hello. this is bbc news. the headlines: spain's prime minister mariano rajoy has confirmed that the national government will take control of the previously autonomous region of catalonia. army bomb disposal experts have been called to sellafield to detonate potentially flammable chemicals discovered at britain's largest nuclear site. speed limits for motorway roadworks could be raised in england under plans aimed at reducing congestion. parts of the uk are preparing for the arrival of storm brian the weather is not as bad as predicted. now on bbc news, it's time for click. this week: life on the ocean waves. a big cloud makes a big bang, which makes a big cloud. and climbing higher and higher,

and back down again. this weekend, the world's toughest sailing race begins. held every three years, the volvo ocean race starts in alicante, in spain, and ends in the hague, in the netherlands. now, that doesn't actually sound very far. but, in the middle, there is the small matter of 16,000 nautical miles, taking in 12 cities in six continents. and with broken masts, capsizes and icebergs almost guaranteed, this is no luxury cruise. to try and make this journey even possible, technology inevitably raise its head. these are some of the most advanced

sailing yachts ever designed, and we were given special access to one of them during crew training. 22nd of october sees the most extreme offshore event in the world began. we're just testing if we can figure out trying to sail through that wind. we're struggling at the moment to try and make the boat go as fast as it can go, with the data we've been given. 16,000 miles, nine months of racing, seven identical boats, in the roughest seas in the world. with boats capable of 32 knots, and living for extended periods out at sea, races of this nature are not undertaken lightly, with crews displaying an extreme dedication to sailing. i kind of gave up my life in france to go and do the race again, to work with the boat and to gain more experience. i sold my house and sort of made myself homeless in the process. i've got three sisters

and my parents. i think i've seen my parents for five days in the last year and a half. i'm sure they would like to see me a bit more. and these experiences, as well as action from the race, will be broadcast directly from the ocean. these yachts are basically fitted with ocean—going equivalents to tv studios and edit facilities. 0k, cramped and wet versions of tv studios and edit facilities. we have two 250 antennas. satellite phones can be connected to the internet via them. and there are also ag modules on our gps antennas. making use of all of this kit is an on—board reporter. they have the opportunity to capture video footage, or take photographs, or interviews of the teams, and then this is broadcast to the world by the on—board communication system. as the boats are being tracked live, the audience can follow the action at any time.

no—one gets any sleep, and i have to wake everyone up every 15 minutes or half an hour. basically we've got to move everything on deck or below to the high side of the boat. if they really want to interact without getting wet, there is a game which uses the real race data, allowing the audience to virtually compete against the real thing. the yacht is fitted with a number of different sensors, measuring things like wind, tide speed, and how far the boat is tipping over. unusually, this event is taking place in parts of the ocean not commonly used for racing, and as a result, one of the yachts will be fitted with a sensor which checks for micro levels of plastic waste in the ocean. this data will eventually be analysed by researchers from the un. in the meantime, the teams will have their hands full, racing their boats over massive distances. and even though conditions will be

tough, most of the crews wouldn't have it any other way. as soon as you're able to do what you love, it's not a sacrifice anymore. we have been talking a lot about augmented reality lately. this is, in case you are not aware, the next big thing, and is being applied to all sorts of areas. this week, it is art. lara lewington has been to see how ar and 360 video is hoping to bring some culture to your smartphone. blenheim palace, a place of rich history, 18th century architecture, and a contemporary art exhibition, and that is where the technology comes into it. before speaking to our art critic about technology's place in the art world, time for a look around. artistjenny holzer‘s software combines physical installations with a mobile phone app to bring her political

and historical—based work to life. beacons throughout the 200—acre estate trigger 360 videos in the right location, and combine that with your phone's gyroscope to make sure that you are looking at them from the right perspective. here, the illusion of pictures being overlaid on the real world is created, turning day into night, illuminating buildings with words, and even appearance from a flying mythical creature. the effect looks similar to augmented reality, but is really more like virtual reality without a headset. maybe this is because bringing ar to art seems to have its challenges. let me show you this. snapchat and artistjeff koons have joined forces so users can view his sculptures through augmented reality, in popular geo—tagged locations across the world. it is hiding from us again.

it is not even telling us where it is now. so, with a little help from an art critic, i tried to take a closer look in london's hyde park. there it is. there we go. the selfie worked. having found a spot the image was tagged to, and opened up snapchat, this giant balloon dog sculpture appears on my screen. do you actually think there is a future in this? do you think people will be able to appreciate art in a different form? it's a form of reproduction of art. it's not art, i mean, it's not creating a piece. it's reproducing a piece. and i think any kind of reproduction of art does help people, whether it's a poster, or a postcard, or anything. but that's not much better than, you know, anything. but what happens when another artist wants to come and spoil the fun, geo—tagging their own work in the same place?

well, new york—based sebastian errazuriz has created the first example of ar vandalism. using his own app, he geo—tagged a vandalised version ofjeff koons‘s sculpture in the same location in new york's central park, which may have vandalised him, but wouldn't affect those —— which may have satisfied him, but wouldn't affect those using snapchat anyway, although it does raise questions about the future of this sort of art in virtual public spaces. for a company to have the freedom to gps—tag whatever they want is an enormous luxury, that we should not be giving out for free. the virtual public space belongs to us. we should charge them rent. the meeting of art and technology clearly has its place, but whether i have seen it this week or not does seem to remain in question. hello, and welcome to the week in tech. it was the week that the world's 3d—printed bridge, made of 800 layers of concrete,

was unveiled in the netherlands. facebook bought an app called tbh, that forces users to send anonymous compliments to each other. and snap will bring original tv programming to snapchat. hopefully, the shows will not disappear after five seconds. and it was a wi—fi—mageddon this week, as the crack attack exposed a major security flaw in nearly all wireless devices. the weakness is found, ironically, in the security protocol used to protect the majority of wi—fi connections. some companies are already issuing patches to fix the problem, so make sure you update your systems as they come. the finalists of the global learning xprize have been announced. five teams are now in the running for the $15 million grand prize, including kitkit school and onebillion, which we featured this summer. each have been given

a $1 million award. finally, the duel between megabots and suidobashi heavy industry went down in japan. iron glory and eagle prime won, over the course of three long, slow and painful rounds against the japanese kuratas, slashing it open with a chainsaw in the end. now, back to the junkyard. not everyone can have their own spaceship. butjeff bezos, the man behind amazon, does. why not? after all, he is worth $85 billion. pouring a measly $1 billion a year into his project blue origin is easy. while he has his sights set firmly beyond the clouds, the reason he can afford this is because of the cloud — more specifically, not amazon the online shop, but amazon web services. beneath the surface of our daily

lives, there is a flow of money, information and people built on a raft of support systems. how our bank payments are tracked, and how we get from a to b on public transport. think like how goods arrive in shops. when everything works seamlessly, it is easy to miss what is happening behind the scenes. want a movie, a new playlist, a bed for the night? well, you wouldn't get one from these household names without the help of amazon web services, aws, and it makes amazon more cash than the thing we know makes them cash. sure, google and microsoft offer similar services. but it was amazon that reinvented cloud computing back in 2006, and it is now the biggest player. the trick is to make the service fit the business. nasa uses aws to stream 4k video from international space station, while much smaller companies

like mobileodt, who provide cancer detection in africa, use it to improve the accuracy of diagnosis and review nurses in rural villages. from occasional shopping to huge—data tasks like this, the reason why analytics, streaming, accounting, and other cloud services have moved to amazon and its competitors is because you pay for exactly what you use. you used to have to predict ahead of time how much capacity you were going to need. and what that meant was you either guessed too low, and didn't have enough, and therefore you would have errors and a terrible customer experience, or in most cases you guessed high, and made provision for the peak. but there is a reason they call it the peak, which is because you never really hit the peak, so you sit on a lot of wasted capital. but handing over valuable data to be analysed by these cloud services

involves a lot of trust. recently, there have been several big leaks from data storage provided by amazon web services. just last month, verizon accidentally left a data bucket of sensitive information unprotected, and in a separate incident, a million time warner cable records were left exposed. back injune, it was discovered that political data gathered on 188 million us citizens was publicly accessible from a misconfigured data store. experts have questioned whether aws could have done more to actively guide its customers in good security practice, and even to actively test security. instead, aws has chosen to focus blame on its clients. we provide a set of capabilities and a lot of flexibility for oui’ customers. and so you can have infrastructure like we run, and it can have airtight security. but if our customers, in the applications they build, do not build the same level of quality and security, you could have a problem. nevertheless, some of the biggest

names on the web and in the real world rely on google, microsoft and aws to deliver. and, to give you an idea of the detail that can be involved, on a recent trip to nevada, dan simmons discovered that even an actual mine has uses for a data mine. everything here is big. a mine almost two miles wide. 250—ton trucks. welcome to the second—largest boron mine in the world. this is literally the money shot. this is what they are after. this is kernite. and, after it has been processed, the boron will come from this, and on into 200 or 300 different products, many of them electronics that we have in our home,

like the toughened glass on the front of microwave ovens. but when everything is this big, it's the little things that can make a difference. data on the mine‘s 20 trucks is collected and analysed. sensors on the trucks detect bumps and movement, uploading what they find to the cloud. amazon's greengrass programme then takes over and returns its analysis, here in the form of a map, showing how different routes and services affect the tyres on these monster tippers. this is actually monitoring road roughness. we have this installed on all the trucks. you can see a heat map of the mine pit. where it's green is a little bit smoother road. the oranges and reds are rougher roads. we can monitor road roughness and dispatch road crews to appropriate areas, and ultimately, that will save tyre wear. so, why doesn't rio tinto monitor this all themselves?

why not rely on their own experience? why use a computing company at all? we are a mining company, not a software company. we just want the best practice to solve these problems. there is no reason to reinvent the wheel. if it didn't exist, we probably would have done this. and then there are the savings, another big attraction of using cloud services, because rio tinto reckons it can save than what the system costs multiple times over, yes, in this case, just in rubber. you can possibly get up to 40%—50% more life on a tyre. how much money is that for those at home? so, our tyres cost about $a0,000-$50,000. so, $25,000 more on the life of a tyre‘s pretty good. now, destiny ii was one of the most

widely anticipated game releases of the year and sequel to one of the most expensive games ever made. and from next week, it will be available on the pc for the first time ever. as the studio geared up for its release, radio1 newsbeat‘s stephan powell was given exclusive behind—the—scenes access to the team which made the game, bungie studios in seattle. you don't have to be a rocket scientist to know what they make here. they very rarely let people in with a camera. hey, fellas! welcome to bungie! thank you very much. when we say it is rare for cameras to be in here, we really mean it. we are the first people to ever record in this studio. founded in the ‘90s by two college friends, bungie has grown into one

of the most succesful and well—known games developers in the world. famous for making early halo titles, the studio now employs over 700 people. the first thing i ever published at bungie was a multiplayer only network game in 1992, something like that. the internet barely existed except on college campuses. you needed a network to play but i wanted to bring people together in some way. now based in seattle and responsible for the bafta—winning destiny franchise, they are a hive of activity having just released the sequel for destiny, something that was a best seller, but also criticised for being a bit dull. after the first game, there was some negative feedback, some criticisms. did you take them to heart? absolutely. it was to a large degree stuff we already knew. we knew the game had amazing parts

that we loved many people would love and which would get people, we hoped anyway, playing it for years to come. but we also saw the real mistakes we made on the story, for example. i think that was one of the big sources of things to fix for the next one. we were not surprised. when you are a creator and you are immersed in it, you understand it. but it was a sharp and clear message from the community they expected better from us. jason says they learned their lessons. and early reviews of the console release in september suggests he may just be right. but there are still plenty of challenges. updating and keeping this online universe going is a lot of work. and in a crowded market, they face stiff competition to keep players coming back for more. they're also working on brand—new

elements for the franchise too. one of the major differences between this new version of destiny and the original is it is going on the pc for the first time ever. now, i have never actually played it with a mouse and keyboard before. so, let's see what it is like. making the mouse and keyboard really feel like destiny has been an exciting challenge of the project. certain guns will kick and rise up. that recoil is integral to making the experience feel heavy, like you are there. but with a keyboard and mouse, itjust meant you are chasing the barrel of a gun the whole the time. i hope you are noticing i am being very accurate here. i am doing better on a pc than on console. when you spend several thousand dollars, several thousand pounds, on a gaming rig, you want to honour

the investment they have put into it. much of it goes into being able to render it at that capability. this monitor is relatively new in the pc space, but we have made the effort to make sure that if you are playing on one, it honours that investment. as well as the pc release of the game, people here are working on expansion packs that are coming soon as well. and it is in rooms like this one where they are deciding what you are going to be playing in the coming months and years. and everything the team needs to put that together is all here in this one building. from the motion capture area to the sound design studios. so, it starts out with a string motive. i like it right away, it is evocative. this is a stunning number. we have recorded over 900 minutes of music for this game. without knowing what a person

is going to do, when a battle is going to break out, you just don't know. you need several different options in your pocket all the time so if something happens here, over there, something comes out from behind a rock, whatever, the music has to be able to change instantly. we released the soundtrack of destiny the day before the game launched. and within 2a hours, we actually were the number one selling album on amazon, knocking taylor swift out of first place. take that, taylor! i love taylor swift, but enough‘s enough. despite the pressulesaf—mekiagwsagshs! a high—profile game, staff here are trying their best to keep relaxed. that is, you know, if you find climbing relaxing. there was a climber at the studio who was a veteran developer.

he designed solutions to some of our worst problems because he applied that mindset to it. obviously, i was going to have to give it a go. left or right? so close! i was so close. heading to the north tower! for our game, it is a content game, quantity is a part of quality, especially for players who are always going to consume the content faster than we can build it, you know? it takes months to make a cool adventure. and players will go through it in, you know, 20 minutes. so, that's the challenge for now. but what's next for bungie? he doesn't usually do interviews, but sitting down with us, jason says it is something they are actively looking at. we are starting in a small way to see what is beyond destiny. every time you are attempting to do something new to surprise people, you risk being ignored

because no—one ca res about what you did. and so i would say, yeah, you make your hand pretty tired, writing down all the risks going into a new gaming project. but i would say unless you are taking on a lot of risks like that, you are not going to do something people care about. and that is it for this week. don't forget, we are on facebook and twitter throughout the week on bbc click. thank you for watching. we will see you soon. hello, good afternoon. some blustery

weather out there courtesy of storm brian, pushing its way from the west. stormy skies overhead for the weather watcher here in devon. for some, very strong weather watcher here in devon. for some, very strong wind. the strongest of all have been in the most exposed places. needles on the isle of wight is very exposed. 85 mph. more typically 50, 60, possibly close to 70 mph at times in coastal areas. brian is on the satellite picture, this swirl of cloud moving eastwards. on the south we have the strongest of the wind and we will see them in the next few hours. inland you can expect a0 to possibly 50 mph. around the coastal areas you could see 60 or 70. rough sea and possibly further coastal flooding issues. on top of all that, a lot of rain pushing across wales and the south—west in the afternoon. this is at five o'clock. some sunshine in the far south—east but foundry downpours. east anglia should stay

fine. —— thundery downpours. eddie burst in manchester, rain moving east as we go into the afternoon. —— heavy bursts. increasingly wet in south—west scotland. initially not particularly windy but in the evening be strong wind moves further north. wales, north—west england and south—west scotland will see gales at times. heavy downpours being flung across the west. could be local flooding in parts flung across the west. could be localflooding in parts of north—west england and north wales. not particularly mild and 9—11d. tomorrow, slowly calming down. this low pressure, the storm system gradually drifting to the north—east. still blustery and quite cool north—east. still blustery and quite cool. a lot of cloud, breaking up to reveal some sunshine. the wind gradually eases. still a scattering of showers but generally a better day. highs of 12—1a. these

temperatures are a little below par for the time of year. at the start of the working week, not dramatic, really. this cloud moving and outbreaks are patchy rain, close to the south coast, some brighter spells. next week is pretty mixed. some spells of rain. not as windy as it is at the moment. but later in the week, southern areas are likely to warm up and in fact some places could get temperatures up into the 20s. that is all for now. this is bbc news. the headlines: spain's prime minister mariano rajoy has confirmed that the national government will take control of the previously autonomous region of catalonia. translation: to all the spanish people, in particular the catalan people, i want to send you a message of calm. explosives experts were called to the sellafield nuclear plant in cumbria after an audit of chemicals stored in a laboratory.

storm brian hits the uk. there are gale—force winds and high seas — but less fierce than predicted. and at 330 michael fish presents a special programme in which he retraces the route of the great storm of 1987 from dorset to sussex.