Month: March 2019

Friday, October 2, 2009

Companies in the United States are shedding more jobs, pushing the country’s unemployment rate to a 26-year high of 9.8%.

The US Labor Department said on Friday that employers cut 263,000 jobs in September, with companies in the service industries — including banks, restaurants and retailers — hit especially hard. This is the 21st consecutive month of job losses in the country.

The United States has now lost 7.2 million jobs since the recession officially began in December 2007. The new data has sparked fears that unemployment could threaten an economic recovery. Top US officials have warned that any recovery would be slow and uneven, and some have predicted the unemployment rate will top 10% before the situation improves.

“Continued household deleveraging and rising unemployment may weigh more on consumption than forecast, and accelerating corporate and commercial property defaults could slow the improvement in financial conditions,” read a report by the International Monetary Fund’s World Economic Outlook, predicting that unemployment will average 10.1% by next year and not go back down to five percent until 2014.

Mark Zandi, chief economist at Moody’s Economy.com, said that “it’s a very fragile and tentative recovery. Policy makers need to do more.”

“The number came in weaker than expected. We saw a lot of artificial involvement by the government to prop up the markets, and now that that is starting to end, the private sector isn’t yet showing signs of life,” said Kevin Caron, a market strategist for Stifel, Nicolaus & Co.

Also on Thursday, the US Commerce Department said factory orders fell for the first time in five months, dropping eight-tenths of a percent in August. Orders for durable goods — items intended to last several years (including everything from appliances to airliners) — fell 2.6%, the largest drop since January of this year.

The US government has been spending billions of dollars — part of a $787 billion stimulus package — to help spark economic growth. There have been some signs the economy is improving.

The Commerce Department said on Thursday that spending on home construction jumped in August for its biggest increase in 16 years. A real estate trade group, the National Association of Realtors, said pending sales of previously owned homes rose more than 12 percent in August, compared to August 2008.

A separate Commerce Department report said that consumer spending, which accounts for more than two-thirds of US economic activity, rose at its fastest pace in nearly eight years, jumping 1.3 percent in August.

Other reports have provided cause for concern. A banking industry trade group said Thursday the number of US consumers making late payments, or failing to make payments, on loans and credit cards is on the rise. A survey by a business group, the Institute for Supply Management, Thursday showed US manufacturing grew in September, but at a slower pace than in August when manufacturing increased for the first time in a year and a half.

Stock markets reacted negatively to the reports. The Dow Jones Industrial Average fell 41 points in early trading, reaching a level of 9467. This follows a drop of 203 points on Thursday, its largest loss in a single day since July. The London FTSE index fell 55 points, or 1.1%, to reach 4993 points by 15.00 local time.

Wednesday, April 2, 2008

Seven year old Hser Nar Moo, who went missing from her home in South Salt Lake, Utah Tuesday, has been found dead less than 100 feet from her home.

South Salt Lake Police Chief Chris Snyder said at a news conference, “Once inside the apartment, they observed some evidence that led them to the bathroom of the apartment, where they discovered the body of Hser Nay Moo.”

It has not been made public how the girl died. “There is some trauma present, and that’s all I’m going to say,” Snyder said.

As of Wednesday morning, police have five men in custody for questioning. Witnesses say that four of them are Burmese immigrants living in the same apartment complex as the child’s family.

Nar Moo was last seen alive at her home on Monday at around 2:00 PM MDT (UTC-6), and was reported missing at around 6:30 PM. An AMBER alert was issued at 9:42 AM yesterday, before her body was found in the bathroom of a neighbor.

The seven year old Asian girl was described as being 3 feet 8 inches tall, weighing about 45 lbs, with brown eyes and long black hair. She was wearing a pink dress to her knees and pink Croc shoes at the time when she went missing.

Police reported that she spoke very little English, though she did understand some. It is believed her family is from Burma.

The AMBER Alert issued yesterday is no longer active because of the discovery of the body.

Saturday, September 10, 2016

A cube of ice, weighing about ten tons (about 9000 kg) and measuring 80 inches (2m) per side, is melting in Seattle, Washington’s Occidental Park. The temporary art installation, set up yesterday morning, “showcases the stages of the natural water cycle as the ice shifts from opaque to translucent”, the artists said.

The project is part of the Seattle Design Festival, and was designed by Olson Kundig Architects’ Clay Anderson, Noah Conlay, Jarri Hasnain, Gregory Nakata, and Mark Olthoff. Crews began assembling blocks yesterday morning and had stacked all 64 blocks in place by 8:00 am.

It is not certain how long the 64 blocks of ice that make up the cube will take to melt, and discovering how the process unfolds is part of the intent. Olson Kundig contacted University of Washington meteorologist Cliff Mass to try to estimate the time it would take to melt, which Mass called “not a trivial calculation”. He said the variables included how much sun warms the block, in turn dependent on cloud cover; condensation on the block’s surface, thus variables like humidity, temperature, and wind; and heat conduction, both from the ground and from the surrounding air.

The installation inspired photographers at The Seattle Times, and under the hashtag #ok_icecube at Instagram and Twitter.

Sunday, April 17, 2011

United States officials have unveiled new plans which require air traffic controllers to have longer rest periods between shifts after a spate of controllers fell asleep while on duty at airports across the country. Announcing the plans, transport secretary Ray LaHood said he was “outraged” by the incidents.

The new plans, which the Federal Aviation Administration (FAA), the U.S. government agency responsible for aviation, said would be implemented immediately, come after another controller was suspended this week when they fell asleep while directing aircraft near Miami. The incident was the sixth this year; controllers have fallen asleep in Nevada, Washington D.C., and Tennessee. In one incident, two commercial passenger jets landed without any direction from the control tower because the controller on duty had fallen asleep.

LaHood said controllers would be required to have a minimum of nine hours rest between shifts, an increase of an hour, and more supervisors would be required during night shifts, and they will be restricted in what shifts they can swap with colleagues. “I don’t know when I’ve ever been madder,” LaHood said in a television interview on Fox News Sunday. “We’re not going to stand by and let that happen.”

“We’ve taken steps, as of this morning, to begin changing schedules for controllers, to change schedules for managers, and to make sure that controllers cannot switch in and out of their schedules in order for the convenience of them if they are not well-rested,” LaHood said. He vowed that he would ensure any controllers falling asleep on duty would face consequences. “On my watch, controllers will not be paid to take naps,” he said. “We’re not going to allow that.”

Earlier this week, Hank Krakowski, the head of air traffic organization at the FAA, resigned from his position after LaHood said the crisis in U.S. control towers was “unacceptable”, and vowed to resolve the issue. “I am totally outraged by these incidents,” LaHood said. “This is absolutely unacceptable. The American public trusts us to run a safe system.”

The results of a study on how fatigue affects controllers will soon be published and the FAA may make changes. But LaHood insisted controllers had to “take personal responsibility” for the safety of aircraft over the U.S., and they should not make irresponsible shift changes which will make them tired and put passengers at risk. He said all the controllers involved in the incidents had been suspended, and could ultimately be sacked. The National Air Traffic Controllers Association, a labor union representing controllers in the U.S., said the FAA had their “full support” in implementing the new steps to tackle fatigue.

See the discussion page for instructions on adding schools to this list.Tuesday, September 13, 2005

NAICU has created a list of colleges and universities accepting and/or offering assistance to displace faculty members. [1]Wednesday, September 7, 2005

This list is taken from Colleges offering admission to displaced New Orleans students, and is intended to make searching easier for faculty, graduate, and professional students.

In addition to the list below, the Association of American Law Schools has compiled a list of law schools offering assistance to displaced students. [2] As conditions vary by college, interested parties should contact the Office of Admissions at the school in question for specific requirements and up-to-date details.

The Association of American Medical Colleges is coordinating alternatives for medical students and residents displaced by Hurricane Katrina. [3]

ResCross.net is acting as a central interactive hub for establishing research support in times of emergency. With so many scientists affected by Hurricane Katrina, ResCross is currently focused on providing information to identify sources of emergency support as quickly as possible. [4]

With so many scientists affected by Hurricane Katrina, ResCross is currently focused on providing information to identify sources of emergency support as quickly as possible.

Physics undergraduates, grad students, faculty and high school teachers can be matched up with housing and jobs at universities, schools and industry. [5] From the American Association of Physics Teachers, the Society of Physics Students, the American Institute of Physics and the American Physical Society.

If you are seeking or providing assistance, please use this site to find information on research support, available lab space/supplies, resources, guidelines and most importantly to communicate with fellow researchers.

The following is a partial list, sorted by location.

Alabama |Alaska |Arizona |Arkansas |California |Colorado |Connecticut |Delaware |District of Columbia |Florida |Georgia |Hawaii |Idaho |Illinois |Indiana |Iowa |Kansas |Kentucky |Louisiana |Maine |Maryland |Massachusetts |Michigan |Minnesota |Mississippi |Missouri |Montana |Nebraska |Nevada |New Hampshire |New Jersey |New Mexico |New York |North Carolina |North Dakota |Ohio |Oklahoma |Oregon |Pennsylvania |Rhode Island |South Carolina |South Dakota |Tennessee |Texas |Utah |Vermont |Virginia |Washington |West Virginia |Wisconsin |Wyoming |Canada

Friday, November 11, 2005

Two research articles published this week illustrate continuing efforts to predict earthquakes. The first article builds upon the idea that analysis of the first seismic waves from an earthquake can provide a way to generate a several second warning that an earthquake will hit. However, for such warnings to be useful, the early seismic waves should also allow prediction of the strength of the earthquake. An article published in this week’s edition of Nature concludes that scientists might be able to distinguish small earthquakes from big ones by using the very first second of information contained in seismic waves.

Researchers from the University of California, Berkeley, say the measurements of seismic waves soon after a trembler can signal whether it will be a minor or monster trembler. “Basically, a high-pitched squeal means that you’ll get a smaller quake. A low-groan means something bigger,” says the University of California’s Richard Allen.

In the study, Allen and colleagues analyzed records of 71 major Pacific Rim quakes in the past decades including 24 events that were greater than a magnitude 6. Using a mathematical model, they were able to estimate a quake’s size to within one magnitude unit from as little as four seconds of data of the frequency of the energy in the primary wave. These low-energy waves typically cause a jolt, signaling the occurrence of a quake.

According to a traditional theory, called the cascade model, we cannot know anything about an earthquake’s ultimate magnitude until it is finished. This is because spread along a fault line depends on the stress in each individual part of the fault. Given that this information is not available to the initial rupture point, it should be impossible to tell from that first slip how far it will go or how long it will last.

The study by Berkeley’s Allen and Erik L. Olson of the University of Wisconsin-Madison builds upon earlier work by Yutaka Nakamura in Japan. Nakamura’s research indicated that the frequency of the P wave can allow prediction of which earthquakes will have a magnitude greater than 6 and distinguish them from small tremors that do not require warnings. Some fire stations use P wave detectors to automatically open doors in an effort to make sure that emergency vehicles are not trapped inside by doors that can be jammed shut by earthquake damage.

The goal of this research is to make the best possible use of the information from the earliest seismic waves emitted by an earthquake as part of an alert system to give seconds to tens of seconds of advance notice of an impending quake — enough time for schoolchildren to take cover, power generators to trip off and valves to shut on pipelines. A major limitation of this work is that the greatest earthquake damage is near the epicenter where there is little time difference between the early P waves and the strongest damaging earthquake waves.

The second research paper, published this week in the scientific magazine Physical Review Letters, builds upon earlier research into patterns of earthquake activity at specific faults. The new research by scientists from Israel and Germany led by Prof. Shlomo Havlin, of Bar-Ilan University’s Department of Physics in Israel, concerns prediction of the timing between earthquakes.

Prof. Havlin’s research, in collaboration with Prof. Armin Bunde, of the Justus-Liebig University in Giessen, Germany, and Bar-Ilan University graduate student Valerie Livina, involved a large number of past earthquakes at many different faults. The data used in this study were for earthquakes ranging from magnitude 2 to magnitude 5.5 on the Richter Scale. Data were from several areas of the world including California, Japan, and New Zealand. The new results are consistent with previous studies which have indicated that some faults have more frequent small earthquakes while other faults have less frequent and larger earthquakes.

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.

Tuesday, January 26, 2010

The mystery of the location of a viewpoint used by English painter John Constable has been solved, after nearly 200 years. The Stour Valley and Dedham Church was painted in Suffolk, England, between 1814 and 1815, but changes to the landscape meant that the spot he chose was not known, despite the best efforts of historians and art experts.

Now the puzzle has been answered. Martin Atkinson, who works for the National Trust as property manager for East Suffolk, used clues from the painting and looked at old maps to track down the viewpoint. Trees had grown, a hedgerow had been planted and boundaries had moved or disappeared, but Atkinson eventually worked out where Constable had stood. He said, “When I discovered that I had worked out the location where Constable painted this particular masterpiece, I couldn’t believe it. All the pieces of the jigsaw finally fitted together.”

Atkinson used an 1817 map of East Bergholt, where Constable grew up, as a reference point, but found that the view would have changed not long after the painting was completed. “The foreground didn’t fit at all, it was quite unusual as we know Constable painted it in the open air so he would have been standing in the scene. The hedgerow in his work no longer exists and there’s another hedgerow that runs across the scene today which wasn’t there. When you stand on the road on which he would have stood, and use the oak tree as a reference point, you see the same view. It’s great to see where an old master stood – and be inspired by the same view,” he said.

Suffolk, where Constable painted many of his finest paintings, is often called “Constable country”. Most, but not all, of the locations that Constable depicted are known. The picture is now housed in the Museum of Fine Arts, Boston, Massachusetts.

Wednesday, July 1, 2009

Severe thunderstorms impacted the northeast United States today, producing sporadic power outages and weather conditions ranging from heavy rainfall to large hail. The Storm Prediction Center (SPC) received dozens of damage reports; trees, tree limbs, electrical wires and utility poles were downed throughout portions of Pennsylvania, New Jersey, and New York.

Severe weather advisories were posted during the morning and early afternoon, and are now expiring as the storms pull out of the area.

According to the SPC, hailstones occasionally approached one inch in diameter. Strong winds were also present, and there were reports of dog kennels being blown across a highway in Pope County, Pennsylvania. However, no deaths or injuries occurred.

The National Weather Service said a funnel cloud was reported in Livingston Manor, New York at about 1:55 pm this afternoon, prompting the brief issuance of a tornado warning.

Wednesday, October 4, 2006

The US Army Corps of Engineers decision to place restrictions on issuance of nationwide pollution permits has been upheld by a federal court. In National Association of Home Builders v. Army Corps of Engineers, the District Court for the District of Columbia found that the Corps of Engineers had not acted in an “arbitrary” or “capricious” manner in changing the terms and conditions for issuance of a national pollution permit, including reducing the size of area into which pollutants may be discharged from 10 acres to 1 acre, raising the threshold for requiring additional permits from 1 acre to 1/10 acre,

A nationwide permit allows an organization to engage in certain industrial activities on a national basis (such as mining and construction), reducing the amount of paperwork and filings needed for otherwise minor environmental impacts, as opposed to an ordinary permit for a specific location which will engage in activities which generate water pollution.

Due to concerns over the amount of discharge taking place in waterways, the Corps of Engineers began in the 1980s to reduce the authority granted by nationwide permits and to bar use of the permits in certain ecologically sensitive areas.

Some industry groups, including the plaintiff in the above case, The National Association of Home Builders, sued the Corps of Engineers in 2000 over the change in an attempt to block its implementation. Environmental groups, including the Sierra Club, were given permission to intervene in the case in support of the actions of the Corps.

Environmental groups were pleased with the decision, but are concerned over other actions of the Bush Administration, such as the attempts to weaken provisions of the 2002 Clean Water Act to allow additional dumping of construction and mining waste into waterways as fill material.