Wednesday, February 7, 2018

Early on Sunday morning, Amtrak’s passenger train number 91, the Silver Star, bound for Miami from New York, slammed into a stationary CSX freight train in Cayce, about ten miles (16 km) south of Columbia, capital of the US state of South Carolina. Two Amtrak employees were killed and at least 116 were injured, some seriously.

The two killed were 54-year-old engineer Michael Kempf of Savannah, Georgia, and 36-year-old conductor Michael Cella of Orange Park, Florida. Robert Sumwalt, chairman of the National Transportation Safety Board, told a press conference the passenger train had been diverted into a siding by a switch left “literally locked, with a padlock” in that position.

The collision happened at about 2:35 am local time (0735 UTC) at a switching yard in the small city of Cayce. The Amtrak train, with reportedly 139 passengers and eight employees aboard, collided head on with the freight train, which was parked with no one on board. The Amtrak locomotive and the leading locomotive on the freight train were destroyed; the Amtrak locomotive and some of its passenger cars derailed, and one of those cars was folded in half. Several freight cars were crumpled, Reuters reported. In a press conference, the state governor, Henry McMaster, said the Amtrak locomotive was “barely recognizable” and described it as “a horrible thing to see, to understand the force involved”.

Harrison Cahill, a spokesman for Lexington County, gave a count of 116 injured, up from an initial report of 70; according to Derrec Becker, public information officer for the South Carolina Emergency Management Division, injuries ranged “from cuts and bruises to severe broken bones”. On Monday a Palmetto Health spokesperson said two patients were in serious and two in critical condition at their facilities. A spill of approximately 5,000 gallons of fuel from the freight train posed no safety hazard, according to officials.

Passenger Derek Pettaway told the CNN network that like most others, he had been sleeping when the collision happened. He said Amtrak staff cleared the passengers from the train rapidly, and there was no panic; “I think people were more in shock than anything else”, he said.

“Key to this investigation is learning why the switch was lined that way”, Sumwalt said. Amtrak’s CEO, Richard Anderson, speaking to reporters on Sunday, held CSX responsible; he stated the track in that area is operated by CSX and the signals, which CSX operates, were not working at the time of the collision and a CSX dispatcher was therefore directing the Amtrak train’s movements. Sumwalt noted an automatic monitoring and braking system called positive train control, which was not in use on the stretch of line, could have forestalled the collision.

Several fatal incidents involving Amtrak trains have occurred in the past three months. On December 18, the inaugural train on a new route in Washington state derailed at high speed while crossing above a highway, killing three; on January 31, the driver of a garbage truck was killed in Virginia when he collided with an Amtrak train chartered to take Republican lawmakers to a retreat.

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.

Friday, December 31, 2004

New York City — Actor Jerry Orbach died in his home in Manhattan at age 69. Orbach was a staple of American cinema, stage and television, with his most recent role being in the NBC police drama “Law and Order.”

Orbach is survived by his wife of 25 years, Elaine Cancilla, and his two sons Anthony and Christopher.

Orbach was born in the tough Bronx borough of New York City in 1935 to a family of entertainers. His father Leon Orbach was an vaudeville actor and his mother Emily Orbach was a radio singer and greeting card writer.

The family moved often to keep up with travelling Vaudeville acts, but eventually settled in Waukegan Illinois where Orbach played football at the local high school. After graduation, Orbach got a summer job at the Chevy Chase Country Club in Wheeling doing odd jobs ranging from stagecraft to small acting parts in plays.

He then studied drama at the University of Illinois before transferring to Northwestern where he studied the Stanislavsky Method of drama acting. In 1955, Orbach dropped out of college and moved to New York City where he got a job as an understudy in The Threepenny Opera.

Orbach continued to work in theater, eventually earning roles in broadway musicals, but by 1961 had grown dissatisfied with being typecast as a musical actor. He tried briefly to break into film without success, and eventually returned to broadway where he earned numerous accolades for his roles in such musicals as “Guys and Dolls” and “Chicago“.

Orbach finally broke into television in the 1980s as a recurring character in shows such as the mystery-drama “Murder She Wrote” and the hit sitcom “Golden Girls“.

He earned the lead role as the title character in his own short-lived series “The Law and Harry McGraw”, a spinoff of “Murder She Wrote”. Orbach also scored key roles in a few Hollywood films, including the action thriller “F/X”, and the dance-musical hit “Dirty Dancing”, but continued to find his mainstay in television crime dramas.

In 1990, he picked up a role in the new NBC crime drama “Law and Order” as the acerbic-witted Lennie Briscoe, a role which soon become a regular job. Orbach continued in this role in addition to movie roles and occasional musical appearances until his death this last week.

Orbach was diagnosed with Prostate cancer in Spring of 2004, a fact he kept private until November when he checked into New York’s Memorial Sloan-Ketting Cancer Center for treatment. In spite of the aggressive nature of the treatment, he died on the evening of December 28.

Saturday, November 4, 2006

On November 13, Torontonians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Don Valley East (Ward 33). One candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Zane Caplan, Shelley Carroll (incumbent), Jim Conlon, Sarah Tsang-Fahey, and Anderson Tung.

For more information on the election, read Toronto municipal election, 2006.

Tuesday, February 1, 2011

The president of Egypt has suffered a “devastating blow” after the country’s army announced they would not use force against their own people, who continue to protest against the government tonight. The news came hours after six journalists who reported on the protests were released from custody.

Hosni Mubarak yesterday announced a new cabinet, which does not include several figures who protesters largely do not approve of. Analysts have, however, suggested little had changed within the government; many positions, they say, are filled with military figures.

In a statement broadcast on state media in Egypt, the army said: “To the great people of Egypt, your armed forces, acknowledging the legitimate rights of the people … have not and will not use force against the Egyptian people.” A BBC correspondent in Cairo said the announcement meant it “now seems increasingly likely that the 30-year rule of Mr Mubarak is drawing to a close.”

“The presence of the army in the streets is for your sake and to ensure your safety and wellbeing. The armed forces will not resort to use of force against our great people,” the statement added. “Your armed forces, who are aware of the legitimacy of your demands and are keen to assume their responsibility in protecting the nation and the citizens, affirms that freedom of expression through peaceful means is guaranteed to everybody.”

Earlier today, six journalists from the independent news network Al-Jazeera were released from custody after being detained by police. The U.S. State Department criticized the arrests; equipment was reportedly confiscated from the journalists.

Egyptian officials yesterday ordered the satellite channel to stop broadcasting in the country. Al-Jazeera said they were “appalled” by the government’s decision to close its Egyptian offices, which they described as the “latest attack by the Egyptian regime to strike at its freedom to report independently on the unprecedented events in Egypt.”

In a statement, the news agency added: “Al-Jazeera sees this as an act designed to stifle and repress the freedom of reporting by the network and its journalists. In this time of deep turmoil and unrest in Egyptian society it is imperative that voices from all sides be heard; the closing of our bureau by the Egyptian government is aimed at censoring and silencing the voices of the Egyptian people.”

On Friday, Wikinews reported the government had shut off practically all Internet traffic both out of and into the nation, as well as disrupting cellphone usage. A spokesperson for the social networking website Facebook said “limiting Internet access for millions of people is a matter of concern for the global community.”

A reported 50,000 campaigners, who are demanding the long-time leader step down and complaining of poverty, corruption, and oppression, filled Tahrir Square in Cairo today, chanting “We will stay until the coward leaves.” It is thought 100 people have so far died in the demonstrations. Today there have been protests in Suez, Mansoura, Damanhour, and Alexandria.

Speaking to news media in the area, many protesters said the new cabinet did little to quell their anger. “We want a complete change of government, with a civilian authority,” one said. Another added: “This is not a new government. This is the same regime—this is the same bluff. [Mubarak] has been bluffing us for 30 years.”

In Tahrir Square today, protesters played music as strings of barbed wire and army tanks stood nearby. Demonstrators scaled light poles, hanging Egyptian flags and calling for an end to Mubarak’s rule. “One poster featured Mubarak’s face plastered with a Hitler mustache, a sign of the deep resentment toward the 82-year-old leader they blame for widespread poverty, inflation and official indifference and brutality during his 30 years in power,” one journalist in the square reported this evening.

Thursday, March 31, 2016

Businessman Rocky De La Fuente took some time to speak with Wikinews about his campaign for the U.S. Democratic Party’s 2016 presidential nomination.

The 61-year-old De La Fuente resides in San Diego, California, grew up in Tijuana, and owns multiple businesses and properties throughout the world. Since getting his start in the automobile industry, De La Fuente has branched out into the banking and real estate markets. Despite not having held or sought political office previously, he has been involved in politics, serving as the first-ever Hispanic superdelegate to the 1992 Democratic National Convention.

De La Fuente entered the 2016 presidential race last October largely due to his dissatisfaction with Republican front-runner Donald Trump. He argues he is a more accomplished businessman than Trump, and attacks Trump as “a clown,” “a joke,” “dangerous,” and “in the same category as Hitler.” Nevertheless, De La Fuente’s business background begets comparisons with Trump. The Alaskan Midnight Sun blog described him as the Democrats’ “own Donald Trump.”

While receiving only minimal media coverage, he has campaigned actively, and according to the latest Federal Election Commission filing, loaned almost US$ 4 million of his own money to the campaign. He has qualified for 48 primary and caucus ballots, but has not yet obtained any delegates to the 2016 Democratic National Convention. Thus far, according to the count at The Green Papers, De La Fuente has received 35,406 votes, or 0.23% of the total votes cast. He leads among the many lesser-known candidates but trails both Senator Bernie Sanders who has received nearly 6.5 million votes and front-runner Hillary Clinton who has just shy of 9 million votes.

With Wikinews reporter William S. Saturn?, De La Fuente discusses his personal background, his positions on political issues, his current campaign for president, and his political future.

Sunday, May 28, 2006

Stardust is a NASA space capsule that collected samples from comet 81P/Wild (also known as “Wild 2) in deep space and landed back on Earth on January 15, 2006. It was decided that a collaborative online review process would be used to “discover” the microscopically small samples the capsule collected. The project is called Stardust@home. Unlike distributed computing projects like SETI@home, Stardust@home relies entirely on human intelligence.

Andrew Westphal is the director of Stardust@home. Wikinews interviewed him for May’s Interview of the Month (IOTM) on May 18, 2006. As always, the interview was conducted on IRC, with multiple people asking questions.

Some may not know exactly what Stardust or Stardust@home is. Can you explain more about it for us?

Stardust is a NASA Discovery mission that was launched in 1999. It is really two missions in one. The primary science goal of the mission was to collect a sample from a known primitive solar-system body, a comet called Wild 2 (pronounced “Vilt-two” — the discoverer was German, I believe). This is the first US “sample return” mission since Apollo, and the first ever from beyond the moon. This gives a little context. By “sample return” of course I mean a mission that brings back extraterrestrial material. I should have said above that this is the first “solid” sample return mission — Genesis brought back a sample from the Sun almost two years ago, but Stardust is also bringing back the first solid samples from the local interstellar medium — basically this is a sample of the Galaxy. This is absolutely unprecedented, and we’re obviously incredibly excited. I should mention parenthetically that there is a fantastic launch video — taken from the POV of the rocket on the JPL Stardust website — highly recommended — best I’ve ever seen — all the way from the launch pad, too. Basically interplanetary trajectory. Absolutely great.

Is the video available to the public?

Yes [see below]. OK, I digress. The first challenge that we have before can do any kind of analysis of these interstellar dust particles is simply to find them. This is a big challenge because they are very small (order of micron in size) and are somewhere (we don’t know where) on a HUGE collector— at least on the scale of the particle size — about a tenth of a square meter. So…

We’re right now using an automated microscope that we developed several years ago for nuclear astrophysics work to scan the collector in the Cosmic Dust Lab in Building 31 at Johnson Space Center. This is the ARES group that handles returned samples (Moon Rocks, Genesis chips, Meteorites, and Interplanetary Dust Particles collected by U2 in the stratosphere). The microscope collects stacks of digital images of the aerogel collectors in the array. These images are sent to us — we compress them and convert them into a format appropriate for Stardust@home.

Stardust@home is a highly distributed project using a “Virtual Microscope” that is written in html and javascript and runs on most browsers — no downloads are required. Using the Virtual Microscope volunteers can search over the collector for the tracks of the interstellar dust particles.

How many samples do you anticipate being found during the course of the project?

Great question. The short answer is that we don’t know. The long answer is a bit more complicated. Here’s what we know. The Galileo and Ulysses spacecraft carried dust detectors onboard that Eberhard Gruen and his colleagues used to first detect and them measure the flux of interstellar dust particles streaming into the solar system. (This is a kind of “wind” of interstellar dust, caused by the fact that our solar system is moving with respect to the local interstellar medium.) Markus Landgraf has estimated the number of interstellar dust particles that should have been captured by Stardust during two periods of the “cruise” phase of the interplanetary orbit in which the spacecraft was moving with this wind. He estimated that there should be around 45 particles, but this number is very uncertain — I wouldn’t be surprised if it is quite different from that. That was the long answer! One thing that I should say…is that like all research, the outcome of what we are doing is highly uncertain. There is a wonderful quote attributed to Einstein — “If we knew what we were doing, it wouldn’t be called “research”, would it?”

How big would the samples be?

We expect that the particles will be of order a micron in size. (A millionth of a meter.) When people are searching using the virtual microscope, they will be looking not for the particles, but for the tracks that the particles make, which are much larger — several microns in diameter. Just yesterday we switched over to a new site which has a demo of the VM (virtual microscope) I invite you to check it out. The tracks in the demo are from submicron carbonyl iron particles that were shot into aerogel using a particle accelerator modified to accelerate dust particles to very high speeds, to simulate the interstellar dust impacts that we’re looking for.

And that’s on the main Stardust@home website [see below]?

Yes.

How long will the project take to complete?

Partly the answer depends on what you mean by “the project”. The search will take several months. The bottleneck, we expect (but don’t really know yet) is in the scanning — we can only scan about one tile per day and there are 130 tiles in the collector…. These particles will be quite diverse, so we’re hoping that we’ll continue to have lots of volunteers collaborating with us on this after the initial discoveries. It may be that the 50th particle that we find will be the real Rosetta stone that turns out to be critical to our understanding of interstellar dust. So we really want to find them all! Enlarging the idea of the project a little, beyond the search, though is to actually analyze these particles. That’s the whole point, obviously!

And this is the huge advantage with this kind of a mission — a “sample return” mission.

Most missions rather do things quite differently… you have to build an instrument to make a measurement and that instrument design gets locked in several years before launch practically guaranteeing that it will be obsolete by the time you launch. Here exactly the opposite is true. Several of the instruments that are now being used to analyze the cometary dust did not exist when the mission was launched. Further, some instruments (e.g., synchrotrons) are the size of shopping malls — you don’t have a hope of flying these in space. So we can and will study these samples for many years. AND we have to preserve some of these dust particles for our grandchildren to analyze with their hyper-quark-gluon plasma microscopes (or whatever)!

When do you anticipate the project to start?

We’re really frustrated with the delays that we’ve been having. Some of it has to do with learning how to deal with the aerogel collectors, which are rougher and more fractured than we expected. The good news is that they are pretty clean — there is very little of the dust that you see on our training images — these were deliberately left out in the lab to collect dust so that we could give people experience with the worst case we could think of. In learning how to do the scanning of the actual flight aerogel, we uncovered a couple of bugs in our scanning software — which forced us to go back and rescan. Part of the other reason for the delay was that we had to learn how to handle the collector — it would cost $200M to replace it if something happened to it, so we had to develop procedures to deal with it, and add several new safety features to the Cosmic Dust Lab. This all took time. Finally, we’re distracted because we also have many responsibilities for the cometary analysis, which has a deadline of August 15 for finishing analysis. The IS project has no such deadline, so at times we had to delay the IS (interstellar, sorry) in order to focus on the cometary work. We are very grateful to everyone for their patience on this — I mean that very sincerely.

And rest assured that we’re just as frustrated!

I know there will be a “test” that participants will have to take before they can examine the “real thing”. What will that test consist of?

The test will look very similar to the training images that you can look at now. But.. there will of course be no annotation to tell you where the tracks are!

Why did NASA decide to take the route of distributed computing? Will they do this again?

I wouldn’t say that NASA decided to do this — the idea for Stardust@home originated here at U. C. Berkeley. Part of the idea of course came…

If I understand correctly it isn’t distributed computing, but distributed eyeballing?

…from the SETI@home people who are just down the hall from us. But as Brian just pointed out. this is not really distributed computing like SETI@home the computers are just platforms for the VM and it is human eyes and brains who are doing the real work which makes it fun (IMHO).

That said… There have been quite a few people who have expressed interested in developing automated algorithms for searching. Just because WE don’t know how to write such an algorithm doesn’t mean nobody does. We’re delighted at this and are happy to help make it happen

Isn’t there a catch 22 that the data you’re going to collect would be a prerequisite to automating the process?

That was the conclusion that we came to early on — that we would need some sort of training set to be able to train an algorithm. Of course you have to train people too, but we’re hoping (we’ll see!) that people are more flexible in recognizing things that they’ve never seen before and pointing them out. Our experience is that people who have never seen a track in aerogel can learn to recognize them very quickly, even against a big background of cracks, dust and other sources of confusion… Coming back to the original question — although NASA didn’t originate the idea, they are very generously supporting this project. It wouldn’t have happened without NASA’s financial support (and of course access to the Stardust collector). Did that answer the question?

Will a project like this be done again?

I don’t know… There are only a few projects for which this approach makes sense… In fact, I frankly haven’t run across another at least in Space Science. But I am totally open to the idea of it. I am not in favor of just doing it as “make-work” — that is just artificially taking this approach when another approach would make more sense.

How did the idea come up to do this kind of project?

Really desperation. When we first thought about this we assumed that we would use some sort of automated image recognition technique. We asked some experts around here in CS and the conclusion was that the problem was somewhere between trivial and impossible, and we wouldn’t know until we had some real examples to work with. So we talked with Dan Wertheimer and Dave Anderson (literally down the hall from us) about the idea of a distributed project, and they were quite encouraging. Dave proposed the VM machinery, and Josh Von Korff, a physics grad student, implemented it. (Beautifully, I think. I take no credit!)

I got to meet one of the stardust directors in March during the Texas Aerospace Scholars program at JSC. She talked about searching for meteors in Antarctica, one that were unblemished by Earth conditions. Is that our best chance of finding new information on comets and asteroids? Or will more Stardust programs be our best solution?

That’s a really good question. Much will depend on what we learn during this official “Preliminary Examination” period for the cometary analysis. Aerogel capture is pretty darn good, but it’s not perfect and things are altered during capture in ways that we’re still understanding. I think that much also depends on what question you’re asking. For example, some of the most important science is done by measuring the relative abundances of isotopes in samples, and these are not affected (at least not much) by capture into aerogel.

Also, she talked about how some of the agencies that they gave samples to had lost or destroyed 2-3 samples while trying to analyze them. That one, in fact, had been statically charged, and stuck to the side of the microscope lens and they spent over an hour looking for it. Is that really our biggest danger? Giving out samples as a show of good faith, and not letting NASA example all samples collected?

These will be the first measurements, probably, that we’ll make on the interstellar dust There is always a risk of loss. Fortunately for the cometary samples there is quite a lot there, so it’s not a disaster. NASA has some analytical capabilities, particularly at JSC, but the vast majority of the analytical capability in the community is not at NASA but is at universities, government labs and other institutions all over the world. I should also point out that practically every analytical technique is destructive at some level. (There are a few exceptions, but not many.) The problem with meteorites is that except in a very few cases, we don’t know where they specifically came from. So having a sample that we know for sure is from the comet is golden!

I am currently working on my Bachelor’s in computer science, with a minor in astronomy. Do you see successes of programs like Stardust to open up more private space exploration positions for people such as myself. Even though I’m not in the typical “space” fields of education?

Can you elaborate on your question a little — I’m not sure that I understand…

Well, while at JSC I learned that they mostly want Engineers, and a few science grads, and I worry that my computer science degree with not be very valuable, as the NASA rep told me only 1% of the applicants for their work study program are CS majors. I’m just curious as to your thoughts on if CS majors will be more in demand now that projects like Stardust and the Mars missions have been great successes? Have you seen a trend towards more private businesses moving in that direction, especially with President Bush’s statement of Man on the Moon in 2015?

That’s a good question. I am personally not very optimistic about the direction that NASA is going. Despite recent successes, including but not limited to Stardust, science at NASA is being decimated.

I made a joke with some people at the TAS event that one day SpaceShipOne will be sent up to save stranded ISS astronauts. It makes me wonder what kind of private redundancy the US government is taking for future missions.

I guess one thing to be a little cautious about is that despite SpaceShipOne’s success, we haven’t had an orbital project that has been successful in that style of private enterprise It would be nice to see that happen. I know that there’s a lot of interest…!

Now I know the answer to this question… but a lot do not… When samples are found, How will they be analyzed? Who gets the credit for finding the samples?

The first person who identifies an interstellar dust particle will be acknowledged on the website (and probably will be much in demand for interviews from the media!), will have the privilege of naming the particle, and will be a co-author on any papers that WE (at UCB) publish on the analysis of the particle. Also, although we are precluded from paying for travel expenses, we will invite those who discover particles AND the top performers to our lab for a hands-on tour.

We have some fun things, including micromachines.

How many people/participants do you expect to have?

About 113,000 have preregistered on our website. Frankly, I don’t have a clue how many will actually volunteer and do a substantial amount of searching. We’ve never done this before, after all!

One last thing I want to say … well, two. First, we are going to special efforts not to do any searching ourselves before we go “live”. It would not be fair to all the volunteers for us to get a jumpstart on the search. All we are doing is looking at a few random views to make sure that the focus and illumination are good. (And we haven’t seen anything — no surprise at all!) Also, the attitude for this should be “Have Fun”. If you’re not having fun doing it, stop and do something else! A good maxim for life in general!