you don’t have any problem with it [the design] you just…” Morris then said, “Oh I am totally against this project, but thats besides the point isn’t it.”

The planning board is also concerned that the current design may still be too big.

At one point Board member Susan Curran Hoyt said, “we know you’ve cut down your number of rooms on this project, but we still see it doesn’t seem to fit the description of a ‘botique’ hotel,” and asked Eva Hassett, Vice President of Savarino Construction, “we wonder if you could reduce the rooms further.”

“One thing I didn’t talk about was the price levels of these rooms and that will be important to know. The room rate will be somewhere between US$120 and $160 a night, which is about the same price of the Hampton Inn down town and the smaller you make the hotel, the more expensive the rooms will get. We believe that we’ve made a good compromise in terms of the size of the hotel and perhaps botique means different things to different people,” said Hassett.

The board was also concerned that there is not enough parking asking, “are there alternative plans for valet parking off-site, in the event that you have a full hotel or a large event going on?”

“We are exploring several possibilities with respect to additional parking for valet and parking near-by,” replied Hassett. “We are also exploring the possibility of using the rear of 1105 Elmwood for additional parking, which would give us an additional ten or eleven spaces.”

The new design has a total of 55 parking spaces for 72 rooms, with 39 of them underground and the rest on ground level.

Hassett also said that a “parking study” will be done on the area.

Concerns that the second floor of the hotel will be too close to the property of 605 Forest were also brought up. The board asked how far the hotel would be from the property and Karl Frizlen replied saying it would “be approximately five feet from the property line,” but he also admitted that, “I do not know exactly how close the house next door” will be from the hotel, but did say “I think the house is about four or five feet away from the property line and we [the hotel] sit right on the property line.”

The board is concerned the setback from the property is not enough saying the space between the building and the hotel is “pretty narrow.”

The City’s Common Council also agreed to table the proposal also citing the need for more public engagement and the need for more organizations to respond including the Buffalo Preservation Board and the Office of Historic Preservation.

During that meeting, Hassett also said the proposal to try and get a variance to obtain the properties of 605 and 607 Forest were “now off the agenda.”

The Common Council is expected to meet and hold a public hearing about the project and the rezoning of the properties to be demolished (1119-1121 Elmwood) on Tuesday March 7, 2006 at 2:00 p.m. in Council Chambers at City Hall. At the moment the properties are not zoned for a hotel.

Friday, March 16, 2007

The European Space Agency‘s Mars Express spacecraft has discovered ice deposits in the south pole of Mars that are larger than the state of Texas.

Scientists say that there is enough water in the deposits to cover the entire planet with up to 36 feet of water if the ice was to melt. Some sections of the ice deposits are up to 2.3 – 2.5 miles deep. The ice is composed of carbon dioxide, a little bit of dust, and water (90 percent of the water is estimated to be frozen).

What has caught the attention of the scientists working on the Mars Express project is that this may help reveal whether or not there is any (microbial) life within the ice.

Another perplexing question that scientists are trying to solve is what happened to all the water that produced all the channels on the surface of Mars.

Jeffrey Plaut, who is from NASA’s Jet Propulsion Laboratory in Pasadena, California and who is also leading the study, noted that, “We have this continuing question facing us in studies of Mars, which is: where did all the water go? Even if you took the water in these two (polar) ice caps and added it all up, it’s still not nearly enough to do all of the work that we’ve seen that the water has done across the surface of Mars in its history.”

Currently, only 10 percent of the water is remaining and is located at the poles of Mars. It has been suggested that some of the remaining 90 percent of the water that disappeared could either be underground or could have simply left the atmosphere into space.

[edit]

Wednesday, September 26, 2007

A Catholic school in Michigan, United States was evacuated today after several students became sick during a church service.

Bloomfield Hills Public Safety Director Rick Matott said St. Hugo of the Hills Catholic School evacuated its 860 students around 9 a.m. EDT today. At least three children had passed out during the church service. Two children reportedly had to be taken to area hospitals.

Medical crews and hazardous material experts responded to the school to determine the cause of the illness. However, it is still not known what caused the students to become sick.

Students walked to the nearby Oakland Community College campus while they waited for their parents to pick them up.

St. Hugo of the Hills Catholic School is about 15 miles northwest of Detroit.

Monday, December 31, 2007

The electoral commission of Pakistan held a meeting today to decide whether the general election of the country will go ahead as planned next week on Saturday January 8, 2008. A firm decision is expected on Tuesday; however, according to CNN, Election Commission Secretary Kanwar Dilashad told The Associated Press that a recommendation has been made to the Government to delay the election. It has not been stated how long this electoral delay will be, as no new projected date for the election has yet been proposed.

Violent civil unrest has occurred across Pakistan following the assassination of Pakistan People’s Party (PPP) leader Benazir Bhutto; although this is now drawing to a close, its impact threatens to jeopardize the general election, combined with the aftermath of the state of emergency only recently lifted by President Pervez Musharraf.

Prior to her death Bhutto had accused Musharraf of attempting to rig the balloting and had called for a boycott. However, leaders of the PPP and other parties sympathizing with Bhutto’s view have now indicated that they will not boycott the election when it is held. It was announced yesterday that nominal control of the PPP will be held by Bilawal Bhutto Zardari, Mrs. Bhutto’s son; however his father, Asif Ali Zardari, has declared an intention to handle party affairs on behalf of his son, on the grounds that he is still “of a tender age” at 19 years old. Mr. Zardari has stated that the PPP will contest the poll.

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.