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Wednesday, December 21, 2011

Yesterday, the United States House of Representatives voted to effectively reject the Senate version of a bill, passed with bipartisan support, to extend a payroll tax cut two months past its year-end expiration date. The House voted instead to create a conference committee to settle differences between members of both bodies.

Although the tax cut extension itself has support among Republicans and Democrats, lawmakers disagree on how Congress should go about compensating for the cost of extending the cut and the policy changes it would entail.

During an appearance yesterday, President Obama condemned opposition to the Senate-passed version of the bill, accusing Republicans in the House of trying to negotiate on matters unrelated to the bill. Republicans, in response, say there is still time to negotiate the bill, insisting that lawmakers ought to concentrate on a year-long plan rather than a two-month extension. Senate Democratic leader Harry Reid, however, says he will not agree to negotiate the tax cut extension until the Senate-approved bill is passed by the House.

If the tax cut is not extended and instead expires on December 31, approximately 160 million Americans will be affected by the tax increase; President Obama insists the only way to prevent the tax hike beginning January 1 is for the House to pass the Senate bill. In response, House Speaker and Republican John Boehner wants Obama to “call on the Senate to return” to negotiate. The Senate, shortly after passing the bill, adjourned for the Holiday break.

Also included in the bill is a provision that would require President Obama to make a decision regarding the construction of the Keystone XL pipeline, a pipeline that would transport oil from Canada to Texas.

House Democratic leader Nancy Pelosi blamed the congressional year-end impasse on “Tea Party Republicans.” In a letter to President Obama, Speaker Boehner requested he galvanize the Senate to negotiate on the bill’s provisions, writing “The differences between the two different bills can be quickly reconciled to provide the American people the certainty of a full-year bill. There are still 11 days before the end of the year, and with so many Americans struggling, there is no reason they should be wasted. You have said many times that Congress must do its work before taking vacation”.

Tuesday, May 3, 2005

The animated series Family Guy returned to the FOX television network with a new episode Sunday for the first time since it was taken off the schedule three years ago. Although the show kept most of its audience that lead-in The Simpsons gave, FOX was still fourth out of five major broadcast networks in the half-hour, losing most notably to ABC‘s hit Desperate Housewives (UPN, the other major American broadcast network, does not air original programming on Sundays).

However, the season premiere of Family Guy and the series debut of American Dad (which helped usher in what the network termed “The New FOX Sunday”) helped bring FOX to the #2 spot out of five networks in the crucial 18 to 49 demographic, one of the most important to advertisers in the key May sweeps period. “Sweeps” occurs four times a year and helps networks and independent affiliates determine how much a fixed amount of time for commercial advertisement will cost (the higher the ratings, the more revenue for the networks selling the time to advertisers).

On the whole, Family Guy averaged a 6.3 rating in the overnights as posted by Zap2It. While the overnight ratings are fairly accurate, the numbers are preliminary and are subject to minor change. One ratings point is equal to 1,096,000 households, as there are now 109,600,000 households in the United States with at least one television. This translates into a little more than 6.9 million households whose sets were tuned into Family Guy, as recorded by the sample of “Nielsen families,” who record their viewing habits and contribute to the ratings process the US uses. The use of the word “share” in the article means that it is the rough percentage of viewers with their sets on at that hour tuning into a certain program. For example, nine percent of viewers in the United States with their televisions on at 9 P.M. Eastern Daylight Time were tuned to Family Guy.

This only added up to a 9 household share for the hour, compared to an 11 share for Law & Order: Criminal Intent on NBC, a 14 share for a CBS Hallmark Hall of Fame movie of the week (traditionally only aired during the key sweeps periods), and a 23 share for the aforementioned Desperate Housewives. Averaged with the performance of American Dad, a cartoon produced by Family Guy creator Seth MacFarlane, FOX earned a mere 5.8 rating/9 share for the hour.

The episode revolved around a big scheme Peter Griffin, the main character of the series, conjured. To give his wife Lois (who no longer finds him sexually attractive) a second honeymoon in order to “spice up” their love life, he pretends to be actor Mel Gibson so they can stay in a new luxury hotel for free. Peter stumbles upon a sequel to the film The Passion of the Christ, and vows to keep the movie from ever seeing the light of day. To get the movie back, Gibson kidnaps Lois and keeps her captive on top of Mount Rushmore, which leads to a scene in which the three battle on top of the monument, in a homage to the film North by Northwest.

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 23, 2006

The upcoming 2006 Mississauga municipal election, to be held November 13, features an array of candidates looking to represent their wards in city council.

Wikinews contributor Nicholas Moreau has contacted as many candidates as possible, including Sean Semper-Whyte, asking them to answer common questions sent in an email. There is no incumbent in the ward; also competing for the position are Matanat Khan, Olive Rose Steele, Terry Pierce, Jr., Ron Starr, and former MP Carolyn Parrish.

Thursday, May 10, 2012

A plane built by Russia’s Sukhoi has crashed in Indonesia with around 50 people on board during a demonstration flight to potential customers. The Superjet 100 struck a cliff as it descended over mountains near Jakarta.

The aircraft departed Halim Perdanakusuma Airport at around 2pm local time yesterday and was due to return 50 minutes later. A search and rescue mission was dispatched to West Java, where the aircraft crashed in the Salak mountain range. Bad weather and nightfall initially hampered rescue efforts but a helicopter found the crash site after dawn.

Everything reportedly was normal that day on a preflight check and earlier demonstration flight. Russian Prime Minister Dmitry Medvedev today ordered an investigation into the accident, while Indonesian President Susilo Bambang Yudhoyono today said “I expect that there will be a full and careful investigation”.

Those on board include journalists, Russian diplomats, and representatives of prospective customer airlines. The flight crew had requested permission for a descent from 10,000ft to 6,000ft shortly before contact was lost. It struck a 7,000ft mountain and the reason for the descent is not immediately apparent. The jet was touring Asia on a sales promotion with stops including Pakistan, Vietnam, Laos, Kazakhstan, and Burma.

With a maiden flight in 2008, several Superjet 100s are in service and Sukhoi boasts orders for about 200 more. The first newly-designed post-Soviet Russian airliner, a commercial offering by military planemaker Sukhoi, it seats around 100 and retails for US$31.7 million. This is cheaper than products from Canada; and Sukhoi has sought the services of Western firms including Thales of France and Finmeccanica of Italy, potentially mitigating safety fears about Soviet-era technology.

Sukhoi’s top test pilot, Alexander Yablontsev, and co-pilot Alexander Kochetkov reportedly were due to be at the controls of the crashed plane. The exact number on board is reported as being from 44 to 50. Sukhoi Civil Aircraft boss Vladimir Prisyazhnyuk said the flight carried eight, including technical staff, from Russia; two from Italy; and one each from France and the United States. The wreckage is in small pieces and, following unconfirmed reports saying bodies were seen, a search team reported no survivors found but several corpses.

So far, Aeroflot of Russia and Armavia of Armenia are the only airlines to have brought the jet into service. Mexico has recently given approval to the plane, allowing Western operator Interjet to join the Russian airlines before year’s end. Sukhoi hopes to scale up production, presently below planned levels, and already has firm deals in place in Asia including with Kartika Airlines of Indonesia.

Friday, October 12, 2007

New Zealand state-owned enterprise (SOE), Kordia published its annual report a few days ago for the financial year ending June 30, 2007.

Formerly known as Broadcast Communications Ltd (BCL) prior to the name change in November 2006, the Crown-owned company offers contracting, consulting, and networking services. They operate a national communication network and provides network feeds and broadcast services for the major television and radio networks in New Zealand.

The annual report shows Kordia Group Limited’s net profit, after tax, at NZ$11.9 million, the 2006 result was $9.8 million. Revenue was up from $201 million in the 2006 financial year to $264 million this year; a 31% increase. Chairman of Kordia, Wayne Brown, described this financial year as “solid achievement” while being “on track to record further growth in the exciting fields in which it operates.”

These increases is despite the major acquisition of Orcon Internet Limited, an ISP (Internet service provider). Kordia will use Orcon, acquired on 2 July, 2007, to invest and deliver the possibilities of the current progress of local loop unbundling, new Wi-Fi zones, and WiMAX technology. CEO of Kordia, Geoff Hunt, said, “Orcon will soon offer a complete range of Voice over IP products”. Orcon is being operated at arms-length to the rest of the company.

Other areas where Kordia is advancing itself is mobile television transmission where they are already prepared to start services once content providers have been secured. Hunt said, “Spectrum is available, so all we need are the content providers and some good consumer demand. Then we’ll be ready to roll.”

Kordia is also immersing itself further in the television sector as well as its mobile television service. Other advances includes New Zealand’s new digital television service, Freeview with it set to start terrestrial transmission next year.

Parliament TV also began this year in July. All House proceedings are available via the Parliament website and a broadcast quality feed is provided to all broadcasters, with full coverage being televised by Freeview and Sky Network Television. The manager of Kordia’s Transmission Control Centre, Merv Brooks, said, “This is another example of people and technology coming together to deliver a truly unique product to New Zealanders.”

Being a SOE, Kordia is required to give the Government a dividend. The Government will receive a total dividend of $8.4 million; $6.8 million in 2006. A $3 million dividend had already been received by the Government so a payment of only $5.4 million was made.