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Thursday, September 15, 2011

A rash of wildfires in Texas in recent days has left many fire departments stretched thin on resources. Officials say firefighters handled over 18,000 wildfires in the state thus far in 2011; in a recent week there were nearly 200. President Obama declared Texas a disaster area recently.

A number of wildfires around the state have struck near or even within populated areas. One of the worst fires yet struck near the city of Bastrop. That fire alone destroyed 45 square miles of land and over 700 residences, according to the Texas Forest Service.

Wes Johnston, a captain with the Chandler Fire Department, told Wikinews that earlier this month, his department spent 7 hours extinguishing a single blaze near Brownsboro. Captain Johnston, who is also an accountant, explained that the excessive number of fires has placed stress on his department’s ability to cope with the demands. “Most volunteer fire departments [depend on] donations, completely; and donations have been down due to the economic conditions.” He went on to describe how fuel and maintenance costs put further strain on most departments’ ability to function effectively. “Even the cities have a set budget, for the paid departments, so they don’t factor in a’ lot of the variables for these types of incidents.”

Some volunteer firefighters in the eastern part of the state have averaged 2–3 hours of sleep per night recently, due to heavy demands. Even spouses of some firefighters have voiced concern over workloads.

Sunday, May 18, 2014

The governor of the Bank of England, Mark Carney, has warned that the state of the housing market in the United Kingdom is the current biggest domestic threat to the country’s economy, due to lack of house building, and regulatory issues.

In an interview to be aired on Sky News today, he said the housing market is the “biggest risk” to the economy and has “deep, deep structural problems”. Of house building he said: “There are not sufficient houses built in the UK. To go back to Canada, there are half as many people in Canada as in the UK, twice as many houses are built every year in Canada as in the UK and we can’t influence that.”

“We’re not going to build a single house at the Bank of England. We can’t influence that. What we can influence […] is whether the banks are strong enough. Do they have enough capital against risk in the housing market?”

Carney also said the Bank of England would look into the procedures used to issue loans and mortgages to see if they were being granted appropriately: “We’d be concerned if there was a rapid increase in high loan-to-value mortgages across the banks. We’ve seen that creeping up and it’s something we’re watching closely.”

Kris Hopkins responded to Carney on behalf of the government, saying the government “inherited a broken housing market, but our efforts to fix it are working”. “We’ve scrapped the failed top-down planning system, built over 170,000 affordable homes and released more surplus brownfield sites for new housing. We’ve also helped homebuyers get on the housing ladder, because if people can buy homes builders will build them. Housebuilding is now at its highest level since 2007 and climbing. Last year councils gave permission for almost 200,000 new homes under the locally-led planning system and more than 1,000 communities have swiftly taken up neighbourhood planning. It’s clear evidence the government’s long-term economic plan is working.”

Earlier this month, the Organisation for Economic Co-operation and Development called on the UK government to “tighten” access to the ‘Help to Buy’ scheme introduced by George Osborne and the coalition government in 2013. ‘Help to Buy’ has also recently been criticised by three former Chancellors of the Exchequer — the Conservatives Norman Lamont and Nigel Lawson, and former Labour Chancellor Alistair Darling. Darling said: “Unless supply can be increased substantially, we will exacerbate that situation with schemes like Help to Buy.”

Thursday, December 1, 2011

Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.

First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.

Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.

A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.

The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.

The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.

The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.

Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.

The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.

Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.

The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.

With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.

The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.

The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.

Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.

There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.

Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.

On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.

Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.

Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.

The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.

On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.

The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.

The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.

The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.

Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.

Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.

The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.

Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.

Friday, October 12, 2007

The Internet is very much present at the Frankfurt Book Fair 2007, not just, like in previous years, as a means for the journalists who have 80 workplaces for their own notebooks to report on the fair, but like before as a chance – and as a threat for rights-owners of digital media.

After a marginal existence in the previous year, bloggers have got their own “living room 2.0” at the fair, furnished with everything a blogger needs, including media attention. Every day from Wednesday October 10 to Sunday October 14 they will write and podcast about the big names to meet, the events not to be missed and their very personal experiences and thoughts. Three of the bloggers write in English, two English language podcasts are done, to widen the reach of the Book Fair 2.0. The blog entries and podcasts will be available until after the book fair at http://www.book-fair.com/en/wordpress/ and the bloggers themselves can be visited on the weekend at hall 4.2, Q411, though until now it is more the media and less the visitors of the fair, the bloggers come in contact with.

Digitalization and digital media, especially books and magazines offered digitally, are a hot topic at this year’s Frankfurt Book Fair, as more and more publishers want to see the digital counterparts of their traditional media not just as a field to be present in, but as a possible profit center. With scientific books, this move already was quite successful: Publishing house Springer for example, offering over 40,000 ebooks and over 1700 electronic magazines, of which over 1200 are still actively continued with Springer, nowadays does an ebook-variant of every traditional scientific book they print – and already has the largest part of their cash-flow from digital media.

This is harder for fiction publishing houses as the Pabel Möwig group (VPM), which has become active early. They do offer the digitized new adventures of – say, the outer-space-hero Perry Rhodan -, but the turnover is still only a small addition to the print and other media versions. Readers become readier to read on a screen, but their readiness is still growing slowly. Since a new generation of readers is growing up using the internet as a reference work – especially Google and Wikipedia – it will become more and more natural in the future.

A growing number of service companies in the publishing sector therefore offers re-digitalization apart from increasingly effective content management systems, with which new forms of media can easily be compiled from the contents of a data base.

Older works, of which the publishing house owns the rights, but for which a reprint might not be profitable, are scanned, divided into content sections and tagged. When the original type face isn’t good enough, books are typewritten in third world countries two or three times which are corrected and merged into a final version. Once in the system, digitalized books can be at disposal as MobiPocket ebooks or Print On Demand (POD) and with aid of the Amazon BookSurge program remain available, possibly even within 24 hours.

Digital content can also be used as a marketing-tool with the “Search Inside” from Amazon.com, where the full text of a book is visible but only small parts of the book are shown at a time.

Right after Amazon, Google also presented their own projects for the digitalization of books, where publishers have the option of just sending a box or container full of their books in printed form and leave the job of digitalization to Google, where afterwards their content will be findable with Google Book Search. The difference between those two internet services was obvious, though: Amazon wants to earn money with books, while Google’s business is advertising, their revenue model is AdSense and AdWords, targeted as perfect as possible with full text search. Both services had to answer questions as to how they will protect the content from unpaid exploitation, as probably fewer and fewer users will be willing to pay for a digital eBook when they can read the content for free, up to twenty pages at a time. The freeloader mentality of many Internet users was seen as a threat by many of the publishers.

Friday, November 30, 2007

Gillian Gibbons, the British teacher arrested in Sudan on Sunday for naming a teddy bear Muhammad, was charged on Wednesday, and tried, convicted, and sentenced yesterday to 15 days imprisonment for “insulting religion.” The 54-year-old mother of two avoided a possible 40 lashes, but will be deported at the end of her sentence, which will run from the date of her arrest.

Following the speedy trial, British Foreign Secretary David Miliband summoned Sudanese ambassador Omer Siddig to the Foreign and Commonwealth Office to explain the verdict. During the 45 minute meeting Mr Miliband expressed “in the strongest terms” the government’s concern at the sentence, and spoke by telephone to the Sudanese acting foreign minister.

According to early reports, parents had complained that Ms Gibbons had insulted the Prophet Muhammad, but when she was charged on Wednesday, this was revealed to be false. It was Sara Khawad, a secretary at the Unity High School where Ms Gibbons taught, who had complained to the Education Ministry and provoked Ms Gibbons’ arrest last weekend.

Early Thursday morning, as vehicles filled with riot police watched the area and the press and colleagues of Ms Gibbons were denied access to the criminal courthouse in Khartoum, the trial got underway. The head of her legal team, Kamal Djizouri, was also denied access for a time.

Ms Khawad was one of four witnesses from the prosecution. Also testifying against Ms Gibbons was an accountant from the school.

Gillian Gibbons wept as she testified that she never wanted to insult Islam. She had allowed her six and seven year old pupils to vote on the name for a teddy bear that was part of a class project. The children had voted by 20 votes to 3 to name the bear Muhammad.

At the end of a seven-hour trial, the court found her guilty of “insulting the faith of Muslims”. The Judge, Mohammed Youssef, rejected prosecution calls for a harsher sentence on the charge of “inciting religious hatred”, which carries a punishment of up to 40 lashes, six months in prison and a fine.

After the trial, Ms Gibbons was taken to the crowded women’s prison in Omdurman to begin the remaining 11 days of her sentence. Although the prison is more comfortable than many in Sudan, conditions are not good, and Ms Gibbons will have to rely on wellwishers to supply her with food and water.

An appeal against the sentence is expected.

The Assembly of the Ulemas, a body of Islamic clerics, said on Wednesday that Ms Gibbon’s action was “another ring in the circles of plotting against Islam”, and called for the harshest penalties to be applied. After Ms Gibbons was charged, a pickup truck drove through the Sudanese capital calling for protests against the alleged insult.

Some members of Ms Gibbons’ defense team reported receiving death threats.

The authorities quickly scheduled the trial, and issued instructions to clerics not to deliver inflammatory sermons at Friday prayers about the case or against foreigners.

Major General Abdeen al-Tahir of the Khartoum police stated that protests would not be permitted.

After the trial, Ms Gibbons’ chief lawyer described the verdict as “not bad”, and her colleagues expressed relief that the sentence was not harsher.

The lawyer stated that the complaint was an act of revenge. Isam Abu Hasabu, director of the school’s Parent-Teacher Association, claimed Khawad had been arguing with the principal before the incident.

The school, which according to press reports has issued a public apology and sacked Ms Gibbons, has been closed for security reasons since her arrest. The director said he was happy with the verdict: “It is fair. There were a lot of political pressures and ­attention.”

Omar El Faroug Hassan Shumena, a legal consultant in Khartoum, said that he believed the judge had concluded the trial in a single day to reduce the chance of disorder after Friday Prayers.

Catherine Wolthuizen, chief executive of Fair Trials International, said Mrs Gibbons’ punishment was still “harsh”. She said: “It was a very speedy justice process.

After Ms Gibbons was charged, the Muslim Council of Britain (MCB) stated that they were appalled at the decision and called on the Sudanese President, Omar al-Bashir, to intervene to secure Ms Gibbons’ release.

After the sentence, they further stated:

“This case should have required only simple common sense to resolve. It is unfortunate that the Sudanese authorities were found wanting in this most basic of qualities. They grossly overreacted in this sad affair and this episode. Gillian should never have been arrested, let alone charged and convicted of committing a crime. We hope that Gillian will be able to return home without much further delay.”

Ibrahim Mogra, also of the MCB, stated: “I’m utterly disappointed with this decision… The question that I would want the judiciary there and the authorities to ponder over is: How does this help the cause of Islam? What kind of message and image are we portraying about our religion and our culture?”

Mike Blakemore of Amnesty International said: “The sentence is a mockery of justice and Amnesty International consider Gillian to be a prisoner of conscience. She should be immediately and unconditionally released.”

Dr Rowan Williams, Archbishop of Canterbury, said: “I can’t see any justification for this at all. I think that this is an absurdly disproportionate response to what is at best a minor cultural faux pas. And I think that it’s done the Sudanese government no credit whatever.”

According to the BBC, the press in Sudan and the Middle East have largely ignored the case, but bloggers from Sudan have heaped scorn on the Sudanese authorities.

Monday, June 25, 2018

On Saturday, the plastic ban in the Indian state of Maharashtra came into force. In an attempt to minimise pollution, the state government has introduced a ban on single-use plastics.

The leader of the Yuya Sena political party, Aaditya Thackeray, said on Twitter, “The ban on single use disposable plastic cups, plastic bags, plastic straws, plastic plates and cutlery, styrofoam cutlery and non woven bags”. He added, “these are global issues now and we have taken a step to combat it”.

Plastic pollution has led to the choking of drains, marine pollution and a risk of animals consuming plastics. This year, India’s motto for World Environment Day — June 5 — was “Beat Plastic Pollution”. People violating the plastic ban are to face a fine of 5,000 Indian Rupees (INR) for the first offence. For the second offence, the fine is INR 10,000 and the third time offence is INR 25,000 and a three-month prison term. Deputy municipal commissioner Nidhi Choudhary said, “To weed out corruption, we plan to give inspectors payment gadgets for electronic receipts of the fines”.

The Maharashtra government has given a 90-day period for manufacturers to dispose of existing polyethylene terephthalate (PET/PETE) plastic spoons and plates, while shopkeepers and citizens in general have six months to dispose of plastics. However, the ban does not prohibit plastic usage for wrapping medicines or milk cartons thicker than 50 microns.

The state government had announced the decision for the plastic ban on March 23. According to NDTV’s report, Maharashtra is the eighteenth Indian state to enforce a state-wide plastic ban. Aaditya Thackeray also said, “I congratulate the citizens for making this into a movement, even before the ban was enforceable, giving up single use disposable plastic.”