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Friday, July 29, 2011

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

Thursday, August 18, 2005

“Total chaos” is how many described the melee that resulted from a sale of used Apple iBook laptop computers at the Richmond International Raceway (RIR) by the Henrico County, Virginia school system.

Officials estimated nearly 5,000 people thronged the sale for the $50, four-year-old computers. Among them were 17 injured, four requiring hospitalization – one for a leg injury, and three for heat-related illness, said Henrico County Police. Reports of trampling in the stampede were not uncommon, and one driver reportedly tried to drive through the throng of prospective buyers.

Alice Jemerson, an elderly customer said, “They bum rushed the gates and I was knocked over, fighting for my life. All these people were on top of me.”

Shortly after 7am EST officials opened the gates and many residents ran hysterically toward the building where the sale was to occur at 9am.

At a post sale press conference, Henrico County Police spokesman Lieutenant Doug Perry told reporters, “A few bad apples found their way inside. It looked worse than it was.”

Apple iBooks are the preferred computer for Henrico County schools, and Director of General Services of Henrico County Paul Proto, said changes were made to the event after tremendous interest was generated, some as far away as Europe and California. Officials closed and moved the sale from the Henrico county school warehouse to the RIR, after residents complained that their tax dollars were used to buy the computers, and they ought to have first right to repurchase them. The Henrico County Board of Supervisors voted to amend the County Code so that only residents could purchase the laptop computers.

Although officials had prohibited camping out and overnight parking, some in attendance reported that people began arriving at midnight.

Henrico Police Chief H.W. Stanley, Jr. said five patrol officers were originally planned for the event, a customary presence for an event the size authorities had estimated. But by 6 am, an enormous crowd was assembled at the front gate.

Officials present before opening told the crowd that automobiles would be allowed to enter first, which prompted many to run to their cars. But while some were running back to their cars, others rushed the gate. The resulting confusion created much anger, and guards closed the gates shortly thereafter.

Long lines encircling the sale building were commonplace, and one observer noted, “They’re going to see themselves on the news tonight, and see what fools they are.”

Some citizens, however, considered their wait worthwhile. Hairstylist and mother of two Sheress Blunt was one of the first hundred to buy one of the iBooks; she came with her mother and said they sneaked into the raceway through a side gate.

Tonya Vaughan arrived at 5:30 a.m., also bought one of the first iBooks and said three people offered to buy it from her for as much as $200. She declined however, saying, “I told them no way! I had worked too hard for it.”

Lt. Perry said many officers were complimented on the way they handled the crowd, adding that police were seen letting children who had been pushed aside, into the building.

Mr. Proto said, “There are no plans right now to have another iBook sale.”

Henrico County Battalion Police Chief Steve Wood said no arrests were made and the iBooks were sold out by 1pm EST.

Friday, December 30, 2005

The Australian Centre for Languages, a company which has a multi-million dollar contract with the Australian government to provide refugee services, has been accused of breaching its duty of care following the death of a chronically ill child and allegations of failing to provide three women in their care with food.

Sunday, March 22, 2009

After an early morning fire began, four out of the nine people living at the Riverview Individual Residential Alternative group home located in Wells, New York were killed by the blaze. The Sunmount Developmental Disabilities Services Office, which supervises the home, told the media that the fire started at approximately 5:30 AM Eastern Daylight Time. Two staff members were at the home at the time, who safely evacuated four of the five survivors.

The names of the residents killed in the fire were not able to be released due to New York’s Mental Hygiene Law, but are able to be identified as two adult men, aged 32 and 52, and two adult women, aged 43 and 60. A 71-year-old male was injured in the fire, and was taken to a hospital in Utica, a nearby city. The other four residents have been relocated to an unnamed group home. Both staff members are also being examined at the hospital.

“On behalf of all New Yorkers, I wish to extend my heartfelt condolences to the families, loved ones and friends of the four victims and to continue to pray for the full recovery of those five people and two staff members who survived this incident. I also want to express my thanks and appreciation for the first responders and volunteers who worked swiftly and diligently to respond to this tragedy,” David Patterson, the governor of New York, said to the media.

The exact cause of the fire has yet to be determined. However, the New York Civil Liberties Union stated that “the blaze appears to have been an electrical fire and the sprinkler system was knocked out immediately.” They also called for “an immediate investigation into the causes of and contributing factors of the fire.”

The New York State Department of State Office of Fire Prevention and Control is currently investigating the causes of the blaze, with help from New York State Police Bureau of Criminal Investigation and the New York State Commission on Quality of Care and Advocacy for Persons with Disabilities.

Thursday, July 19, 2007

The French web survey provider XiTiMonitor reports that in their study conducted from Monday, July 2 to Sunday, July 8, 2007 on 95,827 websites, web browser Mozilla Firefox reached a 27.8% share in Europe, compared to 21.1% during the same period last year.

Firefox has its biggest market share in Slovenia and Finland where it amounts to 47.9% and 45.4%, respectively, while only 14.6% of people from the Netherlands and 15.2% of surfers in Denmark used Firefox in this survey. The share rose most in Ireland: from 24.9% to 38.6% (i.e. +13.7 points).

Microsoft’s web browser Internet Explorer remains the most used browser in Europe with a market share of 66.5%. Opera and Safari have a 3.5% and 1.7% share respectively, with other browsers at less than 1%.

Oceania remains the region with the highest usage of the freely licensed and open source software browser Firefox, with 28.9%. The continent with the strongest relative increase in market share is South America, where there is a 30% increase compared to last March. Numbers from the U.S.-based company Net Applications Inc. last month showed a fall in Firefox’s share from 15.42% in April to 14.54%.

Wednesday, January 12, 2005

This afternoon the RAF launched an operation to rescue nineteen sailors from a Spanish trawler in difficulties in a North Atlantic storm.

Radio contact with the FV Cibeles was lost yesterday evening at 2030 UTC when the crew reported to the ship’s owners that they were in trouble. Last night, UK Coastguard picked up a satellite emergency beacon signal as winds reached speeds of over 70 mph.

This morning a RAF Nimrod maritime patrol aircraft located the ship adrift 180 miles off the Scottish Western Isles. A nearby tanker, the Aegean Spirit, diverted with the intention of taking the trawler in tow and arrived at 1500 UTC.

However, the tanker was unable to take the trawler on tow, and with no other vessels capable of towing the ship nearby, the Coastguard Rescue Seeking helicopter “Mike Uniform” was launched from Stornoway to extract the crew. The tanker remained on scene to offer some protection from the weather, currently reported as gale force winds and rough seas.

• Joanne Groenenberg. “COASTGUARD HELICOPTER “MIKE UNIFORM” TO EVACUATE CREW FROM SPANISH FISHING VESSEL” — UK Coastguard, January 12, 2005

Monday, March 31, 2014

The Eleventh International Human Rights Documentary Film Festival Docudays UA, in Kyiv, Ukraine, ended on Friday.

The Awards Ceremony was held in the Red Hall of the Kyiv Cinema House. There were 36 documentary films competing for prizes in three festival programs: DOCU/Short, DOCU/Right, DOCU/Life. There were also special prizes from Students’ Jury, Audience Award, and the Andriy Matrosov Award from Docudays UA Organizing Committee.

The special guest of the Awards Ceremony was a symbol of the festival — Nikita Mikhalko. He is featured on the official posters of the festival. Nikita was on Maidan Nezalezhnosti on February 19, in the morning. The picture of him was chosen by the organizers as the “image that would deliver the spirit of our [Docudays UA] festival to the best of its possible might”. The piece of movie where he is taking tangerines from a woman that morning has become the official trailer of the festival. The episode is featured in the opening film of the festival Euromaidan: Rough Cut. Thus Nikita and his burning glasses have become the symbols of the festival. The organizers decided to find out who the symbol of the festival was, and if he was alive. They have started looking for him and luckily, they were able to ask him to come as a special guest of the Awards Ceremony. Nikita had the opportunity to say on the microphone, “Slava Ukraini” (Glory to Ukraine), and have the whole hall hollering back at him, “Heroiam Slava” (Glory to the Heroes).

The Eleventh Docudays UA Winners are (in the order of awarding):

Audience Award

The Audience Award went to Joanna, directed by Aneta Kopacz, Poland, 2013.

Student’s Jury Award

The Students’ Jury Award went to Tucker and the Fox, directed by Arash Lahooti, Iran, 2013, awarded for “an optimistic story about a life-long passion”.

DOCU/Short

Joanna, directed by Aneta Kopacz, Poland, 2013, received special mention. The jury chose it for “filmmaker’s ability to be both intimate and discreet”

Mom, directed by Lidia Sheinina, Russia, 2013, received special mention for “ability of the filmmaker to find in the closed world of one apartment ‘things that quicken the heart'”.

The main prize went to Liza, Go Home!, directed by Oksana Buraja, Lithuania, Estonia, 2012. The film was awarded for “filmmaker’s poetic sensibility and respect for other humans’ secrets”.

Andrei Zagdansky, a Ukrainian-American, was awarding. The other two members of the jury were Victoria Belopolskaya of Russia, and Stéphanie Lamorré of France.

DOCU/Right

No Fire Zone: The Killing Fields of Sri Lanka, directed by Callum Macrae, UK, 2013, received special mention. The film was awarded for “the powerful use of video advocacy in global awareness-raising and opinion-shaping regarding the mass murders of civilians belonging to a Tamil minority in Sri Lanka”.

Captain and His Pirate, directed by Andy Wolff, Belgium, Germany, 2012, received special mention for “exceptional courage of the film crew and an outstanding presentation of international piracy phenomenon as presented by a victim and his prison guard”.

The main prize went to Mother’s Dream, directed by Valerie Gudenus, Switzerland, 2013. The jury awarded the film for “a highly sensitive, empathic, and artistic presentation of a controversial and socially resonant human rights problem, affecting the fates of women and children globally”.

Natalka Zubar of Ukraine announced the winners. The other two members of the jury were Andrzej Poczobut of Belarus, and Oksana Sarkisova of Hungary.

DOCU/Life

Crepuscule, directed by Valentyn Vasyanovych, Ukraine, 2014, received special mention. The film was awarded for “a visually and emotionally superior depiction of human resilience, sensibility, and interdependence”.

Night Labor, directed by David Redmon and Ashley Sabin, USA, Canada, 2013, received special mention for “a provocative, atypical, allegorical description of industrial work and personal freedom”.

The main prize went to The Last Limousine, directed by Daria Khlestkina, Russia, 2014, awarded for “a dignified, compassionate portrayal of state-factory workers lost in transition, but not in humanity”. The jury mentioned the film was perfectly casted.

The whole jury was present: Boris Miti? of Serbia, Chris McDonald of Canada, and Simone Baumann of Germany.

Andriy Matrosov Award from the Docudays UA Organizing Committee

The Andrey Matrosove Award went to A Diary of a Journey, directed by Piotr Stasik, Poland, 2013.

After the ceremony The Last Limousine, the winning film of DOCU/Life program, was screened.

The festival was first held in 2003, called at that time Docudays on Human Rights. In 2006 the festival was accepted as part of the international Human Rights Film Network at the International Documentary Film Festival Amsterdam. It is usually held during the last week of March.

Saturday, September 6, 2014

Leaders from NATO (North Atlantic Treaty Organisation) member states met in Wales over Thursday to Friday in a summit addressing the organisation’s role in Afghanistan and new threats from Russia and the Islamic State.

Since the 2010 NATO summit in Lisbon, Portugal countries involved in the International Security Assistance Force (ISAF), NATO’s military operation in Afghanistan, have been committed to full transition of security responsibilities to Afghan forces by the end of 2014. This would mark the end of ISAF’s 13 year mission in Afghanistan, with troops changing to a training and assistance role.

Plans had originally intended for Afghanistan’s new President, or President-elect, to attend this year’s summit, but due to the political situation and ongoing election process it is still unknown who will replace outgoing President Hamid Karzai. Bismullah Khan Muhammadi, the country’s defence minister, instead attended the summit in the absence of a President.

This political stalemate has put at risk NATO plans for a continuing military presence in the country, with troops expected to pull out at the end of the year without new security agreements being signed, signature not possible without a new President in place. NATO members have urged Afghanistan’s presidential candidates to reach an agreement, with officials indicating that if no agreement can be reached by the end of the month, then troops would begin to leave.

On Thursday, NATO leaders pledged support for Ukraine at a meeting with the country’s President, Petro Poroshenko, in the face of recent moves from Russia. On their website, NATO outlined four areas where the alliance would provide support for Ukraine, “rehabilitation for injured troops, cyber defence, logistics, and command and control and communications”, with assistance expected to have a monetary value of about 15 million euros (about US$19 million).

On Friday, peace talks in Minsk, Belarus resulted in a ceasefire agreement between Ukraine and rebel forces, whom NATO has accused Russia of supporting in their bid for separation of eastern regions of Ukraine. The UK said sanctions being prepared are likely to go ahead, regardless of the outcome of these talks, until it is seen that Russia is acting upon them.

On Friday morning, a meeting of ten countries chaired by the UK and US agreed to jointly working to combat the threat posed by the Islamic State in the Middle East. John Kerry, US Secretary of State, stated after the meeting that the group should aim to make firm plans and raise support from within the region affected before the UN General Assembly annual meeting later this month. Philip Hammond, UK Foreign Secretary, also said it was clear that regional support was needed, adding “with a new and inclusive Government of Iraq leading the efforts”.

It was also announced NATO would help a non-sectarian Iraqi government, on request, to build defence capabilities in Iraq to help fight the Islamic State, as well as coordinating the humanitarian airlift of supplies.

Plans for a Readiness Action Plan were agreed at the summit. Speaking on Monday before the summit, NATO’s secretary general, Anders Fogh Rasmussen, described this as a response to “Russia’s aggressive behaviour”, but outlined how he hoped it would increase the responsiveness of the alliance to face any security challenge.

These plans aim to allow reinforcements to reach any NATO member state within 48 hours, in what Rasmussen described as a “spearhead” of the preexisting Response Force. This requires logistical, and headquarters facilities to be set up in Eastern European countries, the ones most under threat from an attack by Russia, or the Islamic State. These plans are also to be rehearsed through joint military exercises.