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Sunday, May 16, 2010

An attempt to cap the massive oil spill in the Gulf of Mexico has hit yet another obstacle, reported officials from British Petroleum (BP).

Friday night’s attempt to install a 6-inch (15.2cm) tube into the leaking drill pipe was only the latest in a series of efforts by BP to stop or slow down the spill. Previously, the oil company had tried to enclose the pipe with a large container dome, and then lowered a smaller “top hat” container dome. The siphon tube method is designed to reduce the amount of oil flowing into the ocean, but is not a permanent solution to stopping the leak altogether. It will draw the oil from the broken pipe to a tanker at the surface, said BP.

The tube was to be inserted into the broken pipe by robotic submarines, but the attempt on Friday to do so was unsuccessful, causing it to be taken back up for changes. The problem was a metal frame on the tube, which had changed position and this prevented the tube sent down from the drill ship Discover Enterprise from connecting. The tube had not been inserted into the leaking drill pipe before it was brought back up.

BP said that it would try again Saturday night (local time) to slow the leak using a reconfigured tube. If this attempt is unsuccessful, they will use the smaller dome to cap the leak, and may also try to plug the leak by covering it with trash, mud, or concrete. The company is already in the process of drilling relief wells to completely stop the leak, but this is expected to take several more months. The amount of oil currently leaking from the pipe is disputed, and BP said it has spent several hundred million US dollars in response to the oil spill.

BP was also given permission yesterday by the US Coast Guard and the Environmental Protection Agency to use chemical oil dispersants to combat the spill.

Friday, July 13, 2007

The British Broadcasting Corporation (BBC) has apologised to Queen Elizabeth II and photographer, Annie Leibovitz, after a trailer for a documentary suggested she had walked out of a portrait sitting when the photographer asked her to remove her crown.

The trailer shows a clip of the photographer telling the Queen, “I think it will look better without the crown because the garter robe is so…” The Queen responded with “Less dressy! What do you think this is?” The following clip shows the Queen walking down a corridor saying, “I’m not changing anything. I’ve had enough dressing like this, thank you very much.”

It has since been clarified that this second clip shows the Queen arriving at the sitting, not departing.

In a statement the BBC said, “In this trailer there is a sequence that implies that the Queen left a sitting prematurely. This was not the case and the actual sequence of events was mis-represented. The BBC would like to apologise to both the Queen and Annie Leibovitz for any upset this may have caused.”

The BBC blamed a production error for the mistake, saying, “This assembly was never intended to be seen by the public or the press. Unfortunately, this assembly was given in error to the BBC personnel who were preparing the BBC One autumn launch tape.”

The company responsible for the editing of the documentary, RDF Media, also apologized to the Queen. Michael Grade, previous controller of BBC One, blamed the mistake on “young, untrained” workers who “don’t understand that the basic ethic of broadcasting in this country is trust.”

Photographer, Leibowitz, commenting about the session in Vanity Fair even before the release of the trailer, said, “She doesn’t really want to get dressed up any more. She just couldn’t be bothered and I admired her for that.”

Tuesday, November 20, 2007

Last night HBO premiered I Am An Animal: The Story of Ingrid Newkirk and PETA. Since its inception, People for the Ethical Treatment of Animals (PETA) has made headlines and raised eyebrows. They are almost single-handedly responsible for the movement against animal testing and their efforts have raised the suffering animals experience in a broad spectrum of consumer goods production and food processing into a cause célèbre.

PETA first made headlines in the Silver Spring monkeys case, when Alex Pacheco, then a student at George Washington University, volunteered at a lab run by Edward Taub, who was testing neuroplasticity on live monkeys. Taub had cut sensory ganglia that supplied nerves to the monkeys’ fingers, hands, arms, legs; with some of the monkeys, he had severed the entire spinal column. He then tried to force the monkeys to use their limbs by exposing them to persistent electric shock, prolonged physical restraint of an intact arm or leg, and by withholding food. With footage obtained by Pacheco, Taub was convicted of six counts of animal cruelty—largely as a result of the monkeys’ reported living conditions—making them “the most famous lab animals in history,” according to psychiatrist Norman Doidge. Taub’s conviction was later overturned on appeal and the monkeys were eventually euthanized.

PETA was born.

In the subsequent decades they ran the Stop Huntingdon Animal Cruelty against Europe’s largest animal-testing facility (footage showed staff punching beagle puppies in the face, shouting at them, and simulating sex acts while taking blood samples); against Covance, the United State’s largest importer of primates for laboratory research (evidence was found that they were dissecting monkeys at its Vienna, Virginia laboratory while the animals were still alive); against General Motors for using live animals in crash tests; against L’Oreal for testing cosmetics on animals; against the use of fur for fashion and fur farms; against Smithfield Foods for torturing Butterball turkeys; and against fast food chains, most recently against KFC through the launch of their website kentuckyfriedcruelty.com.

They have launched campaigns and engaged in stunts that are designed for media attention. In 1996, PETA activists famously threw a dead raccoon onto the table of Anna Wintour, the fur supporting editor-in-chief of Vogue, while she was dining at the Four Seasons in New York, and left bloody paw prints and the words “Fur Hag” on the steps of her home. They ran a campaign entitled Holocaust on your Plate that consisted of eight 60-square-foot panels, each juxtaposing images of the Holocaust with images of factory farming. Photographs of concentration camp inmates in wooden bunks were shown next to photographs of caged chickens, and piled bodies of Holocaust victims next to a pile of pig carcasses. In 2003 in Jerusalem, after a donkey was loaded with explosives and blown up in a terrorist attack, Newkirk sent a letter to then-PLO leader Yasser Arafat to keep animals out of the conflict. As the film shows, they also took over Jean-Paul Gaultier‘s Paris boutique and smeared blood on the windows to protest his use of fur in his clothing.

The group’s tactics have been criticized. Co-founder Pacheco, who is no longer with PETA, called them “stupid human tricks.” Some feminists criticize their campaigns featuring the Lettuce Ladies and “I’d Rather Go Naked Than Wear Fur” ads as objectifying women. Of their Holocaust on a Plate campaign, Anti-Defamation League Chairman Abraham Foxman said “The effort by PETA to compare the deliberate systematic murder of millions of Jews to the issue of animal rights is abhorrent.” (Newkirk later issued an apology for any hurt it caused). Perhaps most controversial amongst politicians, the public and even other animal rights organizations is PETA’s refusal to condemn the actions of the Animal Liberation Front, which in January 2005 was named as a terrorist threat by the United States Department of Homeland Security.

David Shankbone attended the pre-release screening of I Am An Animal at HBO’s offices in New York City on November 12, and the following day he sat down with Ingrid Newkirk to discuss her perspectives on PETA, animal rights, her responses to criticism lodged against her and to discuss her on-going life’s work to raise human awareness of animal suffering. Below is her interview.

Saturday, July 1, 2006

California Gov. Arnold Schwarzenegger signed a bipartisan state budget Friday that invests a record $55.1 billion in education – an increase of $3.1 billion this year and $8.3 billion over the last two years – and allocates $4.9 billion to create a budget reserve and to pay down the state’s debt early.

Schwarzenegger credited bipartisan cooperation in coming up with a budget he was willing to sign, and do it on time, a rarity in recent California politics.

“It’s amazing what can be accomplished when Democrats and Republicans work together in Sacramento,” said Schwarzenegger. “I want to thank the legislative leadership – Senators Don Perata and Dick Ackerman, Speaker Fabian Nunez and Assembly Republican Leader George Plescia – for all their hard work on the budget. We put politics aside and were driven by the overwhelming desire to do what’s best for the people of California.

“I am especially proud that the budget expands preschool, and returns art, music and physical education classes to our children,” he said.

State Superintendent of Public Instruction Jack O’Connell said he is pleased by the budget. “The budget passed by the Legislature brings welcome support to education in California, making good on past debts to our schools and investing in sorely needed classroom programs,” he said.

He had his own budget favorites: “I’m particularly pleased that the budget includes increased funding for school counselors, teacher professional development, programs targeted to helping students pass the high school exit exam, and expanded and improved student nutrition programs.

“While there are some priorities over which we may disagree, I applaud the Governor and the Legislature for a budget that makes education a top priority.”

Barbara E. Kerr, president of the 335,000-member California Teachers Association, also likes the direction of the new budget.“The timely approval of the new state budget is good news for our public schools and students,” she said. “School districts and teachers can now plan ahead. The nearly six percent cost-of-living-adjustment will allow local schools to restore funding to education programs that have been cut over the past few years and provide for salary increases.”

Still, Kerr, said, the budget doesn’t go far enough. “This budget is a down payment on the debt owed to our schools. Teachers will continue to work with the governor and the Legislature to ensure repayment of the $3 billion still owed to our schools under Proposition 98 and the lawsuit settlement agreement announced last month. That money will help our schools of greatest need reduce class sizes, improve teacher training and increase parental involvement.”

How the budget affects the New Haven Unified School District and James Logan High School, or the James Logan Courier, specifically is not yet clear.

State Treasurer Phil Angelides, who is running for governor against Schwarzenegger, liked the increased education funding, and praised his fellow Democrats in the legislature for that, but criticized the entire budget for being out of balance.

“On higher education, Democrats in the Legislature did the right thing, when the governor would not, and gained a $6 per unit rollback in community college fees,” he said in a statement. “That is a start. But the governor’s budget will still leave community college fees nearly double what they were just three years ago. And the budget will also leave untouched the fees at CSU and UC, which have increased by $2,000 and $5,000 respectively under Governor Schwarzenegger.”

Missing from the budget, Angelides said, is funding to expand health care for low-income children. Schwarzenegger “failed to get members of his own party to agree to a budget that funds health care for more kids from low-income families on the Healthy Families program regardless of the families’ immigration status. Compassion requires – and intelligent public health practice demands – that all people residing in California have access to adequate health care,” Angelides said.

Schwarzenegger credited a strong economy that increased state revenues for providing the cash to cover the increased expenditures and set aside a $2.1 billion reserve and an additional $2.8 billion for debt prepayment. Included in that is $1.42 billion for repaying borrowed funds earmarked by the voters for transportation projects aimed at reducing traffic throughout the state. The early debt payment and the reserve account for nearly 4.7 percent of the overall budget – the highest in 25 years.

Still, Angelides said, the budget is out of balance and the state is running up more debt. “Despite his repeated pledges to ‘cut up the credit card’ Governor Schwarzenegger has produced a budget that still leaves a $3.3 billion structural budget deficit for 2006-07 and more deficits for years to come,” Angelides said, “It is a budget thatwill continue to shift the burden of today’s deficits onto the backs of futuregenerations.”

The budget largely mirrors the May Revise, which has since prompted all three Wall Street credit rating agencies to upgrade the state credit rating, reducing the cost of state borrowing. One of the agencies, Fitch, Inc., cited “California’s continuing economic recovery, strong revenue performance and continued progress in reducing fiscal imbalance” when upgrading their rating on the state’s general obligation debt from A to A+ last month. Standard and Poor’s also raised its rating from A to A+ in May. Moody’s Investors Service raised its rating from A2 to A1 the same month.

Despite the improved credit ratings, Angelides said, the three rating agencies still have reservations about the state’s fiscal future. The agencies “have corroborated my warning and that of the Legislative Analyst that while state revenues have improved, California’s fiscal condition will remain insecure until the state produces balanced budgets,” he said.

Highlights of AB 1801, the Budget Act of 2006 by Assembly member John Laird (D-Santa Cruz), include:

Preschool through High School Education – The budget includes $100 million for the Governor’s targeted preschool initiative, which will make preschool available to every four year old living in a low-performing school district. $50 million of this funding will be used to build and improve preschool facilities. The budget also includes $645 million to fund physical education, arts and music programs. Overall, $11,264 will be spent on each student, an increase of $516 from the current year.

Higher Education – The budget allocates $19.1 billion from all sources for higher education and eliminates tuition and fee increases at UC and CSU. California, which already has the lowest community college fees in the nation, will further lower student fees from $26 per unit to $20, effective Spring 2007.

Law Enforcement – The budget includes an additional $196 million to support law enforcement efforts, including money to fund Sexual Assault Felony Enforcement teams, 500 GPS devices to track and monitor the highest-risk parolees and four new Gang Suppression Enforcement Teams. The budget also proposes the addition of 235 California Highway Patrol positions, includes $56.4 million to replace the CHP’s existing radio system and allocates $6.4 million to handle the increasing number of wireless 9-1-1 calls. Additionally, the budget includes a $20 million investment to strengthen efforts to fight methamphetamine trafficking and $6 million to create three new California Methamphetamine Strategy program teams.

Disaster Preparedness – The budget provides $220 million to enhance California’s ability to prepare for, mitigate and respond to emergencies, including money to strengthen public health response during a disaster. This includes preparations to prevent a pandemic influenza outbreak and expanding efforts to help local governments develop disaster preparedness plans.

Public Health – The budget includes $22.6 million for counties to perform outreach and enrollment activities to reach the 428,000 children who are eligible for Medi-Cal or the Healthy Families program but are not enrolled. The budget for the Healthy Families program also covers enrollment growth for 78,200 additional children.

Transportation – In addition, the Budget makes a substantial investment in improving California’s transportation system. It provides $1.4 billion to fully fund Proposition 42 for the second consecutive year, and it provides an additional $1.4 billion for the early repayment of past loans from Proposition 42, for a total of $2.8 billion. Of the $1.4 billion repayment, $440 million is designated for cities and counties for local road and street maintenance that would otherwise not be funded.

The budget is the first on time budget since 2000 and the fourth in the last 20 years. The 2006-07 budget’s general fund is $101.3 billion and total is $131.4 billion. For a more detailed overview of the budget, please visit www.dof.ca.gov.

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.“

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.“

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

Wednesday, September 1, 2010

On Monday, Australian telecommunications company Telstra has introduced dual carrier HSPA+ standard for broadband Internet business customers in the Next G network. This is the first time this technology is being introduced on national scale. The bandwidths the users can deploy increased into two to three times, with Telstra becoming the world’s fastest national mobile broadband service. The switch started with enabling the service for premium users. After some feedback, Telstra may expand the plan.

The higher speeds for wireless are intended to simplify and ease multitasking of users.

John Paitaridis, Telstra’s executive director, network products and services in Enterprise & Government, said “One of the reasons we decided to launch first to Enterprise And Government and Business customers is that clients are saying that their ability to access applications quicker makes a difference to their business and when they start to equate time savings and doing calculations around productivity it does become a return on investment.”

Telstra Business Group Managing Director Deena Shiff also stated that the efforts aren’t as sudden as it might seem, having feedback of many users as the base.

Australians are telling us they can’t afford to be tied to the desk all day and these new speeds mean they can now access mobile broadband at speeds typically reserved for the office. We have been deploying the high-speed capability in the network since December 2009 and now, with the launch of the new Ultimate USB Modem, these new speeds are available to customers across all capital city CBDs and associated airports, selected metropolitan areas and in more than 100 regional locations. These high-speed zones cover approximately 50 per cent of the Australian population and match the areas of highest customer demand and will make the frustration of waiting around for files to download a thing of the past. In other metropolitan and regional areas, the Telstra Ultimate USB Modem offers typical download speeds ranging from 550kbps up to 8Mbps… Our customers have told us that they want higher speed mobile broadband so they can work more flexibly outside of the office and we are delighted to be the first in the world to offer these new blistering speeds on a national network. The new Telstra Ultimate USB Modem provides customers with the speeds needed to handle large files, multi-task and update cloud-hosted applications effortlessly on the go when they are in a coverage area.

Previous modems were able to reach peak speed 21Mbps, with real life speeds ranging from 0.5Mbps to 8 Mbps. The theoretically expected maximum of the new technology is 42Mbps with user speeds varying between 1.1 and 20 Mbps. The new speed is twice as fast. This is caused by that the dual-carrier “Evolved High-Speed Packet Access” technology allows networks to send and receive wireless data using two channels simultaneously. This technology can be deployed on Next G networks. Telstra switched to them in February, thus making the switch to HSPA possible now.

Telstra delayed the implementation of the new technology until elections end. This decision was intended to avoid wrong interpretation of them by Coalition. Coalition’s claims include that wireless networks can be an alternative to the Labor party “fibre-to-the-home” proposal to introduce more expensive wired Internet. The announcement of the new technology, initially planned on August 25, was delayed, with Telstra spokesman Craig Middleton explaining, “We just didn’t want to feel like we were influencing the [telecommunications] debate.”

The political parties have different plans on development and funds on the Internet. The Labor party aims to spend AUD 43 billion to bring 1 Gbps wired Internet nationwide, and the Coalition plans to spend AUD 6 billion to introduce a variety of improvements including upgrade of existing copper Internet as well as expansion of wireless Internet to support 12Mbps. Opposition leader Tony Abbott has said in the past that Australians shouldn’t assume wireless technologies won’t ever be comparable to fixed-line technology. Telstra’s upgrade shows that wireless broadband is reaching the 100 Mbps minimum speeds promised by Labor’s national broadband network.

Telstra has only 2000 devices which support the new technology. This is why the opportunity to try it out is being given only to the Business plan customers, and they receive it for the same price as they were paying for the previous NextG plan. Since October 5, the device will be available for sale, with the Business customers able to buy it with 75% discount and a prepaid data allowance. The upgrade is expected to cover roughly 50% of the population. This is happening at the same time as one of Telstra’s competitors Vodafone is doubling data download quotas on mobile cap plans.

As some testing showed, real life download speeds reached only about the half of the maximum. Telstra executive director of wireless Mike Wright explained that the predicted figures were the estimates, with real life speeds lower due to interfering environmental conditions: “It’s possible to achieve better than the typical user speed claims, but those claims occur in the ideal network environment with good signal quality. When you’re out on the streets you get a lot of variation where the network is subject to signal quality, your location and the network load.”

Wednesday, February 13, 2008

Ren and Stimpy. Bugs Bunny. Philip J. Fry and Professor Hubert Farnsworth on Futurama. Sparx. Bi-Polar Bear. Popeye the Sailor Man. Woody Woodpecker. You may not think you have ever heard Billy West, but chances are on a television program, a movie, a commercial, or as Howard Stern’s voice guru in the 1990’s, you have heard him. West’s talent for creating personalities by twisting his voice has made him one of a handful of voice actors—Hank Azaria and the late Mel Blanc come to mind—who have achieved celebrity for their talent. Indeed, West is one of the few voice actors who can impersonate Blanc in his prime, including characterizations of Bugs Bunny, Daffy Duck, Elmer Fudd and other characters from Warner Bros. cartoons.

What is the fulcrum in Mr. West’s life that led him to realize a talent to shape personalities with his voice, and how did the discovery of that gift shape him? Wikinews reporter David Shankbone found that like many great comedians, West faced more sour early in life than he did sweet. The sour came from a physically and emotionally abusive alcoholic father (“I could tell you the kind of night I was going to have from the sound of the key in the door or the way the car pulled up.”), to his own problems with drug and alcohol use (“There is a point that you can reach in your life where you don’t want to live, but you haven’t made the decision to die.”).

If sin, suffering and redemption feel like the stages of an endless cycle of American existence, West’s own redemption from his brutalized childhood is what helped shape his gift. He performed little bits to cheer up his cowed mother, ravaged by the fact she could not stop her husband’s abuse of young West. “I was the whipping boy and she would just be reduced to tears a lot of times, and I would come in and say stuff, and I would put out little bits just to pull her out of it.”

But West has also enjoyed the sweet. His career blossomed as his talent for creating entire histories behind fictional characters and creatures simply by exploring nuance in his voice landed him at the top of his craft. You may never again be able to forget that behind the voice of your favorite character, there is often an extraordinary life.

Below is David Shankbone’s interview with renowned voice actor Billy West, who for the first time publicly talks about the horrors he faced in his childhood; his misguided search for answers in anger, drugs and alcohol; and the peace he has achieved as one of America’s most recognizable voice actors.