Cómo se desarrolló el Linux de las netbooks educativas

La elección de un sistema operativo para una computadora es una situación que, en situaciones cotidianas al ingresar a una tienda de venta de artículos electrónicos, está marcada por la presencia de la plataforma Windows de Microsoft. Nada de esto impide que los usuarios puedan optar por software libre, sin costo alguno al momento de realizar la descarga e instalación, con propuestas como Ubuntu, Fedora o Mint , por mencionar sólo algunas de las alternativas disponibles en Internet.

Esto mismo ocurrió con el plan Conectar Igualdad, que busca desarrollar su propia plataforma basada en GNU-Linux adaptada a las necesidades de la comunidad educativa, tanto para los docentes como para los alumnos.

La inciativa comenzó a tomar forma en 2010, cuando Javier Castrillo comenzó a trabajar en Conectar Igualdad, el programa del gobierno nacional que distribuye computadoras portátiles para alumnos y docentes de escuelas públicas. Desde aquel momento, con el antecedente de haber coordinado la implementación de estas iniciativas en el ambiente educativo, impulsó con su equipo el desarrollo de Huayra, el sistema operativo libre basado en GNU-Linux de las netbooks escolares.

“Debido al porte de este programa era necesaria una plataforma estable, libre, un estándar y sobre todo con soberanía tecnológica, para no depender de ninguna corporación. Con nuestro sistema nos aseguramos que va a ser constante en el tiempo, que va a ser gratuito para todos aquellos que lo quieran descargar y, por sobre todas las cosas, libre. Todo el código está publicado a disposición para que cualquiera que tenga los conocimientos lo pueda auditar y modificar”, asegura Javier Castrillo, coordinador del Proyecto Huayra.

En una entrevista exclusiva con LA NACIÓN , Javier Castrillo habla sobre la plataforma, sus características y los prejuicios que aún existen sobre el software libre.

¿Qué es Huayra?

Es el sistema operativo libre que las netbooks del Programa Conectar Igualdad van a traer instaladas a partir de este año. Además cualquier persona puede descargarlo en su máquina desde huayra.conectarigualdad.gob.ar

Está basado en Debian GNU/Linux, es seguro, ágil y con un desarrollo realizado en la Argentina, teniendo en cuenta las necesidades tanto de estudiantes como de docentes, y manteniendo nuestra identidad nacional.

¿En qué instancia se encuentra el desarrollo?

Está en fase Beta pero ya se puede bajar y utilizar.

Un mito presente en este tipo de plataformas es que muchas personas creen que no hay virus porque no se conoce mucho. Esto no es verdad, no hay virus porque el sistema no admite virus porque, como dije, está todo a la vista. Los servidores de la bases de datos de los bancos, las grandes bases de datos importantes son de código libre, Google es libre, por ejemplo.

¿Por qué pensaron que era necesario desarrollar un sistema operativo basado en software libre?

Porque se estaban dejando tres millones y medio de máquinas en manos de una corporación, que tiene intereses económicos y sus tiempos. Asimismo, por ejemplo, si queríamos hacer un procesador de texto para las comunidades aborígenes no podíamos hacerlo porque no es posible traducir el Word o si necesitábamos adaptar la placa de red, según el tipo de servicio de determinada zona también teníamos inconvenientes. Tener un software de una empresa es como comprarte un auto y tener el capó soldado.

¿Cuáles son las ventajas que presenta utilizar Huayra frente a Windows?

Es libre y puede ser utilizado por cualquier persona de la comunidad; es gratuito, y ofrece la libertad de poder administrar ese código y hacer las reformas que queremos. Uno de los problemas que veíamos era que los profesores traían un programa para compartir con los chicos y ponían el pendrive en cada computadora y lo bajaban, sin darse cuenta que podían utilizar la red de la escuela. Lo que sucede es que configurar una red no es algo trivial. Huayra, en cambio, autoconfigura la red entonces el profesor deja el programa directamente en una carpeta especial que comparte y los alumnos entran allí para utilizar el programa.

¿En qué se benefician los alumnos al utilizar Huayra?

Que el Estado les brinde su propio sistema operativo libre es un beneficio implícito es más seguro y mucho más rápido. Además, está pensado para que corra en las máquinas más livianas y también funciona bien en las máquinas más viejas.

Otra gran ventaja para los chicos es que tienen una herramienta que sale de la propia escuela, con las necesidades y el aporte de su institución. Hay cientos de aplicaciones del equipo de Huayra y aportadas por las comunidades escolares. En total son casi 30.000 piezas de software.

¿La interfaz es similar a la de Windows o los usuarios verán muchos cambios?

Es similar y además encontrarán programas que no tenían en Windows porque son muy caros. En Huayra, por ejemplo, hay un software para hacer animaciones en 3D que si tuviéramos que comprarlo saldría muy caro. También hay editores de fotos similares a Photoshop.

El procesador de textos de Huayra permite guardarlo en un formato de Word. En el pasado había grandes problemas de compatibilidad entre el software libre y el licenciado pero ahora todo ha evolucionado y ya no existen esos inconvenientes.

Las netbooks de Conectar Igualdad son de diez fabricantes distintos, y tuvimos que trabajar bastante para el desarrollo del sistema operativo, cuenta Javier Castrillo, responsable del proyecto Huayra

Todavía nos falta un buen programa de Autocad 3D, pero tenemos Autocad en 2D. Pero tenemos son muchas herramientas de programación y de robótica incluidas dentro de Hayra.

¿Cómo se realizará la capacitación?

Las netbooks de nuestro programa, a partir de 2012, incluyen TV Digital abierta y allí incluye un montón de tutoriales y paso a paso para poder aprender a utilizarla.

Por otro lado, todas las instancias de capacitación que tiene Educar y el Ministerio de Educación van a tener cursos de Huayra tanto para alumnos como para docentes. Y ya se han formado comunidades de Huayra en Facebook y en Twitter que hacen su propia formación y su aporte a la comunidad.

¿Qué obstáculos tuvieron que sortear?

La principal fue la compatibilidad de hardware. Las netbooks de Conectar Igualdad son de diez fabricantes distintos y tuvimos que trabajar bastante para hacer funcionar nuestro sistema en todos los equipos. Después debimos luchar con los prejuicios que difunden los propios monopolios, que dicen que Linux es difícil, por ejemplo.

Pero ahora estamos muy entusiasmados porque las pruebas están saliendo bien y estamos dentro de los tiempos previstos.

¿Cuáles son los principales proyectos?

La primera etapa de Huayra es que funcione bien en todas las netbooks y en eso estamos abocados. Luego estamos pensando en que funcione en tablets y celulares.

También queremos trabajar para que la TV digital no sirva sólo para ver canales sino que podamos interactuar y brindarle, a través de ella, información útil para el ciudadano.

Y queremos fomentar el desarrollo para que los chicos programen, dándoles herramientas para que puedan programar aunque no sepan hacerlo, para que puedan, por ejemplo, hacer sus propios juegos con las características de su región, de su lenguaje, sus costumbres y que lo compartan con la comunidad.

El software libre en Conectar Igualdad

Huayra toma su nombre del vocablo quechua que significa viento, una analogía que los responsables del proyecto buscan reflejar con la filosofía del proyecto, relacionada con la independencia tecnológica y la libertad que ofrece el software libre. “Es una práctica habitual dentro de la comunidad para que cada programa esté ser representado por un animal. Linux eligió el pingüino, nosotros una vaca”, explica Javier Castrillo.

El equipo de trabajo de Huayra consta de 13 personas, divididos en tres áreas: Desarrollo (programadores), Diseño (artistas, historiadores del arte, diseñadores gráficos) y Sistematización (Sociólogos y estadísticos).

Además de Huayra existe la iniciativa de la comunidad de software libre Tuquito, con sendas versiones para las computadoras de las iniciativas OLPC y Conectar Igualdad .

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Woods makes short work at Torrey Pines

SAN DIEGO (AP) — Tiger Woods never looked so irritated winning a golf tournament so comfortably.

His record eighth victory at Torrey Pines was all but over when Woods ripped a 5-iron from 244 yards over the corner of a bunker and onto the green at the par-5 13th hole, setting up a two-putt birdie that gave him an eight shot lead in the Farmers Insurance Open.

At least he had plenty of time to savor this victory. The final five holes felt like they took forever.

Woods twirled his club on the tee and leaned on it in the fairway as the final round dragged on. He lost rhythm and appeared to lose interest, and it showed. A bogey from the bunker on the 14th. A tee shot that caromed off a eucalyptus tree on the 15th hole that led to double bogey. A tee shot he popped up on the 17th hole that left him 50 yards behind the other players and led to another bogey.

"It got a little ugly at the end," Woods said. "I started losing patience a little bit with the slow play."

No matter. It only affected the margin, not the outcome. Woods had to settle for an even-par 72 that gave him a four-shot win over defending champion Brandt Snedeker and Josh Teater, who each had a 69.

For a tour that has been criticized for slow play, this wasn't an ideal start to the network portion of its schedule. With Woods virtually a lock to win, CBS Sports wanted the final round to resume Monday later than normal so that it could be televised in late afternoon on the East Coast. Play was so slow that CBS went over its allotted time.

Woods, meanwhile, had the ideal start to his tour season.

Only a week earlier, he missed the cut in Abu Dhabi, in part because of a two-shot penalty assessed after his second round for taking an illegal drop. Woods had never missed the cut on the European Tour, and he had never started his season with the weekend off.

He might have been the only one who didn't panic.

Woods seized control with a 65 on the North Course at Torrey Pines, the spent the rest of the week pulling away from the field until no one could catch him.

"I don't know if anybody would have beaten him this week," said Nick Watney, who got within five shots of Woods when the tournament was still undecided until making three bogeys on his next five holes. "He's definitely on his game."

It's still too early to figure out the state of his game, especially in relation to Rory McIlroy, who also missed the cut in Abu Dhabi.

Torrey Pines is a public course that Woods treats like his private domain. He won the tournament for the seventh time, one short of the PGA Tour record for most wins in a single event. Sam Snead won the Greater Greensboro Open eight times. Woods won for the eighth time at Torrey Pines, including the 2008 U.S. Open, and that's a PGA Tour record that Woods previously shared with ... himself. He also has won seven times at Firestone and Bay Hill.

"I think he wanted to send a message," said Hunter Mahan, who shares a swing coach with Woods. "I think deep down he did. You play some games to try to motivate yourself. There's been so much talk about Rory. Rory is now with Nike. That would be my guess."

And it was his 75th win on the PGA Tour, seven short of the record held by Snead. Woods has won 23 of those tournaments by at least four shots.

"I'm excited the way I played all week," Woods said. "I hit the ball well — pretty much did everything well and built myself a nice little cushion. I had some mistakes at the end, but all my good play before that allowed me to afford those mistakes."

Woods mostly had reason to be excited about his short game.

In the third round Sunday, he was furious with himself for going long on the par-3 eighth green, without much green between his ball and the hole. Woods hit a chip solidly, with just enough loft, to leave himself a tap-in par. In the conclusion of the final round Monday, he pulled his tee shot into a bad spot in the bunker on the par-3 11th. The lie was good, but he had to aim well left, meaning his legs were spread wide on the slope of the sand.

He blasted it out with his 60-degree wedge to a top shelf, and then watched it feed down a slope to the right. It lost pace at the end or it might have gone in.

It looked good for television. It was a difficult shot, but not impossible.

But Woods believes those are the shots he wasn't converting a year ago. And that's one reason his outlook was so bright on the rest of the year, even after having to cope with so much fog along the Pacific bluffs.

He played the par 5s in 12 under for the lead — that alone would have been enough to win — and attributed that to his short game.

"My short game was back to how I know it can be," Woods said. "My shots that I hit, especially out of these nasty little lies, I hit some really good ones this week. And that allowed me to save some pars, make some birdies, and move my way up the board. And basically, that's what I did."

Woods figures his swing change under Sean Foley took root at some point last year, but that he had devoted so much time to the swing that he neglected his wedges. Now that he is practicing more on his short game, he expects better results — turning a 74 into a 70, and not losing leads at the majors, like he did twice last year.

Still, the season is young.

Any measure of Woods likely will have to wait until the road to the Masters gets going during the Florida Swing. Woods headed home to Florida on Monday night and is not expected to return until the Match Play Championship in Arizona a month from now. McIlroy also isn't expected to play until then, and match play being such a fickle format, the better gauge could come in the Honda Classic and at Doral.

Woods, however, likes where he is headed.

Torrey Pines is a good omen for the rest of his year. Whenever he starts a PGA Tour season with a win at Torrey, he tends to have big years — eight wins and two majors in 2006, seven wins and a major in 2007, four wins in only six starts in 2008.

Where will this lead?

"Does it feel good? Yes. Does it give me confidence? Absolutely," Woods said. "But as far as the other stuff, as I said, I'm excited about this year. I'm excited about what I'm doing with Sean and some of the things that I've built. This is a nice way to start the year."

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Rescuer Appears for New York Downtown Hospital

Manhattan’s only remaining hospital south of 14th Street, New York Downtown, has found a white knight willing to take over its debt and return it to good health, hospital officials said Monday.

NewYork-Presbyterian Hospital, one of New York City’s largest academic medical centers, has proposed to take over New York Downtown in a “certificate of need” filed with the State Health Department. The three-page proposal argues that though New York Downtown is projected to have a significant operating loss in 2013, it is vital to Lower Manhattan, including Wall Street, Chinatown and the Lower East Side, especially since the closing of St. Vincent’s Hospital after it declared bankruptcy in 2010.

The rescue proposal, which would need the Health Department’s approval, comes at a precarious time for hospitals in the city. Long Island College Hospital, just across the river in Cobble Hill, Brooklyn, has been threatened with closing after a failed merger with SUNY Downstate Medical Center, and several other Brooklyn hospitals are considering mergers to stem losses.

New York Downtown has been affiliated with the NewYork-Presbyterian health care system while maintaining separate operations.

“We are looking forward to having them become a sixth campus so the people in that community can continue to have a community hospital that continues to serve them,” Myrna Manners, a spokeswoman for NewYork-Presbyterian, said.

Fred Winters, a spokesman for New York Downtown, declined to comment.

Presbyterian’s proposal emphasized that it would acquire New York Downtown’s debt at no cost to the state, a critical point at a time when the state has shown little interest in bailing out failing hospitals.

The proposal said that if New York Downtown were to close, it would leave more than 300,000 residents of Lower Manhattan, including the financial district, Greenwich Village, SoHo, the Lower East Side and Chinatown, without a community hospital. In addition, it said, 750,000 people work and visit in the area every day, a number that is expected to grow with the construction of 1 World Trade Center and related buildings.

The proposal argues that New York Downtown is essential partly because of its long history of responding to disasters in the city. One of its predecessors was founded as a direct result of the 1920 terrorist bombing outside the J. P. Morgan Building, and the hospital has responded to the 1975 bombing of Fraunces Tavern, the 1993 and 2001 attacks on the World Trade Center, and, this month, the crash of a commuter ferry from New Jersey.

Like other fragile hospitals in the city, New York Downtown has shrunk, going to 180 beds, down from the 254 beds it was certified for in 2006, partly because the more affluent residents of Lower Manhattan often go to bigger hospitals for elective care.

The proposal says that half of the emergency department patients at New York Downtown either are on Medicaid, the program for the poor, or are uninsured.

NewYork-Presbyterian would absorb the cost of the hospital’s maternity and neonatal intensive care units, which have been expanding because of demand, but have been operating at a deficit of more than $1 million a year, the proposal said.

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Stanley Karnow, Historian and Journalist, Is Dead at 87

Stanley Karnow, a Pulitzer Prize-winning historian and journalist who produced acclaimed books and television documentaries about Vietnam and the Philippines in the throes of war and upheaval, died on Sunday at his home in Potomac, Md. He was 87.

The cause was congestive heart failure, said Mr. Karnow’s son, Michael.

For more than three decades Mr. Karnow was a correspondent in Southeast Asia, working for Time, Life, The Saturday Evening Post, The Washington Post, NBC News, The New Republic, King Features Syndicate and the Public Broadcasting Service. But he was best known for his books and documentaries.

He was in Vietnam in 1959, when the first American advisers were killed, and lingered long after the guns fell silent, talking to fighters, villagers, refugees, North and South Vietnamese political and military leaders, the French and the Americans, researching a people and a war that had been little understood.

The result was the 750-page book “Vietnam: A History,” published in 1983, and its companion, a 13-hour PBS documentary, “Vietnam: A Television History.” Unlike many books and films on Vietnam in the 1960s and ’70s and the nightly newscasts that focused primarily on America’s role and its consequences at home and abroad, Mr. Karnow addressed all sides of the conflict and traced Vietnam’s culture and history.

“Vietnam: A History” was widely praised and a best seller. The documentary, with Mr. Karnow as chief correspondent, was at the time the most successful ever produced by public television, viewed by an average of nearly 10 million people a night through 13 episodes. It won six Emmy Awards, as well as Peabody, Polk and duPont-Columbia awards.

Six years later, Mr. Karnow delivered his second comprehensive book and television examination of a Southeast Asian nation. The book, “In Our Image: America’s Empire in the Philippines” (1989), was a panorama of centuries of Filipino life under Spanish and American colonial rule, followed by independence under sometimes corrupt American-backed leaders. It won the 1990 Pulitzer Prize for history.

Narrated by Mr. Karnow, the three-part PBS documentary “The U.S. and the Philippines: In Our Image” traced America’s paternalistic colonial rule in the Philippines, the shared suffering of Filipinos and Americans under a cruel Japanese occupation in World War II, and Manila’s postwar independence under regimes nominally democratic but repressive, corrupt or indifferent to the miseries of its people.

Mr. Karnow also wrote “Mao and China: From Revolution to Revolution” (1972) and was a co-author of or contributor to books based on his years in Asia, including “Asian-Americans in Transition” (1992), “Passage to Vietnam” (1994), “Mekong” (1995) and “Historical Atlas of the Vietnam War” (1995).

Early in his career he lived in Paris for a decade, and in 1997 he published a memoir, “Paris in the Fifties.” A nostalgic reporter’s notebook of life among the cafe philosophers, berated musicians and pseudo-revolutionary artistes, it danced with digressions about taxes, restaurants, the guillotine, Hemingway, Charles de Gaulle and the Devil’s Island penal colony.

In its range, learning and appetite for fun, Bernard Kalb, the former CBS reporter and Mr. Karnow’s friend since Vietnam, told The Associated Press in 2009, the memoir was vintage Karnow. “Stanley has a great line about how being a journalist is like being an adolescent all your life,” he said.

Stanley Karnow was born in Brooklyn on Feb. 4, 1925, the son of Harry and Henriette Koeppel Karnow. He grew up in a city with more than a dozen daily newspapers and decided early that he wanted to become a reporter. He served in the Army Air Forces in World War II. After graduating from Harvard with a bachelor’s degree in 1947, he sailed for France, intending to spend the summer. He stayed for a decade.

This article has been revised to reflect the following correction:

Correction: January 28, 2013

An earlier version of this article misstated the year in which Stanley Karnow was a Nieman Fellow at Harvard University. It was 1958, not 2002. The article also misspelled the name of the Nieman Fellowship.

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Providence theater experiments with ‘tweet seats’

PROVIDENCE, R.I. (AP) — Sarah Bertness slipped into her seat at a recent staging of the musical “Million Dollar Quartet” and, when the lights dimmed, started doing something that’s long been taboo inside theaters: typing away at her iPhone.

The 26-year-old freelance writer from Providence wasn’t being rude. She had a spot in the “tweet seat” section at the Providence Performing Arts Center.

The downtown theater is now setting aside a small number of seats — in the back — for those who promise to live-tweet from the performance using a special hash tag. They might offer impressions of the set, music or costumes, lines of dialogue that resonate with them or anything else that strikes them, really.

At “Million Dollar Quartet,” based on the true story of a 1956 recording session that united music greats Johnny Cash, Elvis Presley, Jerry Lee Lewis and Carl Perkins, PPAC for the first time had cast members tweeting from backstage, too.

A growing number of theaters, including some on Broadway, have been experimenting in recent years with tweet seats and other real-time uses of social media as they try to figure out the relationship between the stage and the smartphone.

Some insist the theater should remain a sacred, technology-free place and that allowing the use of phones during a show — even discreetly — only serves as a potential distraction for other patrons. But others say theaters can’t afford not to engage the digital generation, and that the way performances were once enjoyed, in a vacuum, doesn’t hold up anymore.

“I think that it’s important that PPAC and cultural institutions in general kind of jump on the social media bandwagon and learn to engage a broader audience,” said Bertness, who runs the blog The Rhode Islander and is such a big Johnny Cash fan that she showed up to the performance wearing all black. “I think it’s such a valuable tool.”

Scott Moreau, an understudy for Johnny Cash, hadn’t ever tweeted from backstage during a performance. He tried to provide a glimpse of what life’s like on the tour, which he likened to the special features on a DVD. He said he enjoyed getting instant feedback from the tweeters — feedback he shared with other cast members.

“It makes it feel a lot more personal,” Moreau said.

A picture of Moreau that was tweeted out from backstage — he was tweeting in it himself — prompted someone in the tweet seats to declare that’s what the Man in Black would have looked like, with an iPhone.

Other theaters are also trying different digital ways to engage with patrons. In Boston, the Huntington Theater plans to introduce a “Twittermission” where an artist affiliated with the production, or someone from the theater’s staff, answers questions about the show on Twitter during intermissions. The tweets will also be projected on screens in the theater lobby, according to spokeswoman Rebecca Curtiss.

The theater won’t be introducing tweet seats, though.

“We feel strongly that the experience that an audience member has in our theater should be limited to what they are seeing on the stage,” Curtiss said. “When the lights go down and the show begins, we want the art on stage to speak for itself.”

PPAC isn’t sure yet whether any social media buzz generated by those in the tweet seats will have a measurable effect at the box office. But spokeswoman P.J. Prokop said the theater intends to keep the program through the end of the year, and then evaluate it. Those who sit in the tweet seats get their tickets for free.

Kirsten DiChiappari, who has tweeted three shows there to her nearly 1,400 followers, grew up in New Jersey going to Broadway musicals, plays and the opera. The 41-year-old social media consultant from Bristol sees her live-tweeting as a way to lure people from their living rooms, where many are glued to “horrible reality television.”

“It’s kind of a way to tease people back to support the live arts, the real arts, the original arts,” she said. “I feel like once they go, they’ll go again.”

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Team flag waves as 49ers arrive for Super Bowl

NEW ORLEANS (AP) — Jim Harbaugh stepped to the podium, smirked a bit, and greeted his first news conference as a Super Bowl coach.

"We're super happy to be here," he said Sunday night as his NFC champion San Francisco 49ers arrived in the Big Easy for the big game.

"I think this team has the best focus on unity and winning I've ever been a part of."

Considering that Harbaugh was an NFL quarterback for 14 seasons and a successful college coach before joining the 49ers, he knows something about winning.

Under Harbaugh, San Francisco has been to two NFC title games and, now, to its first Super Bowl in 18 years. The Niners (13-4-1) will play Baltimore (13-6), coached by Harbaugh's older brother, John, in next Sunday's Super Bowl.

He is certain his team is ready for the task as the 49ers seek their sixth Vince Lombardi Trophy; they are 5-0 in Super Bowls.

"These are uncharted waters for a rookie Super Bowl coach," Harbaugh said. "But that's exciting. It's a great thrill, and we have a desire to be in uncharted waters. We always strive for that kind of challenge."

Earlier in the evening, with a team flag waving from an open window of their chartered plane, the 49ers arrived in a businesslike manner. The players calmly walked off the airplane — no video recorders or cameras, no waves to onlookers.

Most of the team's veteran players disembarked first, including center Jonathan Goodwin, who won a Super Bowl three years ago with the Saints.

"You get to go to the Super Bowl with your childhood team, so that's something special to me," he said. "So hopefully I can find a way to win the Super Bowl with my childhood team."

Quarterback Colin Kaepernick, wearing a red wool cap sporting "49ers" on it, mouthed the words to a song on his headphones as he walked on the tarmac.

He seemed just as relaxed 90 minutes later as he met the media.

"Pressure comes from a lack of preparation," said Kaepernick, who took over as the starter when Alex Smith got a concussion in November and has been sensational in keeping the job. "This is not a pressure situation. It's a matter of going out and performing."

Harbaugh said the 49ers came to New Orleans on Sunday to simulate a normal week. He likened their trip to his strategy the last two seasons when the 49ers spent a week in Youngstown, Ohio, between Eastern games rather than return to the Bay Area.

He liked the way the players and coaches bonded during that experience.

"Same approach," Harbaugh said. "Enjoy the moment and the preparation. I think our team enjoys that the most: the meetings, the preparation and then, especially, the competition."

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Stanley Karnow, Historian and Journalist, Is Dead at 87

Stanley Karnow, a Pulitzer Prize-winning historian and journalist who produced acclaimed books and television documentaries about Vietnam and the Philippines in the throes of war and upheaval, died on Sunday at his home in Potomac, Md. He was 87.

The cause was congestive heart failure, said Mr. Karnow’s son, Michael.

For more than three decades Mr. Karnow was a correspondent in Southeast Asia, working for Time, Life, The Saturday Evening Post, The Washington Post, NBC News, The New Republic, King Features Syndicate and the Public Broadcasting Service. But he was best known for his books and documentaries.

He was in Vietnam in 1959, when the first American advisers were killed, and lingered long after the guns fell silent, talking to fighters, villagers, refugees, North and South Vietnamese political and military leaders, the French and the Americans, researching a people and a war that had been little understood.

The result was the 750-page book “Vietnam: A History,” published in 1983, and its companion, a 13-hour PBS documentary, “Vietnam: A Television History.” Unlike many books and films on Vietnam in the 1960s and ’70s and the nightly newscasts that focused primarily on America’s role and its consequences at home and abroad, Mr. Karnow addressed all sides of the conflict and traced Vietnam’s culture and history.

“Vietnam: A History” was widely praised and a best seller. The documentary, with Mr. Karnow as chief correspondent, was at the time the most successful ever produced by public television, viewed by an average of nearly 10 million people a night through 13 episodes. It won six Emmy Awards, as well as Peabody, Polk and duPont-Columbia awards.

Six years later, Mr. Karnow delivered his second comprehensive book and television examination of a Southeast Asian nation. The book, “In Our Image: America’s Empire in the Philippines” (1989), was a panorama of centuries of Filipino life under Spanish and American colonial rule, followed by independence under sometimes corrupt American-backed leaders. It won the 1990 Pulitzer Prize for history.

Narrated by Mr. Karnow, the three-part PBS documentary “The U.S. and the Philippines: In Our Image” traced America’s paternalistic colonial rule in the Philippines, the shared suffering of Filipinos and Americans under a cruel Japanese occupation in World War II, and Manila’s postwar independence under regimes nominally democratic but repressive, corrupt or indifferent to the miseries of its people.

Mr. Karnow also wrote “Mao and China: From Revolution to Revolution” (1972) and was a co-author of or contributor to books based on his years in Asia, including “Asian-Americans in Transition” (1992), “Passage to Vietnam” (1994), “Mekong” (1995) and “Historical Atlas of the Vietnam War” (1995).

Early in his career he lived in Paris for a decade, and in 1997 he published a memoir, “Paris in the Fifties.” A nostalgic reporter’s notebook of life among the cafe philosophers, berated musicians and pseudo-revolutionary artistes, it danced with digressions about taxes, restaurants, the guillotine, Hemingway, Charles de Gaulle and the Devil’s Island penal colony.

In its range, learning and appetite for fun, Bernard Kalb, the former CBS reporter and Mr. Karnow’s friend since Vietnam, told The Associated Press in 2009, the memoir was vintage Karnow. “Stanley has a great line about how being a journalist is like being an adolescent all your life,” he said.

Stanley Karnow was born in Brooklyn on Feb. 4, 1925, the son of Harry and Henriette Koeppel Karnow. He grew up in a city with more than a dozen daily newspapers and decided early that he wanted to become a reporter. He served in the Army Air Forces in World War II. After graduating from Harvard with a bachelor’s degree in 1947, he sailed for France, intending to spend the summer. He stayed for a decade.

This article has been revised to reflect the following correction:

Correction: January 28, 2013

An earlier version of this article misstated the year in which Stanley Karnow was a Nieman Fellow at Harvard University. It was 1958, not 2002. The article also misspelled the name of the Nieman Fellowship.

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IHT Rendezvous: 17th-Century Masterpiece Discovered at the Ritz

PARIS – The Hôtel Ritz Paris, famous for its bar, its swimming pool and its assignations, had a treasure hiding in plain sight, an exceptional painting that had been hanging on a wall for decades without anyone paying it the least attention.

With the hotel shut for renovation, the auction house Christie’s announced this week that art experts had decided that the long-ignored canvas was by Charles Le Brun, one of the masters of 17th-century French painting, and that it would be put it up for auction.

The painting, called “Le Sacrifice de Polyxène” (“The sacrifice of Polyxena”), dates from 1647. It hung above a desk in the hotel suite where Coco Chanel lived for more than 30 years, and was only discovered to be important last summer, when the hotel shut for a 27-month renovation in the face of stiff competition from newer hotels.

“It is a magical discovery,” said Cécile Bernard, a Christie’s expert. “The painting must have been there for at least 50 years.”

The painting depicts the killing of Polyxena, the youngest daughter of King Priam of Troy, who according to myth revealed the weakness of Achilles’ heel and thus led to his death. It will be shown at Christie’s in New York from Jan. 26 to 29 and auctioned on April 15.

Christie’s said it authenticated the painting after it was discovered by two art experts hired by the hotel, and estimates that it will sell for up to 500,000 euros ($665,000).

“Le Sacrifice de Polyxene” is an early work of Le Brun (1619-1690), whose monumental paintings adorn the gallery of Apollo in the Louvre and the Great Hall of Mirrors at Versailles. Experts say that the painting, which bears the painter’s initials, was done for a private collector before Le Brun was made “first painter to the king” by Louis XIV, who called him “the greatest French painter of all time.’’

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In New Orleans, an unwelcome mat for Goodell

NEW ORLEANS (AP) — An effigy of NFL Commissioner Roger Goodell dangles from the front porch of a New Orleans home that is otherwise festively decorated with Saints paraphernalia.

With restaurants and bars gearing up for an influx of Super Bowl XLVII visitors, the "Refuse to Serve Roger Goodell" page on Facebook had 107 likes as of Friday.

A portrait of Goodell covers the bull's-eye on the dart board at Parkview Tavern.

And floats in the unabashedly lowbrow Krewe du Vieux parade in the French Quarter last weekend displayed larger-than-life likenesses of Goodell in acts that defy polite description.

New Orleans is celebrating the return of Saints coach Sean Payton after a season of NFL banishment as a result of the "bountygate" scandal — when the team ran a pay-for-hits program. But Goodell, who suspended Payton and other current and former Saints players and coaches last year for their roles in the system, is being ridiculed here with a vehemence usually reserved for the city's scandal-scarred politicians.

"They believe he completely used the Saints as an example of something that was going on league-wide," said Pauline Patterson, co-owner of Finn McCool's, an Irish Bar in the Mid-City neighborhood where the words "Go To Hell Goodell" are visible over the fireplace.

Some of Goodell's critics say the disarray resulting from what they believe were unfair suspensions led to the Saints' 7-9 performance this year — and a missed chance to make history.

"We had a real shot of being the first team in history to host the Super Bowl in our own stadium," Parkview Tavern owner Kathy Anderson said. "He can't give that back to us."

Goodell suspended the coaches and players after an investigation found the Saints had a performance pool offering cash rewards for key plays, including big hits. The player suspensions eventually were overturned, but the coaches served their punishments.

Mayor Mitch Landrieu is among those saying that people in this city, known for its hospitality and history, should mind their manners and remember the not-too-distant past.

"Roger Goodell has been a great friend to New Orleans, and it's a fact that he's one of the people instrumental to making sure that the Saints stayed here after Hurricane Katrina," Landrieu said in a statement. It was a reference to the days after the storm, when 80 percent of the city was underwater and the damaged Superdome became a shelter for thousands of the displaced.

Then-Commissioner Paul Tagliabue and his second-in-command, Goodell, are credited with working to keep the team from abandoning New Orleans for San Antonio.

"If not for Roger Goodell, we would not have this Super Bowl," Landrieu added. "And we will need him since we want to host another one."

Saints quarterback Drew Brees said the game is validation of everything the city's gone through to rebuild after Hurricane Katrina.

"There's no question, yeah. And I think people will see that when they come down, as soon as people come down that haven't been there in a while," Brees said Friday while in Hawaii for the Pro Bowl. "The city knows how to entertain, knows how to treat people right. The tourism industry's huge, so we're excited to host this big game. Obviously it's the biggest sporting event in the world, and the city will be ready for it."

But some are in no mood to back off when it comes to Goodell.

Anderson said she understands city leaders' desire to put their best foot forward, but that it also is important for Saints fans to be able to vent.

"Whether I have Roger Goodell's face on my dart board is not going to change anybody's mind about the Super Bowl," Anderson said.

People should not take the barbs too seriously, said Lynda Woolard, a Saints fan who has been tracking some of the barbs on social media. "Nobody's saying there should be violence against the man," Woolard said.

"It's tongue-in-cheek," Patterson agreed.

Still, some diehards are ready to put it all behind them.

Patrick Brower, owner and manager of the Dirty Coast T-shirt shop, said Friday that he's pushing black-and-gold wear at his shop, choosing to unify Saints fans without bashing the commissioner.

"We've got to look forward here," Brower said. "The more time we spend in the past, it's just not beneficial."

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Well: Ask Well: Squats for Aging Knees

You are already doing many things right, in terms of taking care of your aging knees. In particular, it sounds as if you are keeping your weight under control. Carrying extra pounds undoubtedly strains knees and contributes to pain and eventually arthritis.

You mention weight training, too, which is also valuable. Sturdy leg muscles, particularly those at the front and back of the thighs, stabilize the knee, says Joseph Hart, an assistant professor of kinesiology and certified athletic trainer at the University of Virginia, who often works with patients with knee pain.

An easy exercise to target those muscles is the squat. Although many of us have heard that squats harm knees, the exercise is actually “quite good for the knees, if you do the squats correctly,” Dr. Hart says. Simply stand with your legs shoulder-width apart and bend your legs until your thighs are almost, but not completely, parallel to the ground. Keep your upper body straight. Don’t bend forward, he says, since that movement can strain the knees. Try to complete 20 squats, using no weight at first. When that becomes easy, Dr. Hart suggests, hold a barbell with weights attached. Or simply clutch a full milk carton, which is my cheapskate’s squats routine.

Straight leg lifts are also useful for knee health. Sit on the floor with your back straight and one leg extended and the other bent toward your chest. In this position, lift the straight leg slightly off the ground and hold for 10 seconds. Repeat 10 to 20 times and then switch legs.

You can also find other exercises that target the knees in this video, “Increasing Knee Stability.”

Of course, before starting any exercise program, consult a physician, especially, Dr. Hart says, if your knees often ache, feel stiff or emit a strange, clicking noise, which could be symptoms of arthritis.

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