INDIA's Jet Airways can now resume commercial flights as the directorate general of civil aviation (DGCA) on Friday (20) granted Air Operator Certificate (AOC) to the grounded airline.
A senior DGCA official said that the airline had been granted AOC, the final step in a comprehensive regulatory and compliance process involving several procedural checks for the airline’s operational readiness.
The airline said that it plans to recommence commercial operations in the next quarter of this year (July-September 2022).
The airline had on May 17 conducted the second and final set of two proving flights with 31 people on board, including DGCA officials.
Earlier, on May 15 the airlines had conducted the first set of three proving flights with 18 people on board, including DGCA officials. Proving flights on certain domestic routes is necessary to apply for AOC. A total of five landings have to be done by the aircraft to complete its proving flights.
"The airline has completed all requisite operations that require the grant of air operator certificate (AOC) by aviation regulator DGCA," said the official.
The grant of the AOC revalidates the confidence of the DGCA in the operational preparedness of Jet Airways, the statement said.
Jet Airways suspended operations in 2019 after its promoters failed to provide liquidity and the insolvency resolution process started for the airline in June 2019.
Earlier, the airline was owned by Naresh Goyal and had operated its last flight on April 17, 2019. The Jalan-Kalrock Consortium is currently the promoter of Jet Airways.
INDIA’S intent to massively expand coal-based steel and iron production threaten global efforts to reduce the sector’s carbon emissions, a key contributor to climate change, a report said on Tuesday (20).
The sector accounts for 11 per cent of global carbon dioxide emissions, and India aims to double production by 2030.
Switching from coal-dependent blast furnaces to electric arc furnaces (EAFs), which produce significantly fewer emissions, could reduce that figure.
EAF production is projected to account for 36 per cent of the sector by 2030, but that remains slightly below the 37 per cent the International Energy Agency says is necessary to stay on track for net-zero by 2050.
“The only realistic way to meet that 37 per cent goal is with a change of plans from India,” said Astrid Grigsby-Schulte from the Global Energy Monitor (GEM) think tank.
That seemingly marginal one-per cent gap translates to tens of millions of tonnes of CO2 emissions, Grigsby-Schulte said.
EAFs generally rely on melting scrap steel, a process that does not use coal. They produce significantly fewer emissions, even when they rely on electricity from coal-dependent grids.
Meeting the 2030 target is “critical”, she said, “not only because of emissions immediately avoided, but also because it means we are laying the necessary groundwork for broader decarbonisation by 2050.”
China currently dominates global steel production, but its sector is stagnant. Meanwhile India, which targets carbon neutrality only by 2070, plans to massively expand domestic capacity.
And the majority of India’s announced steel development plans involve higheremissions blast furnace production, in a country whose steel industry is already the world’s most carbon intensive.
However, there is a growing gap between India’s steel capacity plans and actual developments on the ground, GEM said.
Just 12 per cent of its announced new capacity has come online since the country released its 2017 National Steel Policy. The comparable figure for China is 80 per cent, GEM said.
That suggests India’s “ambitious growth plans are more talk than action thus far,” the group added.
And it “leaves a huge percentage of their development plans that could still shift to lower-emissions technologies,” added Grigsby-Schulte.
Demand for steel is continuing to grow, and the iron and steel industry is expected to be one of the last to continue using coal in the IEA’s 2050 net-zero pathway.
The organisation has warned that the sector needs to “accelerate significantly” to meet 2050 targets, including with innovative production methods that are currently in their infancy.
Sir Jony Ive, the British designer credited with shaping the iPhone and other iconic Apple products, is returning to the heart of Silicon Valley’s innovation scene – and this time, he may be aiming to disrupt the very device he helped make indispensable.
Six years after leaving Apple, Ive has partnered with OpenAI chief executive Sam Altman in a bold new venture. OpenAI has announced the acquisition of IO, a start-up founded by Ive, in an all-share deal reportedly worth $6.5 billion (£4.9 billion). The move marks a major step for the artificial intelligence company, as it seeks to expand beyond software and into consumer hardware.
While Ive will not become a full-time employee at OpenAI, he will serve as a consultant. IO’s 60-strong team of designers and engineers, many of whom are former Apple staff, will now work under the OpenAI umbrella. Their mission is to “reimagine what it means to use a computer”, with the help of ChatGPT and other AI tools developed by the company.
Altman has shared few specifics about what the first product will look like, but he has suggested it will not be a traditional smartphone or even include a screen. Instead, he and Ive plan to build a “family of devices” that could serve as intelligent companions, enhancing and potentially replacing the functions of a smartphone.
One potential outcome is a compact AI “pod” designed to work alongside existing gadgets like laptops or phones. OpenAI reportedly hopes to launch the first device by 2026 and eventually sell up to 100 million units. These devices could be offered through a subscription model linked to ChatGPT.
Ive, born in Essex and educated in industrial design in Newcastle, played a pivotal role at Apple from the 1990s onwards, creating the design language for products such as the iMac, iPod, iPhone and MacBook. His work, in close collaboration with the late Steve Jobs, helped transform Apple from a struggling tech firm into one of the world’s most valuable companies.
Jobs once described Ive as his “spiritual partner” at Apple, and said he held more power at the company than any other executive apart from himself. After Jobs’s death in 2011, Ive was widely viewed as Apple’s most influential figure until his departure in 2019.
Since leaving Apple, Ive has led his design consultancy LoveFrom, which has worked with high-profile clients including Ferrari and contributed to ceremonial design elements for the King’s Coronation. But he has also voiced disillusionment with the modern tech industry, criticising the dominance of “corporate agendas” focused on money and power.
In his new collaboration with Altman, Ive sees a return to what he calls “trying to move things forward”. He said, “Everything I have learnt over the last 30 years has led me to this place and to this moment.”
Despite the buzz surrounding the deal, some analysts have expressed scepticism. Technology analyst Richard Windsor called Ive “the most expensive consultant in history”, warning that the consultancy arrangement could allow him to quietly exit the partnership if it falters. Others have raised concerns about the valuation placed on IO and questioned whether the move is another sign of an AI investment bubble.
OpenAI is currently one of the most prominent players in the artificial intelligence race, valued at $300 billion and backed by Microsoft. The company has committed to building artificial general intelligence (AGI) and is investing heavily in data centres and infrastructure. In March, it raised $40 billion to fund these ambitions.
The new hardware project follows a string of unsuccessful attempts by others to challenge the smartphone’s dominance. Start-ups like Humane and Rabbit have launched compact AI-driven devices but failed to gain traction. Ive has criticised these efforts, calling them “very poor products”.
Meanwhile, tech giants such as Meta and Apple have explored wearable devices like AI-powered glasses and augmented reality headsets, but adoption remains limited. Analysts say consumers have been slow to embrace such technologies, and the market remains difficult to crack.
Still, the combination of Altman’s AI expertise and Ive’s design credentials has generated significant interest. “Jony did the iPhone, Jony did the MacBook Pro,” Altman said. “These are the defining ways people use technology.”
Whether this new venture can redefine consumer tech once again remains to be seen, but many in the industry believe that with Jony Ive involved, it is not a possibility to be dismissed lightly.
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EY denies negligence and argues it was itself a victim of fraud committed by NMC executives and major shareholders.
THE HIGH COURT in London this week began hearing a £2 billion claim brought by the administrators of NMC Health against auditor EY, with opening submissions focusing on alleged auditing failures and the company’s links to senior figures in the UAE, including Sheikh Mansour bin Zayed al-Nahyan.
NMC Health, once a FTSE 100 company valued at £8.6 bn in 2018, collapsed into administration in 2020 after disclosing more than £3 bn in hidden debt. Alvarez & Marsal, appointed administrators in April 2020, filed the claim against EY three years ago for breach of contract, duty of care and negligence, reported The Times.
NMC’s administrators are seeking damages over audits from 2012 to 2018, when EY issued unqualified opinions on NMC’s accounts. Their lawyer, Simon Salzedo, said in court that the audits were among the “most fundamentally flawed examples of big-firm auditing that have disgraced a courtroom in this jurisdiction.”
EY denies negligence and argues it was itself a victim of fraud committed by NMC executives and major shareholders.
EY stated the alleged fraud was carried out by founder BR Shetty, and shareholders Saeed Bin Butti and his nephew Khalifa Bin Butti. In its defence, EY referred to evidence suggesting Sheikh Mansour stood behind the Bin Buttis “in some informal way”, making him “effectively a shadow owner of NMC”, reported The Times.
The firm said this alleged link influenced lending decisions by banks. EY cited a witness statement by Lord Clanwilliam, former audit committee chairman at NMC, and a letter from Shetty to Sheikh Mansour in 2016 requesting support for a new venture.
It also referenced claims involving Dubai Islamic Bank and Canara Bank, which were allegedly influenced by the perception of royal connections.
EY argued NMC’s own senior management concealed the fraud. The administrators denied they had gone “soft” on the Bin Buttis and said a 2022 settlement had led to the return of many assets.
STEEL tycoon Sanjeev Gupta is racing against time to prevent his UK operations from collapsing, as court proceedings threaten to shut down two major plants employing nearly 1,500 workers, reports said.
The Asian businessman's company, Speciality Steel UK, appeared before the High Court on Wednesday (21) facing a winding-up petition that could force the business into liquidation. The legal action was brought by suppliers who claim they are owed substantial sums of money.
In a dramatic courtroom development, Gupta's legal team secured a crucial delay until mid-July after revealing that a mystery investor had emerged with potential interest in purchasing the struggling operation.
Barrister Daniel Judd told Judge Sebastian Prentis that "urgent meetings have been taking place" with this unnamed third party.
The reprieve provides breathing space for Gupta to negotiate a rescue deal for his factories in Rotherham, South Yorkshire, and Bolton, Lancashire. These sites produce specialised steel products for critical industries including aerospace, automotive, and energy sectors.
A company spokesperson said discussions with creditors continue, stressing their commitment to maintaining operations and protecting jobs at both facilities.
Should the rescue talks fail, the government may step in to nationalise the plants, which politicians have branded as "strategic national assets." However, ministers would only consider such intervention after the company enters formal insolvency proceedings.
This latest crisis comes just weeks after the government intervened to save British Steel, taking control of the larger steelmaker amid disputes with its Chinese owners over planned closures at the Scunthorpe facility.
Gupta had previously approached Whitehall seeking emergency support using similar legislation, but government sources confirmed his requests were rejected. This marks the second time ministers have declined to bail out his operations, having also refused assistance during the pandemic.
The current troubles stem from the collapse of Greensill Capital in 2021, a finance company that had been closely linked to Gupta's business empire. The failure left his conglomerate, known as GFG Alliance, struggling to secure funding across its global operations spanning steel, energy, and trading.
A restructuring proposal that would have forced creditors, including tax authorities, to write off significant debts was abandoned last week after failing to gain support. The plan had been designed to keep the business operating whilst addressing its financial difficulties.
Gupta built his reputation as a saviour of the steel industry, acquiring troubled plants worldwide and promising to revive their fortunes. His empire employs over 30,000 people globally, with operations across England, Scotland, and Wales.
However, his business activities have faced scrutiny since 2021, when the Serious Fraud Office launched an investigation into his empire. The company has said it is cooperating with authorities.
The steel industry has faced mounting pressures from rising energy costs and competition from cheaper overseas imports, affecting profitability across the sector.
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The camera deliberately omits certain features common in contemporary models
Fujifilm has unveiled the X Half, a new compact digital camera designed to evoke the look and feel of classic film photography. Set to launch in late June 2025, the X Half is a part of Fujifilm’s X-series, and aims to appeal to enthusiasts seeking a nostalgic, analog-inspired shooting experience in a digital format.
The X Half is priced at £849.99 and features an 18-megapixel 1-inch-type sensor paired with a fixed 32mm-equivalent f/2.8 lens. While it uses modern digital technology, the camera deliberately omits certain features common in contemporary models – most notably, it does not support RAW image capture, offering only JPEG files. This decision is part of Fujifilm’s effort to deliver a “what-you-see-is-what-you-get” experience that mirrors traditional film photography.
A redefined half-frame concept
Fujifilm’s interpretation of the “half-frame” format differs from traditional definitions. Classic half-frame film cameras, such as the Pentax 17, typically capture images sized at 18mm x 24mm, roughly half the size of a full-frame (35mm) negative. In contrast, the X Half’s sensor measures 8.8mm x 13.3mm – half the size of an APS-C sensor used in other Fujifilm models like the X100VI and X-T5. Though the physical dimensions differ, Fujifilm retains the essence of half-frame photography: portability, casual shooting, and creative flexibility.
With a body weight of just 240 grams (8.5 ounces), the X Half is small enough to fit into a small bag or even a large pocket. Its compact size is reminiscent of disposable film cameras, but unlike those, it comes equipped with a proper glass lens featuring autofocus and aspherical corrections. The lens is described by Fujifilm representatives as having “some character”, a phrase often used to indicate a unique, though not necessarily sharp, optical performance.
Dedicated to film-like shooting
A key feature of the X Half is its commitment to film simulation. The camera includes 13 built-in film simulations that mimic the look of Fujifilm’s classic analogue stocks. Uniquely, there is a second screen on the camera specifically for selecting these simulations, enhancing the tactile and immersive experience.
The camera's analogue homage continues with the absence of an electronic or hybrid viewfinder. Instead, users compose their shots using a traditional optical viewfinder or the portrait-oriented 2.4-inch touchscreen on the rear. This design further aligns the X Half with the simplicity of vintage cameras.
Since the camera does not shoot RAW, any film simulation or filter applied during shooting is permanently embedded in the JPEG image. This limits post-processing flexibility but supports Fujifilm’s philosophy of embracing imperfections and encouraging spontaneous creativity.
Companion app and analogue-inspired features
Fujifilm will also launch a companion smartphone app shortly after the X Half’s release. The app includes several features designed to expand the analogue experience. Notably, it allows users to create diptychs – side-by-side images – similar to traditional half-frame compositions. These diptychs can be made using two photos, two short videos, or a combination of both.
The Fujifilm X Half is clearly aimed at younger photographers and content creators Fujifilm
Another standout feature is the Film Camera Mode, which groups captured images into digital “rolls” of 36, 54, or 72 shots, displayed as a contact sheet. Each contact sheet includes film strip branding that corresponds to the chosen film simulation, enhancing the archival and nostalgic feel. The app even features a virtual film advance lever, which must be used between shots in Film Camera Mode, mimicking the operation of vintage film cameras.
Additional effects can be added to photos, including light leaks, expired film aesthetics, and retro date-and-time stamps reminiscent of 1990s point-and-shoots. Since the X Half only produces JPEGs, these filters become a permanent part of the image, with no option to remove or alter them in editing software later.
Targeting a new generation of film lovers
The Fujifilm X Half is clearly aimed at younger photographers and content creators who are increasingly drawn to the visual quirks and tactile charm of film photography. While cheaper alternatives like the £70 Camp Snap or £10–£20 disposable film cameras offer a similar aesthetic at a lower price point, the X Half distinguishes itself by blending those vintage sensibilities with modern digital conveniences.
It remains to be seen how the £849.99 price tag will be received by the intended market. However, Fujifilm’s offering is unique in combining authentic design elements, creative shooting modes, and high-quality digital components. If it manages to capture even a fraction of the fun and spontaneity associated with traditional half-frame photography, the X Half may prove a worthwhile tool for nostalgic shooters and creative hobbyists alike.