Wednesday, October 25, 2006

On November 1, 2006 the old five, ten, twenty and fifty cent coins will be illegal tender, but the Reserve Bank of New Zealand says there are still at least 100 million still to be returned.

According to the Reserve Bank, most of the old coins have been lost in drains or buried in rubbish. “We think there is still another 100 million sitting around in people’s homes,” Brian Lang, currency manger for the Reserve Bank, said.

Lang said: “So far, just over 280 million coins have been returned, but there are more out there. Since 1967 the Reserve Bank has issued more than a billion of the old ‘silver’ coins. So if you don’t want to be stuck with loads of old coin – there’s never been a better time to empty your coin jars, sweep the car glove box and rummage behind the couch cushions.”

The coins still awaiting to be handed in, by either spending them, taking them to a bank or donating them to charity, are estimated to be worth between NZ$5 million and $50 million.

“A last-minute burst of publicity may convince people to bring the coins in. It’s a bit of a hassle though. Human nature being what it is, people just don’t care,” Lang said.The Karori Wildlife Sanctuary located in Wellington say that they have collected over $9,000 in old coins. Sanctuary spokesman, Alan Dicks said: “The campaign was particularly fitting because the old coins depicted tuataras and kiwis, both of which can be found living at the sanctuary. The money will go towards supporting general ecological restoration of the sanctuary. We want to get over ten grand, but the more the better.”

Lang said: “Though the coins will no longer be legal tender, banks will continue to exchange them until at least the end of the year,” and the Reserve Bank will always exchange them. “We are still getting people coming in with two-dollar notes,” Lang added.

Tuesday, July 29, 2008

As gas prices have risen in the United States, the regional transport authority for southeastern Pennsylvania, SEPTA, has seen a sharp increase in ridership, which has caused overcrowding on the trains.

“As fuel prices have continued to rise, SEPTA ridership has steadily increased and is the highest in 18 years,” said SEPTA General Manager Joseph Casey. Monthly ridership was 22 percent higher last month than a year ago.

“They have crushed loads on their rail lines, already where people are standing, and there’s not enough seats,” said Rich Bickel, the director of the Delaware Valley Regional Planning Commission.

“At peak times some railcars are standing room only and commuter parking lots are nearly full. All Regional Rail lines are running near full capacity and the train station parking lots are at about 90 percent capacity or more,” SEPTA spokesperson Felipe Suarez said.

While SEPTA awaits new Silverliner V trains from Hyundai Rotem, which begin arriving in 2009, it had hoped to lease eight rail cars from New Jersey Transit, at an agreed-upon rate of US$10,000 per month. However, due to problems with insurance and liability indemnification, the deal fell through, according to Casey.

SEPTA has entered a new agreement to purchase the eight rail cars from NJ Transit. The transit authority will pay US$670,000 for the cars and assorted supplies plus one additional inoperative car which will be used for spare parts. The rail cars will be operated using a SEPTA provided locomotive as they are not self-propelled.

The cars are being disposed of by NJ Transit because it has switched from single-floor cars to double-decker cars.

SEPTA is expecting to raise US$3.1 million by selling rail that has been out of service since 1981 at auction.

Wednesday, April 2, 2008

For the first time in 40 years, the Royal Mint has chosen a new set of designs for the reverse of the coins, first introduced in the Coin Design Competition 2005. The designer, Matthew Dent of Bangor, North Wales, was paid £35,000 (GBP) for his designs, which depict the Shield of the Royal Arms spread over the six denominations below £1, with the entire shield embossed on the £1 coin.

The new coins are expected to come into circulation this summer – and Mr Dent envisions a success: “I can imagine people playing with them, having them on a tabletop and enjoying them. I felt it was important to have a theme running through from one to another.” he said, referring to the puzzle-like nature of the new design, which requires the coins to be arranged in a particular way to see the Shield of the Royal Arms.

The chief executive of the Royal Mint, Andrew Stafford, has said that the obverse of the coins will still depict the portrait of the Queen, like it has since 1998. The old coins will remain legal tender until they slip out of circulation.

Friday, March 10, 2006

Three men have been arrested and a further six “positively identified” following the public release of photographs showing “persons of interest” to police in relation to the Sydney riots last year.

A 20-year-old man from Warilla, a suburb of Wollongong, handed himself into police yesterday after seeing his photograph in a newspaper. He was subsequently charged with riot and affray.

An 18-year-old man from Bella Vista was arrested in a Baulkham Hills hotel yesterday afternoon after he was identified by the public. A 33-year-old Miranda man was also charged after handing himself into police last night. He will appear in Sutherland Local Court today.

Following the release of the photographs on March 8, police have received information from the public identifying seven of those wanted in relation to the riots.

New South Wales police minister Carl Scully yesterday urged the others to turn themselves into police before being arrested. “I’d say to those people, save yourselves the embarrassment and turn up to a police station”, he said.

Police and the police minister have also criticised Sydney’s middle eastern community for failing to assist in identifying men wanted for revenge attacks after the riots.

“Generally speaking, when Caucasians are put on the front pages of newsletters, they’re identified”, said Mr Scully.

“And unfortunately, when footage is presented of people of Middle Eastern background, we get zip.”

A spokesman from the Lebanese Friendship Association said that the middle eastern community was being persecuted.”We are sick and tired of people saying why aren’t we doing enough”, said Keysar Trad.

“If the beat police can’t recognise them, then the chances of anyone recognising them are very, very slim.”

Other Muslim leaders urged parents to question their children and hand them into police if they suspect they took part in the revenge attacks which occurred after the riot. Lebanese Muslim Association spokesman Abdul El Ayoubi said parents should have questioned their children when the events first occurred.

“If (their children) were involved then they have a duty to take them in”, he said.

“What they have done now, might be nothing to what they could do next time.”

The NSW Islamic Council has also backed Mr Ayouvi’s calls.

Detective Superintendent Ken McKay, the head of strike force Enoggera which is investigating the riots, said he was confident of making many more arrests over coming days thanks to the assistance of the public. “It wouldn’t surprise me if we had, within the next day or two, the majority of them.” he said yesterday.

“I’m confident (of arresting all 20). If I was a betting man I’d be running at close to odds-on.”

Sunday, September 5, 2021

Since June 2019, the people of South Gippsland Shire, located at the southernmost tip of Australia, have been without a local council, after a state government inquiry found “high levels of tension” within the council. Administrators were appointed by the Victorian state government in July 2019, who have governed the shire since then. However, South Gippsland’s council is scheduled to be restored with an election to be held via post from October 5-22, 2021.

Wikinews interviewed one of the candidates standing in this election, Mat Morgan. He is running as a candidate in the Coastal-Promontory Ward, and is endorsed by the Australian Greens. The Coastal-Promontory ward covers towns such as Venus Bay, Waratah Bay, Yanakie, Foster, Port Welshpool, and Toora, and elects three councillors to the South Gippsland Shire Council.

Thursday, April 15, 2010

Hundreds of thousands of air travelers had their travel plans disrupted in Europe by volcanic ash from the Eyjafjallajökull eruption.

Tens of thousands of air travelers were stranded when all flights into and out of the United Kingdom were grounded, as it became one of the first nations to be affected. The grounding was even more extensive than that following the September 11 attacks of 2001 when only trans-Atlantic flights were canceled.

Eurocontrol released a statement saying “…most air traffic in the United Kingdom, Ireland, Denmark, Norway and Sweden is suspended.”

The grounding is because the volcanic ash drawn into the jet stream is of a particle size which allows it to remain aloft in the atmosphere. Ingestion of this foreign matter, because of its distribution, would lead to flame outs in all aircraft engines. The composition of the ash also means that it would first melt into glass if it were to enter the engine of an aircraft before solidifying again as it cooled. This could lead to damage to the compressors and fan blades, which would make it impossible to restart the engines, even if the aircraft were to exit the cloud.

The current contingency is informed by the experience of British Airways Flight 9, which on June 24, 1982 suffered just such complete engine flame outs when it flew through the plume of Mount Galunggung in Indonesia. In that case, the flight crew after many efforts was able to restart the engines, though one failed shortly after, and the aircraft landed without casualties.

The UK National Air Traffic Services (NATS) has stated that “restrictions will remain in place in UK controlled airspace until 1300 (UK time) tomorrow, Friday 16 April, at the earliest,” and that “We will review further Met Office information and at 0230 (UK time) tomorrow we will advise the arrangements that will be in place through to 1800 (UK time) tomorrow.” The NATS statement concluded “…the situation cannot be said to be improving”.

In addition to Northern Europe, the ash is drifting south; Berlin and Hamburg airports in Germany are closed, and airports in the Netherlands, Belgium and Northern France are described as now being closed or closing. Some flights from Spain and Portugal, together with upwards of 4,000 flights across Northern Europe, have been affected, and the knock-on effect of aircraft and crews out of position could disrupt air travel worldwide for up to 72 hours.

One affected group are British musicians booked to play at this weekend’s Coachella Festival in California. Amongst those stranded are Frightened Rabbit, Gary Numan, The Cribs and Bad Lieutenant.

Wednesday, March 30, 2005

A Knoxville, USA woman has sold her name on eBay and received an offer. Terri Iligan, age 33, will legally be named “goldenpalace.com” after the required legal work is complete.

The casino owning the website paid $15,199 over the eBay auction service.

She said that she got the idea when trying to find how much it would cost to send one of her children to a golf school previously attended by Tiger Woods.

In an interview by Knoxville TV station WATE, she said, “To my kids and to my husband, I will always be Terri.” As to the opinion of her husband and children, she said, “He thinks it’s funny. As long as they get to call me mom, they don’t care.”

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.