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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.

Saturday, April 17, 2010

In a new setback to the Thai government’s efforts to ease mounting political tensions, protest leaders escaped from their hotel Friday after security forces arrived to arrest them.

One, Arisman Pongruangrong, climbed down three floors using a rope, and was rushed away by supporters thronging the building. The police say Arisman led recent rallies at the national parliament, the election commission, and satellite transmission bases.

Officials earlier Friday said the government is preparing to arrest people linked to violent clashes with security forces last Saturday.

Deputy Prime Minister Suthep Thaugsuban, Thai security chief, announced the raid on the hotel as it was unfolding, saying that a Special Forces unit had closed in around a downtown Bangkok hotel.

“As I am speaking, the government’s special team is surrounding the SC Park Hotel, where we have learned that there are terrorists and some of their leaders hiding,” Suthep said.

A spokesman for the governing Democrat Party, Baranuj Smuthararaks, says arrest warrants have been issued for those suspected of being involved in the violence. Some of the suspects have been identified from photos taken during the clashes.

“Right now the government’s focusing on issuing warrants for acts of terrorism by the people who fortunately have been captured in action [in photos] by both the local and international media,” he said.

According to the New York Times, as many as five protest leaders had been staying at the same hotel as Pongruangrong. Those leaders later appeared together at a protest rally in Bangkok.

“I would like to thank all of the people who saved me,” Arisman said. “You have saved democracy.”The government says armed men infiltrated protester ranks Saturday and fired on troops trying to disperse a rally. Five soldiers and 19 protesters died during the clashes.

Thailand is facing its most severe political crisis in almost 20 years. The anti-government movement, led by the United Democratic Front against Dictatorship or UDD, demands that the government step down and call fresh elections.

UDD supporters, known as red shirts, have held protests in Bangkok for more than a month.

The UDD largely supports former Prime Minister Thaksin Shinawatra, who was ousted in a coup in 2006 and remains overseas to avoid a jail sentence for corruption. Mr. Thaksin has strong support among the rural and urban poor, as well among some sections of the army and police.

Some parties in the governing coalition want to set a clear time frame for elections to ease tensions. But the government says it will only call elections once the political situation has cooled.

A compilation of brief news reports for Monday, August 11, 2008.

Friday, March 3, 2006

The Australian foreign minister, Alexander Downer, has confirmed that Australia will not export uranium to India while it is not a signatory of the Nuclear Non-Proliferation Treaty (NPT). The confirmation was prompted by a recently announced agreement between India and the United States involving the sale of civilian nuclear technology.

“Well our policy has developed over many years, going right back to the time of the Fraser Government actually, our policy has been that we would only export uranium to countries that are signatories to the Nuclear Non-Proliferation Treaty,” Mr. Downer said in an interview on today’s AM radio programme.

Mr. Downer also said that the Australian government was disappointed when India and Pakistan developed nuclear weapons, but supports the new United States deal with India as an attempt to engage with India and “open up their civilian nuclear industry to International Atomic Energy Agency inspectors.”

“We’ve considered very carefully over the last few months the American proposal for this agreement that President Bush has signed with the Indians, and our view about it is that it’s a good step forward in what’s been a difficult situation,” Mr. Downer said.

The Australian Labor Party (ALP) supported the government’s stance on exporting uranium to non-NPT countries. “Any future agreement to export to India must be dependent on India becoming a signatory to the Nuclear Non-Proliferation Treaty and the negotiation of a bi-lateral agreement ensuring that Australian uranium is only used for peaceful purposes,” they said in a press release.

The deal between the two countries involves the US supplying civilian nuclear technology to India, in exchange for money and a promise to open some reactors for inspection. India has said it will reclassify 14 of its 22 nuclear reactors as being for power generation only, which will allow the International Atomic Energy Agency (IAFA) to inspect them.

In a press briefing, National Security Advisor Steve Hadly said that the agreement would bring India “into the international non-proliferation mainstream”, including “placing its civilian nuclear facilities and programs under IAEA safeguards, and also harmonizing its export control lists with those of the Nuclear Suppliers Group and the Missile Technology Control Regime.” The deal stops short of normalising India’s nuclear status; however it is not clear that this could occur without a complete renegotiation of the NPT, or an abandonment of nuclear weapons by India.

The director of the IAEA, Mohamed ElBaradei, called India “an important partner in the non-proliferation regime”.

The NPT permits 5 states to own nuclear weapons: France (signed 1992), the People’s Republic of China (1992), the Soviet Union (1968; obligations and rights assumed by Russia), the United Kingdom (1968), and the United States (1968). All other signatories have agreed that they will not seek nuclear weapons technology. 187 sovereign nations are currently signed on to the NPT; however India, Pakistan, and Israel have not. India and Pakistan possess nuclear weapons, and Israel is suspected of possession of nuclear weapons.

Australia has 30% of the world’s available uranium. According to the Uranium Information Centre, from 2000 to 2005 Australia exported 46,600 tonnes of uranium, to the value of over AU$2.1 billion. Australia currently exports to the USA, Japan, South Korea, Spain, France, the United Kingdom, Sweden, Germany, Belgium and Finland. Exports are for electricity generation only, in accordance with the NPT.

Wednesday, June 13, 2007

The US-based Cessna Aircraft Company, a subsidiary of Textron Inc., is expected to statically display seven of its aircraft and a mock-up of its latest business jet large cabin concept at the 47th International Paris Air Show, dubbed the LCC.

The seven aircraft expected to be on display are the Citation CJ2+, Citation Encore+, Citation XLS, and Citation Sovereign business jets, a Grand Caravan, a 206 Stationair, and a 172 Skyhawk single engine piston aircraft.

Cessna Chairman, President and CEO Jack Pelton said of the exhibit, “There is so much synergy now with other companies under the Textron corporate banner – companies like Bell Helicopter and Textron Systems – that we felt it made sense for us to return as an exhibitor to the Paris Air Show… We are particularly excited to have our large cabin mockup as the highlight of our exhibit.”

Cessna originally announced plans for a new large model of business jet for the Citation range at last year’s annual National Business Aviation Association meeting, and the idea has been in development since, culminating in the new large cabin concept design. The mock-up at the Paris Air Show includes a large galley, seating for nine passengers, a toilet and a dummy flight deck.

Cessna claim the new design, which outsizes their previous large cabin and long-range business jets, would “set a new standard for performance, cabin comfort, passenger amenities and environmental friendliness,” if launched.

Cessna refuse to release details such as exact internal design specifications and manufacturers of avionics and engines unless the new model actually enters production. Cessna Senior Vice President of Sales & Marketing Roger Whyte told reporters that preliminary wind tunnel testing had “fully met… expectations” and that they had “received extremely positive reaction to the performance parameters as well the cabin design of the proposed aircraft from our customer base”, although he warned that there are still a number of processes to be completed before Cessna actually decide whether or not to launch the new model.

Saturday, October 20, 2007

A Canadian man was arrested in Nakhon Ratchasima, Thailand Friday and is facing charges of sexual abuse of a child under 15 and illegal detention. He is also suspected of posting about 200 online images of child abuse on the Internet.

According to the BBC, Thai authorities are ordering Neal to stay in custody for 12 days for questioning before the official trial starts. Under Thai law he can be held for up to 84 days before trial.

Thirty-two-year old Christopher Paul Neil, from Maple Ridge, British Columbia, could face up to 20 years in jail if convicted.

Neal was working in South Korea as an English teacher. He has been working in Vietnam, South Korea, Cambodia, and Thailand since 2000. Neal was recorded on a security camera at Bangkok airport on October 11.

Thai courts have ruled that he will be charged in Thailand. For now it is up to the Canadian and Thailand authorities to discuss.

“But if something took place here, we would want to have the person held accountable here, but that is very premature and it may even be speculative at this stage,” said Wally Oppal, attorney general of British Columbia (B.C.). Neal could be charged in Canada because of a law which allows paedophiles to be charged in Canada even if they didn’t do the crimes in Canada.

The RCMP are investigating to see if Neal has committed any crimes in B.C., which could mean charges will also be laid in Canada.

Interpol, just last week, issued a public search for Neal. A 15-year-old, who was one of Neal’s victims, alerted authorities of the man. On Thursday Thai courts issued an arrest warrant. Authorities had been able to unscramble the face of a man in the 200 online photos, which had been digitally scrambled. The unscrambled images were used to identify the suspect.

Phyakrut News Agency reported that Neil’s feet were trampled on by reporters until they bled. It was also noted that the picture of the man issued by Interpol had a very hairy chest whereas the suspect arrested had a quite hairless chest, the faces also looked remarkably different raising the question as to whether the real “Mr Swirly Lollipop” has in fact been caught. Police Major General Wimon Powintara stated however that Neil is now wanted for having sex with boys and girls and that one victim identified him as the one that lured him from an Internet cafe to play video games in his apartment where he was orally raped before being given 200 Thai Baht compensation (US$6).

Saturday, September 10, 2005

On Saturday 10, 2005, the world record for the largest performance of the Siege of Ennis, an Irish folk dance, was set in Cork, Ireland. It was organised by the Triskel Arts Centre and the local newspaper Evening Echo, and was part of the city’s tenure as European Capital of Culture.

It beat the previous record set in Dublin, Ohio. This attempt was sponsored by Michael Flatley.

The record breaking attempt was immediately followed by an actual dance.