SCHIPHOL (ANP) - Luchtverkeersleiding Nederland (LVNL) voert volgende maand twee veiligheidsmaatregelen door voor vertrekkende vliegtuigen vanaf Schiphol. Zo vliegen toestellen die tussen 23.00 uur en 06.00 uur opstijgen vanaf de Polderbaan en naar het zuiden gaan, een andere route. Dit leidt op sommige plekken in Nederland tot meer geluidsoverlast, erkent LVNL.
Door deze maatregel vliegen vanaf 11 juni tussen die tijdstippen meer vliegtuigen over de regio Castricum/Heiloo in Noord-Holland en juist minder over de regio Zaanstad/Amsterdam. Volgens LVNL gaat het om ongeveer zeshonderd vluchten per jaar. De verandering houdt in dat vliegtuigen ter hoogte van het dorp Limmen in de gemeente Castricum een bocht naar links maken, een stuk over zee vliegen en vervolgens in de buurt van Noordwijk (Zuid-Holland) weer boven land komen.
Enkele gemeenten hebben volgens LVNL vanwege de extra geluidsoverlast bezwaar gemaakt tegen dit besluit bij het ministerie van Infrastructuur en Waterstaat.
NEW YORK (ANP) - De beurzen in New York zijn met verliezen begonnen aan de nieuwe week. Beleggers bleven voorzichtig door de aanhoudende spanningen in het Midden-Oosten. President Donald Trump waarschuwde dat "de klok tikt" en dat er "niets meer over zal zijn" van Iran als het land niet snel in actie komt. Hij lichtte niet toe welke stappen hij van Iran verwachtte of welke gevolgen dat zou kunnen hebben.
Trump spreekt naar verwachting dinsdag met zijn nationale veiligheidsteam over de militaire opties tegen Iran. Eerder sprak hij de Israƫlische premier Benjamin Netanyahu over de oorlog. The New York Times en Israƫlische media berichtten daarnaast dat de twee landen zich mogelijk opmaken voor een hervatting van de aanvallen op Iran.
De Dow-Jonesindex noteerde kort na opening van de markt 0,1 procent lager op 49.504 punten en de S&P 500-index stond een fractie lager op 7409 punten. Techbeurs Nasdaq ging wel iets omhoog, met 0,1 procent tot 26.233 punten.
Spokesperson for Indian Ocean island nation says they will try to recover explorers in next couple of days
Rescuers have located the bodies of four Italian divers deep inside an underwater cave in an atoll in the Maldives, four days after they were reported missing.
Searches had resumed after being suspended following the death of a local military diver during a perilous mission to try to reach them.
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In hun voorstelling Klei ensceneren theatermaker Boukje Schweigman en beeldend kunstenaar Zoro Feigl een intense ontmoeting tussen mens en klei.
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In Papendrecht was onrust over asielopvang bij winkels, de PVV won daar de verkiezingen. En nu? 'De overlast komt van onze eigen jongeren.'
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John Lennon's last interview — just hours before he was shot on December 8, 1980 — has become a documentary directed by Steven Soderbergh, debuting Saturday at the Cannes Film Festival.
In a new interview with the Associated Press, Soderbergh defends the film's limited use of AI to visualize concepts from that two-hour interview with John Lennon and Yoko Ono:
Soderbergh was resolved to let the audio play. He could finds ways to visualize much of the film, but that still left a large gap where the conversation grows more philosophical. "I worked on everything that could be solved except that for as long as I could," Soderbergh says. "Then there was the inevitable moment of: OK, but really what are we going to do? We just started playing and ran out of time and money. That's where the Meta piece came in." Soderbergh accepted an offer to use Meta's artificial intelligence software to conjure surreal imagery for those sections, which make up about 10% of the film.
When Soderbergh let the news out earlier this year, it prompted an uproar. One of America's leading filmmakers was using AI? In a film about a Beatle, no less? The AI parts (overwhelmingly slammed by critics in Cannes) are fairly banal and don't differ greatly from special effects — there are no deepfakes of Lennon. But they put Soderberg at the forefront of an industrywide debate about the uses of AI in moviemaking. It's a conversation the director, who has made movies on iPhones, is eager to have.
While the film follows John and Yoko's conversation, "I needed a way to follow them in flight visually," Soderbergh says, "or I'm not doing my job." Though when asked about the strong negative reaction, Soderbergh acknowleges that "I knew what was coming. I take it very seriously, and I understand why people have an emotional response to this subject. As I've said before, I feel like I owe people the best version of whatever art I'm trying to make and total transparency about how I'm doing it."
AP: Some fear generative AI will tear apart the film industry. You don't see it as a bogeyman, though.
SODERBERGH: I think most jobs that matter when you're making a movie cannot be performed by this tech and never will be performed by this tech. As it becomes possible for anybody to create something that meets a certain standard of technical perfection, then imperfection becomes more valuable and more interesting. We haven't seen yet someone with a certain amount of creative credibility go full-metal AI on something, and see how people react. I think it's necessary. How do you know where the line is until somebody crosses it?
"I don't think what I'm doing crosses it. Some people may disagree. I don't know where my line is yet. I'm waiting to see...
In a new interview with the Associated Press, Soderbergh defends the film's limited use of AI to visualize concepts from that two-hour interview with John Lennon and Yoko Ono:
Soderbergh was resolved to let the audio play. He could finds ways to visualize much of the film, but that still left a large gap where the conversation grows more philosophical. "I worked on everything that could be solved except that for as long as I could," Soderbergh says. "Then there was the inevitable moment of: OK, but really what are we going to do? We just started playing and ran out of time and money. That's where the Meta piece came in." Soderbergh accepted an offer to use Meta's artificial intelligence software to conjure surreal imagery for those sections, which make up about 10% of the film.
When Soderbergh let the news out earlier this year, it prompted an uproar. One of America's leading filmmakers was using AI? In a film about a Beatle, no less? The AI parts (overwhelmingly slammed by critics in Cannes) are fairly banal and don't differ greatly from special effects — there are no deepfakes of Lennon. But they put Soderberg at the forefront of an industrywide debate about the uses of AI in moviemaking. It's a conversation the director, who has made movies on iPhones, is eager to have.
While the film follows John and Yoko's conversation, "I needed a way to follow them in flight visually," Soderbergh says, "or I'm not doing my job." Though when asked about the strong negative reaction, Soderbergh acknowleges that "I knew what was coming. I take it very seriously, and I understand why people have an emotional response to this subject. As I've said before, I feel like I owe people the best version of whatever art I'm trying to make and total transparency about how I'm doing it."
AP: Some fear generative AI will tear apart the film industry. You don't see it as a bogeyman, though.
SODERBERGH: I think most jobs that matter when you're making a movie cannot be performed by this tech and never will be performed by this tech. As it becomes possible for anybody to create something that meets a certain standard of technical perfection, then imperfection becomes more valuable and more interesting. We haven't seen yet someone with a certain amount of creative credibility go full-metal AI on something, and see how people react. I think it's necessary. How do you know where the line is until somebody crosses it?
"I don't think what I'm doing crosses it. Some people may disagree. I don't know where my line is yet. I'm waiting to see...
Read more of this story at Slashdot.