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[furiousstarfishphilosopher]

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[a380flightdeck]

Emirates A380 over Arabian Sea on Jan 7th 2017, wake turbulence sends business jet in uncontrolled descent.

An Emirates Airbus A380-800, registration A6-EUL performing flight EK-412 from Dubai (United Arab Emirates) to Sydney,NS (Australia), was enroute at FL350 about 630nm southeast of Muscat (Oman) and about 820nm northwest of Male (Maldives) at about 08:40Z when a business jet passed underneath in opposite direction. The A380 continued the flight to Sydney without any apparent incident and landed safely.

The business jet, a MHS Aviation (Munich) Canadair Challenger 604 registration D-AMSC performing flight MHV-604 from Male (Maldives) to Abu Dhabi (United Arab Emirates) with 9 people on board, was enroute at FL340 over the Arabian Sea about 630nm southeast of Muscat when an Airbus A380-800 was observed by the crew passing 1000 feet above. After passing underneath the A380 at about 08:40Z the crew lost control of the aircraft as result of wake turbulence from the A380 and was able to regain control of the aircraft only after losing about 10,000 feet. The airframe experienced very high G-Loads during the upset, a number of occupants received injuries during the upset. After the crew managed to stabilize the aircraft the crew decided to divert to Muscat (Oman), entered Omani Airspace at 14:10L (10:10Z) declaring emergency and reporting injuries on board and continued for a landing in Muscat at 15:14L (11:14Z) without further incident. A number of occupants were taken to a hospital, one occupant was reported with serious injuries. The aircraft received damage beyond repair and was written off.

Oman's Civil Aviation Authority had told Omani media on Jan 8th 2017, that a private German registered aircraft had performed an emergency landing in Muscat on Jan 7th 2017 declaring emergency at 14:10L (10:10Z) and landing in Muscat at 15:14L (11:14Z). The crew had declared emergency due to injuries on board and problems with an engine (a number of media subsequently reported the right hand engine had failed, another number of media reported the left hand engine had failed).

According to information on March 4th 2017 the CL-604 passed 1000 feet below an Airbus A380-800 while enroute over the Arabian Sea, when a short time later (1-2 minutes) the aircraft encountered wake turbulence sending the aircraft in uncontrolled roll turning the aircraft around at least 3 times (possibly even 5 times), both engines flamed out, the Ram Air Turbine could not deploy possibly as result of G-forces and structural stress, the aircraft lost about 10,000 feet until the crew was able to recover the aircraft exercising raw muscle force, restart the engines and divert to Muscat.

No radar data are available for the business jet, it is therefore unclear when the business jet departed from Male and where the actual "rendezvous" with the A380 took place. Based on the known time of the occurrence at 08:40Z as well as the time when the CL-604 reached Omani Airspace declaring emergency and landed in Muscat, as well as which A380s were enroute over the Arabian Sea around that time the most likely A380 was EK-412 and the "rendezvous" took place 630nm southeast of Muscat, which provides the best match of remaining flying time (2.5 hours) and distance for the CL-604 also considering rather strong northwesterly winds (headwind for the CL-604, tailwind for the A380s) - this analysis was confirmed on Mar 23rd 2017 by BFU information.

On Jan 7th 2017 there were also other A380-800s crossing the Arabian Sea from northwest to southeast: a Qantas A380-800, registration VH-OQJ performing flight QF-2 from Dubai to Sydney, was enrooted at FL330 about 1000nm southeast of Muscat and about 400nm northwest of Male at 08:40Z. An Emirates A380-800 registration A6-EDO performing flight EK-406 from Dubai to Melbourne, VI (Australia) was enrooted at FL350 about 470nm southeast of Muscat at 08:40Z. Another Emirates A380-800 registration A6-EUH performing flight EK-424 from Dubai to Perth, WA (Australia), was enrooted at FL350 about 350nm southeast of Muscat at 08:40z.

Air Traffic Control all around the globe have recently been instructed to exercise particular care with A380s crossing above other aircraft.

A number of Wake Turbulence Encounters involving A380s already reported:

Incident: Virgin Australia B738 near Bali on Sep 14th 2012, wake turbulence from A380 Incident: Air France A320 and Emirates A388 near Frankfurt on Oct 14th 2011, wake turbulence Accident: British Airways A320 and Qantas A388 near Braunschweig on Oct 16th 2011, wake turbulence injures 4 Report: Antonov A124, Singapore A388 and Air France B744 near Frankfurt on Feb 10th 2011, wake turbulence by A388 causes TCAS RA Report: REX SF34 at Sydney on Nov 3rd 2008, wake turbulence injures one Incident: Armavia A320 near Tiblisi on Jan 11th 2009, turbulence at cruise level thought to be A380 wake

On Mar 18th 2017 an EASA safety information bulletin released stating:

With the increase of the overall volume of air traffic and enhanced navigation precision, wake turbulence encounters in the en-route phase of flight above 10 000 feet (ft) mean sea level (MSL) have progressively become more frequent in the last few years.

The aim of this SIB is to enhance the awareness of pilots and air traffic controllers of the risks associated with wake turbulence encounters in the en-route phase of flight and provide recommendations with the purpose of mitigating the associated risks.

The draft reasons:

The basic effects of wake turbulence encounter on a following aeroplane are induced roll, vertical acceleration (can be negative) and loss or gain of altitude. The greatest danger is an induced roll that can lead to a loss of control and possible injuries to cabin crew and passengers. The vortices are also most hazardous to following aircraft during the take-off, initial climb, final approach and landing.

However, en-route, the vortices evolves in altitudes at which the rate of decay leads to a typical persistence of 2-3 minutes, with a sink rate of 2-3 metres per second. Wakes will also be transported by wind.

Considering the high operating air speeds in cruise, wake can be encountered up to 25 nautical miles (NM) behind the generating aeroplane, with the most significant encounters reported within a distance of 15 NM. This is larger than in approach or departure phases of flight.

The encounters are mostly reported by pilots as sudden and unexpected events. The awareness of hazardous traffic configuration and risk factors is therefore of particular importance to anticipate, avoid and manage possible wake encounters. The draft issues following recommendations.

As precautionary measures, operators and pilots should be aware that:

- As foreseen in Reg. 965/2012 AMC1 to CAT.OP.MPA.170, the announcement to passengers should include an invitation to keep their seat belts fastened, even when the seat belt sign is off, unless moving around the cabin. This minimises the risk of passenger injury in case of a turbulence encounter en-route (wake or atmospheric).

- As indicated in ICAO PANS-ATM, for aeroplanes in the heavy wake turbulence category or for Airbus A380-800, the word “HEAVY” or “SUPER”, respectively, shall be included immediately after the aeroplane call sign in the initial radiotelephony contact between such aeroplanes and ATS units.

- When possible, contrails should be used to visualise wakes and estimate if their flight path brings them across or in close proximity.

- When flying below the tropopause altitude, the likelihood of wake encounter increases. The tropopause altitude varies (between days, between locations).

- Upwind lateral offset should be used if the risk of a wake encounter is suspected.

- Timely selecting seat belt signs to ‘ON’ and instruct cabin crew to secure themselves constitute precautionary measures in case of likely wake encounters.

In case of a wake encounter, pilots should:

- Be aware that it has been demonstrated during flight tests that if the pilot reacts at the first roll motion, when in the core of the vortex, the roll motion could be amplified by this initial piloting action. The result can be a final bank angle greater than if the pilot would not have moved the controls.

- Be aware that in-flight incidents have demonstrated that pilot inputs may exacerbate the unusual attitude condition with rapid roll control reversals carried out in an “out of phase” manner.

- Be aware that if the autopilot is engaged, intentional disconnection can complicate the scenario, and the autopilot will facilitate the recovery.

- Avoid large rudder deflections that can create important lateral accelerations, which could then generate very large forces on the vertical stabiliser that may exceed the structural resistance. Although some recent aircraft types are protected by fly-by-wire systems, use of the rudder does not reduce the severity of the encounter nor does it improve the ease of recovery.

- Make use of specific guidance available through AOM for their specific type(s)/fleet.

ATS providers and air traffic controllers should:

Enhance their awareness about en-route wake turbulence risk, key factors and possible mitigations, based on the information provided in this document and other relevant material. This could be achieved through flyers, e-learning, and refresher training module.

Possible risk mitigations may consist of:

- Make use of the wake turbulence category (WTC) indication in the surveillance label and/or the flight progress strip (whether electronic or paper), and observe closely separated aeroplanes that are at the opposite extremes of the WTC spectrum;

- As the best practice, provide traffic information, advising “CAUTION WAKE TURBULENCE”, when you identify that a ‘HEAVY’ or ‘SUPER HEAVY’ wake category traffic is climbing or descending within 15 NM of another following traffic;

- Manage en-route traffic crossings such as , when possible while preserving safe tactical management of overall traffic in the sector, avoiding to instruct climb or descend to ‘HEAVY’ or ‘SUPER HEAVY’ traffic within 15 NM distance from another following traffic;

- If at all possible, avoid vectoring an aeroplane (particularly if it is LIGHT or MEDIUM category) through the wake of a HEAVY or SUPER HEAVY aeroplane where wake turbulence may exist.

[aryapathak-ls25-blog]

Week 12: Whither the Underground?

Director of The Lab, SF  -> Dena Beard

Mon April 2 Dena Beard Executive Director The Lab, San Francisco

Dena Beard received her M.A. in Art History, Theory, and Criticism from the School of the Art Institute of Chicago and was previously Assistant Curator at the Berkeley Art Museum and Pacific Film Archive. Her work at The Lab considers the exhibition and performance space as a site to investigate and dismantle systems of perception. Beard has organized exhibitions and projects with Dora García, Ellen Fullman, Fritzia Irízar, Jacqueline Gordon, Brontez Purnell, Constance Hockaday, Wadada Leo Smith, Lutz Bacher, Norma Jeane, Anna Halprin, Barry McGee, Silke Otto-Knapp, and Apichatpong Weerasethakul, among others.

Used to be a curator of the Berkeley Museum

The Lab believes that if we give artists enough time, space, and funding to realize their vision, the work they produce will change the way we experience the world and each other. These propositions challenge the familiar ways we perceive value, and so we As a site of constant iteration and indeterminacy, The Lab is, above all, a catalyst for artistic experimentation.

The Lab is W.A.G.E. Certified. W.A.G.E. Certification is a program initiated and operated by working artists that publicly recognizes nonprofit arts organizations demonstrating a commitment to voluntarily paying artist fees that meet a minimum standard.

Came here 10 years ago to work at the berkeley art museum

she was attracted to alternative art spaces.. thought the work at the berkeley art museum was “safe”,

she loved the “the strangeness of the undertakings” at the collaborative/ alternative spaces

“creative labor” -/. often asks her students “who are you?” when they experience a work art

the levitation of terry fox

-he attempted to levitate

he was sick with hodgekins lymphoma

levitating = coming to the understanding that it mean going into the air instead of leaving the ground

her piece was inspired by this

the museum of conceptual art

225 boom microphones image of a projected tiger- nylon clad women

a man on a leader peed on a ladder below

marioni- the art of drinking beer with friends is the highest art of all

                 -montana and marioni handcuffed to each other for three days and just “lived life”.. ate, went out to stores, etc.

problems of smaller art organizations- spaces depended entirely on unpaid labor, almost all artists in a space that is supposed to be for minority groups were white men

current climate- greater income inequality, higher arates of debts

nearly 25% of the city’s non-profits have been displaced of closed since 2017

its clear that the artist communities that shape the cultures of our community are shrinking

americans recipe less than 47 cents per person spent on the arts compared to countries like germany where 19.18 USD spent per person and england where 13.54 USD per person

in us we gave success by “audience size rather than impact”

we have to rethink from the bottom up

without you the artwork does not exist

“what does it mean to be entirely consumed by an artwork.. instead of establishing critical distance” ponti

transitional spaces- artists take hold of the abject and wring from resources more than they could possible give

artists exist in a failed world but they somehow manage to extend outside that world

sam’s cafe - 1918 university ave

-terry and david - students at uc berkeley

the cafe served patrons rotting food and fecal matter

mailed false debt collection letters to

the labor temple- for the price of union dues, workers had access to day cares, a lady’s parlor, and a bunch ofther services

                 -strike of 1934 to raise the minimum wage- led to the fair wage/working acts

the lab was a created as the newest branch of the labor temple -had a punk ethos -

she left her job at he berkeley art museum because she realized that they were more focused on maintaining the “perceived beauty” of the lab rather than on changing and challenging those perceptions

beard tells new residents that their residency will be a mutual experiment and that every artist will have to sit down and bounce around ideas with her and others to figure out “how the rules have to change” for every project

ellen fullman- invented the long string instrument creates a unique musical environment

-for fullman the residency at the lab was unique opportunity to test the instrument in a sound proof. airtight environment that fit all her needs

she digitally monitored the overtones she wanted and mapped them…

it was also an opportunity for pullman to work other performers because she has a limited budget… she was able to pay respected musicians to travel and play with her instrument

                 -she had a piece that had previously been scored but before, it had been too ambitious a goal because she didn’t have the funding, but the lab allowed her to produce the instrument “vibrating earthly sound”

jaclyn gordon- “inside you is me” invited 12 artists that were queer poc - her piece had moveable speakers/ walls, 22 channel sound system, often open until 4 am, the work itself calls on us to pay attention to how we move through space, look, and listen

she did a series of field recording from around the missions, conversations, interviews that were remixed with pop songs, some vocal sounds, etc….

she worked closely with audio engineers to get the effect that they were forced by the sound to continue moving… it was definitely an experiment to see how people used the space

they were able to provide gordon 46,000 dollars and set a minimum wage of $25… every single person at the lab makes $25 and hour including beard

“the lab box” -. everything needed to recreated teach artists work with the artistic integrity intact

                 -the box orginated as a questions— how to archive nontraditional art pieces, allowing us to share collaborative art spaces

she wants he lab to restore some sense of agency to the artist- thats why they provide artists with a decent budget and a living wage

they get there funding through grants

Gregory Sholette - “Artist, activist and author In his wide-ranging art, activist, teaching and

writing practice, dr. Sholette develops a self-described “viable, democratic, counter-narrative that,

bit-by-bit, gains descriptive power within the larger public discourse.” A founding member of

Political Art Documentation/Distribution (PAD/D: 1980-1988, NYC); of REPOhistory collective

(1989-2000); and Gulf Labor, an artists’ group advocating for migrant workers’ rights

constructing Western branded art museums in Abu Dhabi (2010-ongoing)…

sholette… we totally underestimate the art done by amateurs and working artists and people who went to art school but never reached levels of high visibility… which is why he supports W.A.G.E. certified spaces like the Lab

t205708364

Gentrification: is a process of renovation of deteriorated urban neighborhoods by means of the influx of more affluent residents

A founding member of

Political Art Documentation/Distribution (PAD/D: 1980-1988, NYC)

Out of Place- 1984 street posters that were commentary on gentrification and how all these new galleries and museums were built in their city

                 -depicted how real estate companies used rhetoric and imagery that made it seem like the wealthy, young white residents who moved into the city were somehow “taming” the old residents

they created 4 “galleries” by covering up 4 buildings with a bunch of the street posters

-LATER THESE GALLERIES WERE also gentrified

Repo Man - watch movie

Repo history piece:

-in real like repo men collect money from people who can’t pay what they owe… the idea behind the piece was that the artists were collecting and taking bad the culture or their city

                 -i.e. there was a plaque about stuart davis, a famous jazz musician

the artists decided they’d create metal street signs and “borrow their authority” by putting text and images representing the history of new york on signs and then getting permission from the city to put up the signs. For example, they marked the first slave market with images depicting drawings of slaves  

1998 street sign-fighting fire with fire, had a picture of the first woman fire fighter

“advantages of an unregulated free market economy” ->a a sign by constanza representing the neo liberal idea of the free market economy… this sign was right on wall street and stock traders and others got upset and wanted them to take them down but they were able to keep them up because they had a permit

choice histories - the history of abortions

1998- another piece made when dinkins, the liberal mayor was out and rudy guliani was in… this time they weren’t able to get permits for their signs from the city… artists decided to sue the city and giuliani’s popularity was very low so eventually the city caved

-the pieces had a black lives matter message, artists painted pictures of different men of color who were killed by cops when they were unarmed.

Queer Spaces- marked 9 different sites of LGBTQ history

marsha johnson- transgender activist who worked in the meat packing district of new york… the artists made a sign about how she was found floating dead in the hudson, almost certainly a result of gay bashing although the police ruled it a suicide

all of these pieces had the motivation of bring back the history of the city

today, the meat packing district has completely transformed by the introduction of the higgling… the whole other history of the area has virtually disappeared… its a completely different city now

Repo history inspired a lot of other similar pieces-

for example, the howling mob society archived the historic railroad worker strike that happened in pittsburgh

Deller and Hillard- on the street outside the center for tactical media, these artists made a sign on a traffic light that signified how the black panther party advocated for themselves until the city listened to them and put up a stop light

pooch society went around and marked all sites of latinx history

revenge of the surplus archive…

a lot of these piece

art world has a lot more artists and ideas etc. then what is sustainable

i.e. larry fink is the board member of the MoMa but he is also the blackrock ceo, and blackjack is one of the biggest holders of debt and student loans… artists are commenting on the structural flaws of the art world as well

shollete was interested in the “dark matter” or amateurs who use the internet to sell their art and avoid the validation of art museums… e. the mobile cooking and sewing shops on the street, amateurs selling their art online, spanish flamenco dancers who danced in bands after the 2007/2008 recession etc.. all these people might not be not be in the most prestigious, highly curated exhibitions, but they are supporting the art scene and they might fabricate other artists and contribute to bigger pieces

“social practice art”.. certainly theres been community based art and other forms that have preceded social practice art, but social practice art

one artist has put together a community center/ “artificial institution” for refugees to access legal resources, etc…

“the streets shall be our brushes… the squares our palettes.” Vladimir Mayakovsk, avant grade artist in the 1910’s, 20’s

there is a new guggenheim abudabi… literally on a desert island that translates to “the island of happiness”… artists are boycotting these museums because of the terrible labor and housing conditions of workers who have to spend years and years paying back the ridiculously high visa fees before they can even send money back to their families

                 -artists wanted people to uphold labor standards

the louvre also has a new location in abu dhabi… workers were literally in the middle of the desert and their housing was located very far away from the city itself

“52 weeks of gulf labor” - every week, artists made a new piece with the goal of shaming they museum to stop…

for example one of the pieces involved making 3d models of the worker housing in adbhu dhab and “dropping” them at the guggenheim gift shop

another week Gulf, a small faction of artists, decided to actually occupy the guggenheim, refusing to leave… the museum decided to shut the building down, and the small group of artists had the entire museum to themselves

OCCUPY, ORGANIZE, REPEAT… you have to constantly be ready to act

padd- 90% funded by their own labor and time, at the

repo history- a number of ngos and non profits tried to provide some funding, the collectives didn’t last too long

gulf labor coalition- nobody gets payed to be in the  biennale

https://gulflabor.org

I wanted to start my journal by examining a quote from the Ghost Ship article that gives a pretty good summarization of why gentrification angers so many pre-existing residents.

JOURNAL ENTRY

The Ghost Ship fire was a totally preventable incident that occurred because the City of Oakland has neglect the very residents that have given the city is “creative city” reputation. If they had simply cared about their residents enough to check the building’s fire codes, then its likely that the death of over 30 people could’ve been prevented. As a city undergoes gentrification,  residents who are members historically disadvantaged groups such as POC’s , low-income families, people with disabilities are pushed out of the cities due to heightened rent. Essentially, the government and other private organizations are exploiting & commodifying the diverse communities of the Bay Area by using them to attract wealthier, whiter residents and then discarding of them and then treating them like untouchables immediately after.  A better approach would be for them to invest in the current residents and youth, rather than displacing innocent people from their homes.

This week focused the underground art scene and social practice art. Our first speaker was Dena Beard, the executive director at the Lab, which is an alternative art space in Oakland. Before getting into what she does, Dena address the challenges of running underground/ experimental spaces. Her two main concerns were that the spaces usually rely on unpaid labor, and that the experimental art space still lacks the diversity represented across the Bay Area. These issues have only been exacerbated in the Bay’s Current Climate, where gentrification has displaced nearly 25% of the city’s non-forts since 2017.Yet, Dena Bear still kept her promise to the Lab, and the space is now W.A.G.E certified. She’s also ensured that there is active outreach toward artists from underrepresented as a result of race, sexuality, geography, gender, class, etc. In fact, she doesn’t even pay herself a raise! She earns $25 and hour just like everyone else. It was pretty cool the clips of two of the lab’s many residents. It seems as if Dena is committing to helping her residents actualize their dreams, no matter what the cost is! I particularly loved Jaqueline Gordon’s moveable sculpture, Inside You Is Me.I literally had the urge to get out of my seat and start moving, which is very odd for me because I usually dislike electronic music and would never have urge to get to my feet. I was so shocked that Dena Beard still managed to provide 46,000 in grant money for Gordon. Gordon’s piece also shared the perspective of 12 different queer artists of color, so it seams like Beard is slowly chipping away at her goals, even in the midst of gentrification making her life 10X harder.

Gregory Shollette further expanded on the topic of gentrification on Wednesday’s lecture. After all, Shollette is a well known experimental artist exploring the relationship between art and politics, so he’s an expert on the topic. Shollete was a part of many collectives that focused on dismantling gentrification around America, but the most notable one discussed in class was REPOhistory. The idea was that members of collectives were similar to repo men, except rather than collecting money from people who can’t pay, they are taking back the culture of their city from the various organizations and corporations that are trying to move in and push out the communities who used to call these cities home. They’d post street signs in various cities to remind inhabitants of the culture they are ignoring. One sign I’ll never forget was a part of their “Queer Spaces” installments. One sign depicted a picture of Marsha Johnson and explained the sad history of how she was murdered and disposed of in the Hudson River. I don’t know anything about this woman, but I got so sad when Shollette told us how all the signs were torn down and the city looks completely different now. I really liked how invested Shollete was in the “dark matter” of the art world. who were basically amateurs and art school grads selling art online rather than seeking validation from museum. He genuinely believed they provide great support to art scene and he wanted to engage in social practice art with these communities. He definitely lives by his motto, “OCCUPY, ORGANIZE, REPEAT,” and I was very impressed they they’ve even exposed names as big as the Guggenheim.

MULTI MEDIA:

https://youtu.be/QsJrRRT8-68

Rick Lowe was a 2014 McArthur Grant Winner who, like Gregory, similarly engages in social practice art. He is the direct of Project Row Houses, a program in which  artists and cultural practitioners to work alongside urban planners, educators and policy makers to improve public housing. This video shows that their work is successfully transforming communities and engaging historically disadvantaged and underrepresented groups that have been neglected by our government.

DISCUSSION PRESENTATION

https://docs.google.com/presentation/d/1Txz0M6VeVtLK-WPICf11AAm-uc1ZCNwnnnaj1u4aALk/edit#slide=id.g37607d47b8_0_68

[furiousstarfishphilosopher]

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https://futuresmartsurveys.com/traffic-survey-companies/

Our traffic data collection solutions provide reliable data for statistics, planning and real-time road user information, from cost-effective traffic data sensor to using existing CCTV cameras to collect data.

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