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Parajet Skycar expedition takes off from London to Timbuktu

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Parajet Skycar expedition takes off from London to Timbuktu

Tuesday, January 20, 2009

Two explorers have set off from Knightsbridge, London Wednesday morning (0900 GMT) in a propeller-powered dune buggy heading for the Sahara. Giles Cardozo, age 29, from Dorset, with chief pilot and expedition leader Neil Laughton, age 45, an ex-SAS officer, will fly and drive the amazing two-seater vehicle more than 6,000-km (3,750-miles) to fabled Timbuktu on February 20.

“I just can’t wait to see their faces when we fly in and start playing football with them. I don’t think they will be able to believe somebody in a flying car has just visited them,” ‘extreme golfer’ Mr Laughton said before the departure. Timbuktu (Timbuctoo; Koyra Chiini: Tumbutu; French: Tombouctou) is an isolated city in Tombouctou Region, in the West African nation of Mali. They will traverse Europe and Africa about 42 days to arrive at the city in Mali, West Africa before returning home via Senegal.

The home-made 450-kilogram Skycar has been designed by Cardozo in just 18 months. It is the world’s first road legal bio fuelled flying car. It is a four cylinders modified Rage Motorsport off-road racing buggy which was approved by the government last month. It runs on bioethanol and is powered by a modified 140bhp Yamaha R1 superbike engine with a lightweight automatic continuously variable transmission from a snowmobile.

The team invested about £250,000 ($380,000) to make the 1000cc engine Skycar desert-proof. In its maiden voyage, the flying car will be escorted by up to 13 people convoy including an eight-wheel truck, two Toyota Land Cruiser 4x4s and several motorbikes. It has left London’s Sheraton Park Tower hotel, heading through the capital to Dunsfold airfield in Surrey.

The team had initially planned to take the air route across the English Channel, but the 35km flight was vetoed by aviation authorities. Skycar is required by law to obtain a license from Britain’s Civil Aviation Authority (CAA), including a permit from the British Microlight Aircraft Association (BMAA). Skycar spokeswoman, Charlie Bell, however clarified that the team was “in liaison with the CAA and they are looking to finalize the permit,” adding that it is in order for the rest of the trip.

The Skycar will thereafter fly over the high-altitude Pyrenees near Andorra, and would cross over the 14-km (nine-mile) Strait of Gibraltar. The prepared journey also includes the route through Mauritania, Atlas Mountains in Morocco and into Mali. It will further cross the harsh environment of Sahara’s remote “Rub’ al Khali” (empty quarter), for up to two weeks amid real fears of terrorist attacks.

The expedition will not have an easy task, especially since the Skycar will be tested to the limits amid punishing operating environments and weather conditions. “Clearly the reliability of the car is crucial,” said Mr Laughton. “We’re going to have to cope with wind chill temperatures as low as -30 deg C and blistering heat of up to 50 deg C. But it’s been fully tested at a secret location and it 100 per cent works,” he added.

The Parajet Skycar is a prototype flying car. It was developed by British paramotor manufacturer Parajet. The flying car utilizes a paramotor and a parafoil attached to a modified dune buggy to achieve sustained level flight. Should the engine fail, the vehicle can glide back to the ground. Should the canopy rip, an emergency reserve parachute would be deployed. It requires three minutes to convert it from a car to an aircraft. The prototype runs on biodiesel and is fully road-legal.

In 2004 British engineer Giles Cardozo, a paramotor manufacturer, has invented a fan-powered flying car to prove the Skycar is real and works. “I started making a paramotor on wheels that you sit on and take off and it suddenly occurred to me, ‘Why not just have a car that does everything?’” Cardozo said. His Wiltshire-based company Parajet built the paramotor that the adventurer Bear Grylls did fly near Everest in 2008. In 1998, Grylls, aged 23, became the youngest British to ascend Mount Everest. In May 2007, Grylls and Cardozo departed from Pheriche, about 32 kilometres south of Mount Everest.

I thought this would be an interesting challenge… Timbuktu is an iconic and quirky destination.

Cardozo has claimed he may finally have made it. “I’ve been dreaming about making flying cars since I was a boy, thinking about all the ways it could be done and seeing how all the other people in the world have done it wrong. No one’s ever made one that really does work that you can go out and buy. But here’s the ultimate solution: it’s cheap, it’s safe, it works, all the technology’s already there. So I pushed ahead and thought, ‘We’ve got to do it’,” he said.

If the Skycar becomes successful, Cardozo’s company plans a limited production with a selling price of £35,000 to £40,000 for a standard model and £60,000 for a high-performance sports version. “It will be a serious aircraft but also a proper road machine, with acceleration to match your average sports car,” says Cardozo. “I’m not going to sell millions of them but even if we sell 20 we’ll be laughing,” he added.

The explorers, with the aid of sponsors, supporters and benefactor Sir Ranulph Twisleton-Wykeham-Fiennes, 3rd Baronet OBE (known as ‘Ranulph (Ran) Fiennes’), have aimed to raise more than £100,000 for some charities including an African orphanage.

Apple releases new Magic Trackpad, updated iMacs and Mac Pros

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Apple releases new Magic Trackpad, updated iMacs and Mac Pros

Friday, July 30, 2010

On Tuesday, Apple Inc. introduced a new peripheral, the Magic Trackpad, and refreshed its line of iMac and Mac Pro computers, as well as the Apple Cinema Display.

The Magic Trackpad, a multi-touch trackpad for Macintosh computers, allows end users to use certain gestures to control on-screen actions. It supports gestures already seen on the MacBook and MacBook Pro trackpads, as well as the iPhone, iPod Touch, and iPad, such as swiping, tap-to-click, and pinch-to-zoom. However, the Magic Trackpad also supports physical clicking and supports one- and two-button commands. The Magic Trackpad, which is retailed for US$69, connects wirelessly to a computer using Bluetooth technology and has a claimed four months of battery life. At 5.17 inches (13.13 centimetres) long and 5.12 inches (13 centimetres) wide, the glass and aluminium device is slightly larger than Apple’s laptop trackpads.

In addition to the Magic Trackpad, Apple also began selling the US$29 Apple Battery Charger accessory, a charger pack with six rechargeable batteries usable in the Magic Trackpad, Apple Wireless Keyboard, and Apple Magic Mouse. Apple claims that the nickel-metal hydride (NiMH) batteries can last up to ten years before they lose their ability to hold a charge. The Magic Trackpad uses two AA batteries, and can be used with any Bluetooth-enabled Macintosh computer running Mac OS X 10.6.4.

Another major announcement that came on Tuesday was the first iMac update since last fall. The update included mostly internal upgrades, giving consumers a choice of newer Intel processors: the dual-core Core i3 and Core i5, and the quad-core Core i5 and Core i7. In addition, the SD card slot was expanded to allow support for the Secure Digital Extended Capacity (SDXC) format. The iMac is still available at 21.5-inch (54.61-centimetre) and 27-inch (68.58-centimetre) display options, but has upgraded graphics cards as well. The screens use in-plane switching (IPS) technology, allowing for a greater viewing angle. The base model is still priced at US$1,199.

Apple’s line of Mac Pro computers were also given a refresh on Tuesday. Consumers now have the option to purchase a Mac Pro with twelve processing cores, using two six-core Intel Xeon processors. Four-, six-, and eight-core options are still available. The update also includes the choice of adding up to four, 512GB solid state drives, instead of conventional hard drives. The base model is priced at US$2,499 and will be sold starting in August.

Apple also released a new, 27-inch (68.58 centimetre) LED Cinema Display, a 60 percent increase in display area from the older 24-inch (60.96 centimetres) Cinema Display. The new monitor can reach a resolution of 2560-by-1440 pixels, or Wide Quad High Definition, and has a built-in microphone, webcam, speakers, USB hub, and ambient light sensor, which changes the display’s brightness based on external lighting levels. It is priced at US$999 but will not be available for purchase until September.

US military to carry out review following Wikileaks release of classified 2007 video

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US military to carry out review following Wikileaks release of classified 2007 video

Saturday, April 10, 2010

Following the release of classified video earlier this week, the US military is to carry out a review of a 2007 airstrike which occurred in Baghdad. At a press conference on April 5, 2010, at the National Press Club in Washington D.C., the whistleblowing wiki Wikileaks released a video which appears to contradict the official US account of the attack.

The review follows the release of footage from the targeting system of an AH-64 Apache attack helicopter, one of two United States Army helicopters engaging what they believed to be Iraqi insurgents.

The attack led to the death of two Reuters journalists, driver Saeed Chmagh, photographer Namir Noor-Eldeen, and other Iraqi civilians. The official U.S. Army investigation report that followed the attack concludes that the death of the Reuters staffers and civilians was as a result of collateral damage of an engagement against Iraqi insurgents. However the released video and the associated radio chatter suggests that the army aviators had mistakenly identified the camera equipment used by the journalists as weapons, and the group of Iraqi civilians and journalists themselves were the target of the attack. The video and radio chatter have been confirmed as genuine by a U.S. Defense official speaking to Reuters on the condition of anonymity.

Wikileaks says the video comes from “military whistleblowers” and that it was passed to them in an encrypted form. Wikileaks broke the encryption on the video after a public appeal for help, including an appeal for time on a supercomputer.

SEPTA buys rail cars from NJ Transit to deal with crowding

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SEPTA buys rail cars from NJ Transit to deal with crowding

Tuesday, July 29, 2008

As gas prices have risen in the United States, the regional transport authority for southeastern Pennsylvania, SEPTA, has seen a sharp increase in ridership, which has caused overcrowding on the trains.

“As fuel prices have continued to rise, SEPTA ridership has steadily increased and is the highest in 18 years,” said SEPTA General Manager Joseph Casey. Monthly ridership was 22 percent higher last month than a year ago.

“They have crushed loads on their rail lines, already where people are standing, and there’s not enough seats,” said Rich Bickel, the director of the Delaware Valley Regional Planning Commission.

“At peak times some railcars are standing room only and commuter parking lots are nearly full. All Regional Rail lines are running near full capacity and the train station parking lots are at about 90 percent capacity or more,” SEPTA spokesperson Felipe Suarez said.

While SEPTA awaits new Silverliner V trains from Hyundai Rotem, which begin arriving in 2009, it had hoped to lease eight rail cars from New Jersey Transit, at an agreed-upon rate of US$10,000 per month. However, due to problems with insurance and liability indemnification, the deal fell through, according to Casey.

SEPTA has entered a new agreement to purchase the eight rail cars from NJ Transit. The transit authority will pay US$670,000 for the cars and assorted supplies plus one additional inoperative car which will be used for spare parts. The rail cars will be operated using a SEPTA provided locomotive as they are not self-propelled.

The cars are being disposed of by NJ Transit because it has switched from single-floor cars to double-decker cars.

SEPTA is expecting to raise US$3.1 million by selling rail that has been out of service since 1981 at auction.

Sweden’s Crown Princess marries long-time boyfriend

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Sweden’s Crown Princess marries long-time boyfriend

Monday, June 21, 2010

Sweden’s first royal wedding since 1976 took place Saturday when Crown Princess Victoria, 32, married her long-time boyfriend and former personal trainer, Daniel Westling, 36. The ceremony took place at Stockholm Cathedral.

Over 1,200 guests, including many rulers, politicians, royals and other dignitaries from across the world, attended the wedding, which cost an estimated 20 million Swedish kronor. Victoria wore a wedding dress with five-metre long train designed by Pär Engsheden. She wore the same crown that her mother, Queen Silvia, wore on her wedding day 34 years previously, also on June 19. Victoria’s father, King Carl XVI Gustaf, walked Victoria down the aisle, which was deemed untraditional by many. In Sweden, the bride and groom usually walk down the aisle together, emphasising the country’s views on equality. Victoria met with Daniel half-way to the altar, where they exchanged brief kisses, and, to the sounds of the wedding march, made their way to the the silver altar. She was followed by ten bridesmaids. The couple both had tears in their eyes as they said their vows, and apart from fumbling when they exchanged rings, the ceremony went smoothly.

Following the ceremony, the couple headed a fast-paced procession through central Stockholm on a horse-drawn carriage, flanked by police and security. Up to 500,000 people are thought to have lined the streets. They then boarded the Vasaorden, the same royal barge Victoria’s parents used in their wedding, and traveled through Stockholm’s waters, accompanied by flyover of 18 fighter jets near the end of the procession. A wedding banquet followed in the in the Hall of State of the Royal Palace.

Controversy has surrounded the engagement and wedding between the Crown Princess and Westling, a “commoner”. Victoria met Westling as she was recovering from bulemia in 2002. He owned a chain of gymnasiums and was brought in to help bring Victoria back to full health. Westling was raised in a middle-class family in Ockelbo, in central Sweden. His father managed a social services centre, and his mother worked in a post office. When the relationship was made public, Westling was mocked as an outsider and the king was reportedly horrified at the thought of his daughter marrying a “commoner”, even though he did so when he married Silvia. Last year, Westling underwent transplant surgery for a congenital kidney disorder. The Swedish public have been assured that he will be able to have children and that his illness will not be passed on to his offspring.

Westling underwent years of training to prepare for his new role in the royal family, including lessons in etiquette, elocution, and multi-lingual small talk; and a makeover that saw his hair being cropped short, and his plain-looking glasses and clothes being replaced by designer-wear.

Upon marrying the Crown Princess, Westling took his wife’s ducal title and is granted the style “His Royal Highness”. He is now known as HRH Prince Daniel, Duke of Västergötland. He also has his own coat-of-arms and monogram. When Victoria assumes the throne and becomes Queen, Daniel will not become King, but assume a supportive role, similar to that of Prince Phillip, the husband of the United Kingdom’s Queen Elizabeth II.

National Museum of Scotland reopens after three-year redevelopment

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National Museum of Scotland reopens after three-year redevelopment
By | Posted in Uncategorized

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.

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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”.

Have you any photos of the museum, or its exhibits?

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.

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Selection of views of the Grand Gallery Image: Brian McNeil.

Selection of views of the Grand Gallery Image: Brian McNeil.

Selection of views of the Grand Gallery Image: Brian McNeil.

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.

  • Ground floor
  • First floor
  • Second floor
  • Top floor

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.

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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.

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News briefs:July 20, 2010

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News briefs:July 20, 2010
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“Creationism and intelligent design have no place in the UK science curriculum” says UK Government

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“Creationism and intelligent design have no place in the UK science curriculum” says UK Government
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Tuesday, June 26, 2007

The Government is clear that creationism and intelligent design are not part of the science National Curriculum programmes of study and should not be taught as science.

The U.K. government defined Intelligent Design along with creationism as religion and ruled that neither has a place within the country’s school science curriculum.

This was in reaction to an electronic petition launched by James Rocks of the “Science, Just Science” campaign, a group formed to oppose “Truth in Science” and other groups in the anti-evolution lobby in the UK. The petition was signed by 1,505 people.

In the petition details, Rocks wrote, “Creationism & Intelligent design are greatly featured in the media and are being used disingenuously to portray science & the theory of evolution as being in crisis when they are not. Moreover groups such as Truth in Science are targeting our nation’s children and their science education with material that is not only non-scientific but have been rejected by the scientific community. These ideas therefore do not constitute science, cannot be considered scientific education and therefore do not belong in the nation’s science classrooms.”

A spokesperson for the Prime Minister’s office wrote: “The (UK) Government is aware that a number of concerns have been raised in the media and elsewhere as to whether creationism and intelligent design have a place in science lessons. The [UK] Government is clear that creationism and intelligent design are not part of the science National Curriculum programmes of study and should not be taught as science.”

The government will also be “publishing guidance for schools, on the way creationism and intelligent design relate to science teaching”.

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Surprise demolition of partially collapsed building in Buffalo, New York met with opposition

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Surprise demolition of partially collapsed building in Buffalo, New York met with opposition
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Saturday, June 14, 2008

Buffalo, New York —Wikinews has learned that, in a surprising turn of events, the city of Buffalo located in New York, has ordered and begun an emergency demolition on a three story 19th century stable which partially collapsed on Wednesday June 11 causing at least five homes to be evacuated. Residents are not happy, and despite the short notice of the demolition, nearly 30 people showed up to protest it. Demolition was not supposed to begin until Monday June 16.

At about 2:30 p.m. (eastern time) on June 13, demolition crew arrived at the stable located at 428 Jersey Avenue and began to unload heavy equipment which will be used to demolish the building. This came as a surprise to residents, as demolition was not supposed to start until Monday June 16.

During the early afternoon hours on June 11, the Buffalo Fire Department was called to scene after residents called 9-1-1 stating that part of the building had collapsed. Material from the building fell into the yards of at least three neighboring houses. Some of the bricks landed inside the building, while some fell into the yards of some houses behind homes on Richmond Avenue, leaving a ‘V’ shape.

At about 3:30 p.m. crews began to demolish a small portion of the stable located behind Joe Murray’s home, a resident who lives behind a portion of the building on Jersey and Richmond avenues. While demolition was taking place, the section collapsed into Murray’s backyard, prompting a call to police. Some residents who own home surrounding the building were inside Murray’s house holding a neighborhood meeting when demolition began. No one was injured when the section collapsed.

“[The building] can come down any minute,” stated Donna Berry of the Buffalo Police Department who also added that when police arrived on scene, they immediately put a stop to demolition, fearing the safety of surrounding residents and pedestrians.

“So many [of the] people [living around the building] are at risk, it makes me want to cry,” added Berry.

Police, local politicians and area residents are concerned that demolition crews and the city are not taking the proper precautions to ensure the safety of residents during demolition.

“[There is] no protection for neighbors. [This is] appalling and beyond negligence,” stated Tim Tielman, Executive Director of the Campaign for Buffalo who was referring to the negligence of the demolition crew.

“[In order to stop demolition] citizens must demonstrate direct harm to themselves,” added Tielman.

The city’s preservation board held an emergency meeting on Thursday to discuss the issue. Wikinews has learned that the owner of the building, Bob Freudenheim, gave the city permission to demolish the building because he would not be “rehabilitating the building anytime soon.” Freudenheim was part-owner of the Hotel Lenox at 140 North Street in Buffalo and was also an advocate to stop the Elmwood Village Hotel from being built on the corners of Forest and Elmwood Avenues in 2006 and 2007, which Wikinews extensively covered. He also financially supported a lawsuit in an attempt to stop the hotel from being built. Though it is not known exactly how long Freudenheim has owned the stable, Wikinews has learned that he was the owner while fighting to stop the hotel from being built.

Tielman states that he was in contact with Freudenheim this morning. Tielman states that Freudenheim “is not spending a dime” to have the building renovated. Tielman states that Freudenheim has offered to sell the building to any interested party for only one US dollar, but that he “flip flops [his decision] constantly,” sometimes wanting hundreds of thousands of dollars for the building. Wikinews has attempted to contact Freudenheim, but so far has been unsuccessful.

City building inspectors were also on scene evaluating the building and ensuring the safety of residents. Donald Grezebielucina states that “some people are on notice to vacate their properties”, but also stated that no other precautions were being taken other than placing “tires and scaffolding” onto the side of 430 Jersey, which sits less than eight feet from the buildings East side.

“The gas has been shut off in case we lost the building, so there would be no explosions or anything like that. It’s so unstable, the structural integrity is gone. The chemical composite of the trusses has changed dramatically and dry rotted. There are three vehicles in the basement which totally disappeared,” stated Grezebielucina to the press while protesters yelled “save our building, save our neighborhood.”

Wikinews has also learned that local residents have consulted a lawyer regarding the issue, and hope to petition the New York State Supreme court to issue an injunction to stop demolition. They states that Freudenheim should be “100% responsible” for his actions, and many are afraid that once the building is demolished, Freudenheim’s charges of neglect will be abolished. Freudenheim is facing housing violations for neglecting the building. Though residents are fighting, Tielman states that “an injunction is unlikely.”

“We had a letter of violation against him. He was supposed to have started work to stabilize the brick this Monday. We all hope this building could be saved. But we’ve got five houses evacuated and we cannot tolerate any further delay. We’ve got to get people back into their homes in a safe condition,” said Richard Tobe, Commissioner of the city’s Permit and Inspection Services.

Demolition is set to resume at 8:00 a.m.in the morning of Saturday June 14.

Mike Lombardo, the Commissioner for the Buffalo Fire Department, believes that the building was built in 1812 or 1814, making it nearly 200 years old. It is one of only three stables still standing in the city.

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