Friday, October 21, 2005

On Thursday at about 23:30 PST, Level 3 Communications, one of the largest Internet service providers (ISPs), disconnected from most of the internet. The Broomfield Colorado, USA-based Level 3 is a tier 1 provider that connects smaller ISPs together in order to pass data.

There are various reasons why they may have dropped off. The official answer given on the phone was that they had an OSPF failure in Chicago that caused massive internal routing issues. This was followed by a network wide failure of BGP – the protocol that allows the Internet to route between providers.

Other possible reasons are more nefarious. Apparently, Level 3 recently demanded that its peers (other ISPs that connect to them on a mutually beneficial level) pay Level 3 $30,000 USD. Some speculate that their quarterly report released yesterday and subsequent stock price dropping caused them to make a display of power in order to convince other ISPs to pay up. If this was the case, it failed horribly as many other ISPs are now disconnecting from their network, and, due to their demands of payment, are considering not reconnecting at all. So far there is no reason to believe that this is anything more than an urban legend, as the outage impacted all other peers and customers as well.

Larger network-based projects noticed the outage immediately. The Freenode IRC network set up a channel for ongoing news and to figure out how to work around the problem. As reports came in from around the world, it became more obvious that this would not be a simple fix. Level 3 had lost connections to AT&T, Cogent, Internap, Qwest, Savvis, SBC, Sprint, UUNet, Verio, WilTel, XO, and more.

An hour into the problem, many network administrators had routed around Level 3 to avoid their problems, but Level 3 was still out. Two hours in and the response from Level 3 was that “we’re having technical problems – no estimated time of completion yet”.

Finally, after about two and a half hours, Level 3 started routing packets correctly, but it could hardly be considered fully functional. Pieces of the network seemed to be going up and down at random and Level 3 tech support said they would need more time to fix the problem.

At about 3:30 PST, Level 3’s services returned to normal, and they reconnected to the Internet.

Monday, December 31, 2007

What would you tell your grandchildren about 2007 if they asked you about it in, let’s say, 20 year’s time? If the answer to a quiz question was 2007, what would the question be? The year that you first signed on to Facebook? The year Britney Spears and Amy Winehouse fell apart? The year author Kurt Vonnegut or mime Marcel Marceau died, both at 84?

Let’s take a look at some of the international stories of 2007. Links to the original Wikinews articles are in bold.

Monday, November 8, 2010

Edison Peña, one of the 33 miners who had been trapped underground in the San José copper-gold mine in Copiapó, Chile, participated on Sunday in the 41st annual New York City Marathon. Peña had arrived at the city on Thursday, and had been invited by the New York Road Runners, organizers of the marathon.

Before the marathon began, Peña and Mayor of New York Michael Bloomberg saluted the runners from a stage in Staten Island. The event started at 09:40 local time (14:40 UTC; 11:40 Chile time), and Peña finished at 15:30 (20:30 UTC; 17:30 Chile time), approximately five hours and fifty minutes after the race began. The length of the marathon was about 43 kilometres (26.7 miles). According to Radio Cooperativa, the marathon had a record attendance.

“It was worthwhile for me to come this far to run a marathon, because I want to motivate people,” Peña said. “In this marathon I struggled. I struggled with myself, I struggled with my own pain, but I made it to the finish line,” he added.

Peña, aged 34, is a fan of Elvis Presley, and asked for some of Presley’s music while he was underground. Peña also entertained his fellow miners by singing Presley’s songs. On October 13, he became the twelfth miner to be rescued from the mine.

Tuesday, March 31, 2009

Drew Barrymore and Justin Long have been cast in a romantic comedy called Going the Distance.

The New Line Cinema film is to be directed by documentary filmmaker Nanette Burstein, who made the films The Kid Stays in the Picture and American Teen. It will be Burstein’s feature film debut.

Going the Distance, written by New Line staffer Geoff LaTulippe, will focus on a couple dealing with challenges arising from a cross-country romance. Media reports did not indicate a release date had been determined.

The film is being produced by Adam Shankman and Jennifer Gibgot via their independent production company, Offspring Entertainment.

Barrymore and Long last appeared together in the 2009 film, He’s Just Not That into You, which grossed $145 million worldwide. The duo dated in real life, but broke up in July after dating for about a year.

Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

Wednesday, March 18, 2009

United States President Barack Obama stated Monday that insurance giant AIG is in financial trouble due to “recklessness and greed,” and called for legal action to stop the company from giving out millions of dollars in bonuses to its executives.

“It’s hard to understand how derivative traders at AIG warranted any bonuses, much less $165 million in extra pay,” Obama said. “How do they justify this outrage to the taxpayers who are keeping the company afloat.”

Obama’s statement comes after reports surfaced last weekend saying the insurance agency, which is in deep financial trouble, had paid US$165 million to executives in bonuses, after receiving $170 billion as part of a government bailout plan.

AIG has said that the bonuses have to be given out, as the company is legally required by contract to do so. A representative with the National Economic Council, Lawrence H. Summers, also said that the bonuses were required to be given out. If AIG had refused to give out the bonuses, employees could file a lawsuit against the company for the money.

“We cannot attract and retain the best and the brightest talent to lead and staff the A.I.G. businesses — which are now being operated principally on behalf of American taxpayers — if employees believe their compensation is subject to continued and arbitrary adjustment by the U.S. Treasury,” AIG CEO Edward M. Liddy said in a letter addressed to Treasury Secretary Timothy F. Geithner on Saturday.

Liddy said that he asked Geithner “to use that leverage and pursue every legal avenue to block these bonuses and make the American taxpayers whole.”

“I want everybody to be clear that Secretary Geithner’s been on the case,” Obama said. “He’s working to resolve this matter with the new CEO, Edward Liddy, who, by the way, everybody needs to understand, came on board after the contracts that led to these bonuses were agreed to last year.”

If the bonuses cannot be stopped, the U.S. Congress says they want AIG to reimburse the government. Congress is looking to impose stiff new taxes on the pay, or ordering the company to return the money which was originally granted from a government bailout. In a letter to House Speaker Nancy Pelosi on Tuesday, senator Richard Shelby promised that the treasury will recover all of the money. Several U.S. senators along with Liddy have sent letters to AIG asking for the bonuses to be renegotiated, something AIG agreed to and says they will reduce future bonuses by 30%. Senators state that if Libby does not respond by renegotiating the bonuses, the Senate Finance Committee will propose an excise tax. Not only will an excise tax be proposed on AIG, but all companies receiving bailout money and their employees who receive bonuses.

Numerous House Democrats have introduced legislation which would place a 100% tax on any bonuses of over $100,000 from companies that are receiving government bailout funds. Meanwhile in the Senate, a bipartisan proposal by Max Baucus (D-Montana) and Charles Grassley (R-Iowa) would levy a special 90% excise tax on AIG’s bonuses. Asked Senator Baucus, who chairs the Senate Finance Committee: “What is the highest excise tax we can impose that will stand up in court? Let’s find out.”

Sunday, March 25, 2018

Visual art, fabric art, photography, performance, dance, virtual reality, and music were all the subject of sessions at Furnal Equinox 2018, a conference held from March 16 to 18 at Toronto’s Westin Harbour Castle. Canada’s largest furry convention by attendance, the annual event offers dozens of subculture-specific programs.

The convention’s communications and public relations coordinator for the event, Ronnie, describes furries as “people that enjoy arts and culture centred around animals and animal-themed topics, essentially. Furnal Equinox in particular, we like to celebrate in a very visual and very […] artistic nature, where we have lots of arts and performances and crafts that go on, and people celebrate with lots of socialisation involved.”

Of the attendees, Ronnie told Wikinews “they come from all walks of life. They are people of all ages, sizes, all sorts of backgrounds, and they come together under one mutual interest, which is their love for animal culture.”

“Programming at Furnal Equinox involves[…] a lot of informational panels, so you can find out about topics from art and how to draw, or how to visually incorporate different elements into your artworks. You can also find panels that teach you how to write better, be a better fiction author for example,” explained the event representative.

At one panel Wikinews attended, members of its all-volunteer organising committee spoke of the year-long process of planning the event, and their reasons for committing such a significant amount of their time. Said one panelist, “if you’re happy, we’re happy.”

• Image: Nicholas Moreau.

• Image: Nicholas Moreau.

• Image: Nicholas Moreau.

The largest hub of activity at the convention was a dealer’s room; nicknamed the “Dealer’s Den”, giving it an anthropomorphic twist. Vendors were selling original visual art, wearables like faux fur tails or ears, or things like jewellery or soap with motifs that would interest attendees.

The back area of the room was dedicated to a charity auction, with proceeds benefiting Happily Ever Esther Farm Sanctuary. According to the convention website, the charity is “dedicated to rescuing abused, neglected, and abandoned farmed animals. Their goal is to provide a safe, life-long home for all of their residents, and to educate the public about the true nature of farmed animals through tours, volunteer programs, and community outreach.”

Split into groups, some attendees played “Fursuit Games” in front of an audience, like trying to toss a ball into a garbage can. The activity made harder, of course, by the limited dexterity and vision the most of the costumes entail.

• Image: Nicholas Moreau.

• Image: Nicholas Moreau.

• Berrie Image: Nicholas Moreau.

• Image: Nicholas Moreau.

• Attendees try to catch their own prizes, like t-shirts, after the Games. Image: Nicholas Moreau.