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Monday, October 30, 2006

On November 13, Torontoians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Parkdale—High Park (Ward 13). Two candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Linda Coltman, David Garrick, Greg Hamara, Aleksander Oniszczak, Bill Saundercook (incumbent), and Frances Wdowczyk.

For more information on the election, read Toronto municipal election, 2006.

Friday, October 24, 2008

On August 21, the Polish weekly Przekrój published an advertisement for Dan-Mark exercise books, bearing the logo of 4fun.tv, a Polish music/interactive TV station. Part of the advertisement contained a definition of the word “exercise book”. The wording looked familiar, and Wikinews consulted Wikipedia, the collaborative online encyclopedia.

Upon seeing the Wikipedia definition, it appeared that the entry quoted in the promotional material was identical to the initial two paragraphs of the relevant Wikipedia entry.

Freelance reporters for the Polish Wikinews decided to find out the reason for such a similarity and whether either of the texts (the advertisement’s or Wikipedia’s) might be a case of copyright violation.

The reporters contacted a Jaros?aw Janas, Creative Director of 4fun.tv., where the ad appeared. His reply included the following claim:

Copyright on text does not last for fifty years as claimed by Janas, but for 70 years after the death of the author.

To investigate the authenticity of the above claims, Wikinews asked the main author of the two paragraphs in question, Wikipedian Julo, about the sources used to write the entry. He confirmed that he had written the text in question, and not copied it from an encyclopedic publication as claimed by Jana.

It is therefore impossible that both Julo and the people responsible for the exercise book advertisement have used the same uncopyrighted encyclopedia, thus coincidentally creating identical texts. The reporters also noted that the first draft of the introduction to the article was written by WaldemarWolskiHuta (February 2006). Afterward the text had undergone some modifications by Julo (September 2006), as well as Picus viridis and Beno (March 2008). However, the text presented in the press promotional material, which – according to 4fun.tv – came from an old-print encyclopedia is identical to the Wikipedia entry after the changes mentioned above had been made. Julo added that he was still alive, together with the other authors of the article in question who constituted the group of the copyright co-holders. This naturally led to a conclusion that neither 50 nor 70 years could have passed since their death. He left 4fun.tv’s actions with a comment that although the contents he and the other Wikimedians had made public and free, they are far from making them available in any “free style”, but under a specified license.

In follow up messages to Jaros?aw Janas, Wikinews reporters confronted the creative director over his seemingly inaccurate claims.

Wikinews was told in a reply that 4fun.tv would ignore the claims unless they see permission from the author of the original content to investigate this story. They were also informed that further e-mails without any specifics sent by the reporter would be qualified as spam. 4fun.tv’s creative director further added that he found the reporter’s picture on the Internet and asked how the person would feel if this picture was to appear on billboards or press releases that advertised the TV station.

Wikipedia does allow copying of its content under certain conditions. The encyclopedia’s content is released under the GNU Free Documentation License, which means that it can be copied, modified, and used commercially and non-commercially – under the conditions that the license’s text is included with the copied content and the five main authors are mentioned. If a part of the article is used, like in the example quoted in this news story, a “right to quote”, recognized by Polish law, may be used. In such a case it suffices to mention the source of the text (Polish Wikipedia) and the author of the excerpt. 4fun.tv met none of these conditions, meaning that copyright has been violated.

Over a year ago Polish Wikinews reported on a similar problem, regarding the use of free-licensed photographs. Since that time such “borrowings” have become less frequent, however photos are still being used in discordance with the license. Journalists have gotten used to citing sources, e.g. Wikipedia, although licensing conditions require attributing the actual author, not the source. So instead of attributing John Doe for his contribution, agencies like Polska Agencja Prasowa (Polish Press Agency) are attributing the source, Wikipedia.

In early September 2008 a similar situation occurred in relation to the Polish edition of Wiktionary. Gazeta Wyborcza, a Polish daily, published an IKEA advertisement, on the opening page of which an almost word-for-word Wiktionary entry was placed; additionally the advertisement used the characteristic MediaWiki layout. The reference to the external source used was missing.

In April 2008, an example of an Australian professor was cited; the scientist, in a reply to a news story, quoted a Wikipedia definition almost word-for-word. The same professor condemned the use of Wikipedia in his previous press appearances.

In 2005 Wikipedia material was discovered in the German weekly magazine Der Spiegel, which acknowledged its fault and published appropriate apologies in place of the article in the online edition.

Frontline magazine in 2007 was found using an image from Wikipedia without proper credit. When pointed out the magazine acknowledged the failing and a correction was promptly given in the subsequent issue.

Tuesday, March 3, 2009

When she was barely 20 years old, Dutch singer Edsilia Rombley got her first large taste of international acclaim. Already a winner of the smaller imitation contest Soundmix Show, she decided to shoot higher. With a great deal of determination, she performed in front of hundreds of millions of television viewers at the 1998 Eurovision Song Contest in Birmingham, United Kingdom. Her song, the R&B flavored “Hemel en aarde” (Heaven and earth), placed fourth and gave her country their highest placing at Eurovision since their last win in 1975. No Dutch contestant after her has been able to place similarly.

After the accolades died down, Rombley set her sights on promoting her vision and passion through her music. Partnering with producer Tjeerd Oosterhuis became a double blessing; eventually they became husband and wife. Even a return to Eurovision at the 2007 Contest, with less than favorable results, didn’t keep her discouraged for long. Today she has finished recording a live CD of her favorite English songs, and a live DVD of selections in Dutch, and is currently touring in singing engagements this spring in theaters across the Netherlands.

Edsilia Rombley granted Wikinews’ Mike Halterman an interview; she reflected on her career, her inspirations, what a day is like in her life, and what she would love to do in the future. This is the third in a series of interviews with past Eurovision contestants, which will be published sporadically in the lead-up to mid-May’s next contest in Moscow.

Wednesday, January 13, 2010

The U.S.-based multibillion dollar online search engine, Google Incorporated, has announced Tuesday in a public statement on its official blog that the company has been the victim of a “highly sophisticated” and “targeted attack” against their corporate infrastructure that they allege “originated from China.”

The author of said statement, David Drummond, Google’s Senior Vice President of Corporate Development and Chief Legal Officer, noted that Google was not the only multinational corporation targeted. “As part of our investigation we have discovered that at least twenty other large companies from a wide range of businesses—including the Internet, finance, technology, media and chemical sectors—have been similarly targeted.” The names of these other corporations in question have yet to be released. To this end, Google states that they are “currently in the process of notifying these companies,” and they are cooperating with the “relevant authorities.”

Drummond goes on to say that through a separate and unrelated investigation, Google has additionally discovered that the accounts of “dozens” of Gmail users worldwide who are “advocates” of political and human rights in China “appear to have been routinely accessed by third parties” as well.

However, he affirms that “…these accounts have not been accessed through any security breach at Google, but most likely via phishing scams or malware placed on the users’ computers.”

As a result of what has occurred here, Google said it has already made significant changes to the security infrastructure of its users’ accounts as to prevent something like this from ever happening again.

At the same time, Google advised individual users to use more discretion while online, “We would advise people to deploy reputable anti-virus and anti-spyware programs on their computers, to install patches for their operating systems and to update their web browsers. Always be cautious when clicking on links appearing in instant messages and emails, or when asked to share personal information like passwords.”

Google launched its Chinese-language search engine, Google.cn, in January 2006. The only precondition to operating in China was that the company had to acquiesce to certain censorship demands from the one-party government. When defending their controversial rationale for operating in the socialist republic, Google said “…that the benefits of increased access to information for people in China, and a more open Internet outweighed our discomfort in agreeing to censor some results.”

Nevertheless, Google has still been widely criticized for this voluntary censorship of search results of topics, such as the Tiananmen Square protests of 1989, movements for Tibetan and Taiwan independence, and the Falun Gong religious movement along with other information considered harmful to the Chinese government. Some feel it goes against and is hypocritical of Google’s informal motto, “Don’t be evil”.

In response, a spokesperson for the Chinese Consulate in New York City, Wenqi Gao, said in a phone interview to The New York Times, “I want to reaffirm that China is committed to protecting the legitimate rights and interests of foreign companies in our country.”

In contrast, Sharon Hom, the executive director of Human Rights in China said, “It’s a wakeup call for the international community about the risks of doing business in China. The tendency has been for companies to keep their eye just on the benefits of doing business. But the risks are real—The risks are to our intellectual property. The risks are to our values.”

Analysts noted that this move has the potential to financially hurt Google, which has a somewhat limited share of the Internet search market in China, which is dominated by the Chinese-based Google-like website Baidu. Google’s shares fell just under two percent after hours to US$579.50. Meanwhile, Baidu shares rose five percent to US$406.

Harvard Business School professor David Yoffie said, “The consequences of not playing the China market could be very big for any company, but particularly for an Internet company that makes its money from advertising.”

“It will hurt their profits. They get eight to ten percent of their revenues from China,” said Trip Chowdhry, an analyst for Global Equities Research. “If they walk, they will eventually be invited back into China, because the Chinese people will request that. Openness always wins, but it will take some time.”

Tim Ghriskey, the chief investment officer for Solaris Asset Management said, “Clearly not good news for Google and clearly not good news for consumers. You’ve got to think that eventually Google figures out a way to deal with this. If they do have to shut down their Chinese operations, that they would be able to reinstate them. Hopefully soon. I can’t imagine that this would be permanent.” He added, “China is a great growth engine for every business. It is a great opportunity for Google as well.”

In response to all that has happened and what has been said, Drummond explains that this has “led us to conclude that we should review the feasibility of our business operations in China.”

He goes on to state, “We have decided we are no longer willing to continue censoring our results on Google.cn, and so over the next few weeks we will be discussing with the Chinese government the basis on which we could operate an unfiltered search engine within the law, if at all. We recognize that this may well mean having to shut down Google.cn, and potentially our offices in China.”

Drummond concludes his statement by trying to assuage the situation the best he can, “The decision to review our business operations in China has been incredibly hard, and we know that it will have potentially far-reaching consequences…We are committed to working responsibly to resolve the very difficult issues raised.”

Sunday, August 2, 2009

Food deliveries from the RMT were allowed into the Vestas plant in Newport, England yesterday, but were cut off by Vestas management this afternoon.

Protesters at the Isle of Wight factory celebrated the delivery of supermarket bags filed with groceries, which entered with a police escort. This morning, the sixteen remaining occupiers were told to prepare a list of items for future deliveries. But, according to “Mark”, an occupier in the Vestas plant, this afternoon Vestas management reversed their decision, terming the August 1 food delivery a one-time “goodwill gesture” and saying food would no longer be allowed in. The food delivery followed a formal complaint by the RMT that denying the occupiers food was a violation of their human rights. The people inside the factory have been conducting their occupation since July 20, in protest against the closure of the factory, which produces wind turbine blades for the generation of wind power, and the loss of 625 jobs in the Isle of Wight and nearby areas.

Mark went on to praise the “brave people” who have circumvented the security ring around the plant in order to get food and other items to the occupiers. An electric kettle thrown at the end of a rope up to the occupiers is said to be working well. Mark also noted that Louise Christian, a prominent British human rights lawyer, is now representing the Vestas occupiers.

While the number of occupiers at the Vestas plant — originally nearly thirty, now only sixteen — have dwindled, Mark says the ones who remain are “very determined” and furthermore hold no ill will toward their co-workers who have left the occupation. In particular, the occupiers offered sympathy for Luke Paxton, who they say left the occupation due to a combination of personal issues and malnutrition brought on by the deprivation of food. Paxton, Mark said, has the remaining occupiers’ “full support” and continues to campaign for the Vestas workers.

Mark also clarified the origins of the occupation. In contrast to claims that green socialist group Workers’ Climate Action were behind the occupation, Mark presented a more nuanced picture: the Vestas workers’ initial contacts were with veterans of the occupation of Visteon‘s auto parts plants, with the AWL, SWP and Socialist Party becoming involved later with “quite a big involvement” from all groups. Members of Workers’ Climate Action attended Vestas workers’ meetings and gave their opinions, but, Mark says, a committee organised by the workers and composed of workers was making all the decisions.

Mark also strongly rejected the support of Solidarity, a “nationalist trade union” closely associated with the BNP. In a July 24 statement, Solidarity backed the Vestas workers, with union executive member David Kerr saying “We are behind the Vestas workers 100 per cent. British jobs must be protected.” Mark, in reply, told Wikinews: “We do not want their support…they go against a lot of the things people believe in here. We have Polish workers with us. They’re our friends.”

Most of the Vestas occupiers remain independent of trade unions, with only three of the sixteen people inside being members of any union.

Mark closed with a message of solidarity with the occupiers of two Thomas Cook branches in Dublin, Ireland, whose employees began a sit-in at their offices on Friday after the announcement of surprise closures. “We fully support what you’re doing. Don’t back down…do not be pushed around, do not be intimidated”.

The Vestas occupiers have also exchanged messages of solidarity with SsangYong Motor Company in South Korea. Workers at SsangYong have been occupying their factory since May 22 in protest against a 36% cut in employees there.

The occupation continues accompanied by a warning of increased union unrest in Britain. Neil O’Brien of centre-right think tank Policy Exchange told The Daily Telegraph that, while labour unrest had increased, the current state of affairs is “nothing compared to what is going to happen once the brakes are slammed on public spending.”

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, September 3, 2016

On Wednesday, English football club Manchester City F.C. announced that they had loaned their goalkeeper Joe Hart to Italian club Torino F.C. till the season end.

Hart joined City from Shrewsbury Town F.C. in 2006. Since then, he has won four Premier League Golden Gloves for keeping most clean sheets in a season, which is a League record. In a decade at the Etihad Stadium, Hart has won two Premier League trophies, two Football League Cups and one FA Cup.

Hart debuted for England at the age of 21, and has represented the country at UEFA Euro 2012 and 2016 and FIFA World Cup 2014.

Signing the contract, Hart said, “I am very excited to compare myself in an important and beautiful League such as Serie A.” ^{((it))Italian language: ?Sono molto felice di potermi confrontare in un campionato bello e difficile come la Serie A.}

Goalkeeper Joe Hart’s move away from Manchester City came about a week after Pep Guardiola signed Chilean goalkeeper Claudio Bravo from FC Barcelona.