Drone smartphone app to help heart attack victims in remote areas announced

Friday, September 26, 2008

On October 14, 2008, Canadians will be heading to the polls for the federal election. New Democratic Party candidate Don Davies is standing for election in the riding of Vancouver Kingsway.

A lawyer, he has spent the last 25 years fighting for human rights. A two-time student government representative, Davies was involved in the anti-apartheid, third world and peace movements. Admitted to the Alberta Bar in 1989, Davies and family moved to Vancouver in 1991, where he became the Director of Legal Resources for Teamsters Canada (Local 31), the next year. He is a long-time volunteer for children’s charity Variety, is Chair of the Parent Advisory Council at Mount Pleasant school, and a Director of the Meridian Cultural Society, among other things.

Wikinews contacted Don Davies, to talk about the issues facing Canadians, and what they and their party would do to address them. Wikinews is in the process of contacting every candidate, in every riding across the country, no matter their political stripe. All interviews are conducted over e-mail, and interviews are published unedited, allowing candidates to impart their full message to our readers, uninterrupted.

The riding is vacant, after Conservative Minister of International Trade David Emerson’s resignation. Emerson was elected in 2004 as a Liberal, serving as the Minister of Industry. Two weeks after re-election in 2006, he crossed the floor to join then-new Prime Minister Stephen Harper, who had won a minority government. Emerson was the first MP in Canadian history to cross the floor before a new government was sworn in. He has stepped down, after pressure from other parties.

Besides Davies, major party candidates include Liberal Wendy Yuan, Conservative Salomon Rayek, and Green Doug Warkentin. Also putting their hat in the ring are Matt Kadioglu (Libertarian), Kimball Cariou (Communist), and Donna Peterson (Marxist-Leninist).

For more information, visit the campaign’s official website, listed below.

This Saturday at 11 am, Davies will host NDP leader Jack Layton in the Commodore Ballroom at “rally4change”.

Wednesday, March 1, 2006

A suspected case of BSE, better known as mad cow disease, has been discovered in Sweden at a farm near Västerås some 80 kilometres west of Stockholm.

The affected farm has been quarantined and no ruminants from the farm are allowed to be sold or transported. The cow was destroyed earlier after symptoms of calving paralysis had been discovered, and the tests where carried out in accordance to rules set by the European Union (EU).

The Swedish Board of Agriculture (Jordbruksverket) analysed a specimen from the cow at the farm this weekend. The tests confirmed the presence of BSE and the specimen was sent for further analysis at a United Kingdom laboratory.

If the British analysis confirms BSE in the specimen, it will be the first case of BSE in Sweden. The affected farmer told the Swedish public service radio: “As my father said, if we have to make history it would be a pity to do it this way.”

BSE isn’t transmitted directly between animals, but rather from feedstuffs containing tainted tissues from infected ruminants to healthy animals. Such cattle feeds have been prohibited in Sweden for many years, but as the affected cow was born in 1994 she might have been given such food in her early life.

The disease has been declining in the EU after restrictions and regulations were put in place or tightened following an epidemic of the disease in humans in the UK. In that outbreak 150 people died.

Sweden has been considered a low-risk country. Ten previous tests have all proven to be false alarms.

Sunday, December 6, 2009

Tens of thousands of demonstrators marched through London earlier today, calling for a deal to be made at this week’s Copenhagen Climate Conference in Denmark. Similar such marches were held in Belfast, Dublin, and Glasgow.

According to the London Metropolitan Police, twenty thousand people attended the march. Organisers, however, claimed that about forty thousand people were present at the demonstrations. The march began at Grosvenor Square and continued all the way to the Parliament building on the Thames river.

The march contained members of groups such as Oxfam, Greenpeace, Friends of the Earth, and the World Wildlife Fund. Protestors were asked to dress in blue, supposedly to symbolise a “wave” of people around the Parliament building.

The chief executive of Oxfam, Barbara Stocking, said in a statement that “the UK government must fight for a comprehensive, fair and binding deal at Copenhagen — that is our demand today and we expect it to be fulfilled.

“They must return home with a strong, effective climate deal both for our own sakes in the U.K. and for the millions of poor people already suffering from the effects of climate change around the world.”

Tuesday, June 1, 2010

Relics dated back to the Qing Dynasty were found under civil servants’ quarters at the Rua de D. Belchior Caneiro adjacent to The Ruins of St. Paul in Macau by archaeological teams at the Chinese Academy of Social Sciences.

Since St Paul’s College is believed to have been located under those quarters, the Macau government will demolish them in order to cope with the experts’ findings at the Ruins of St. Paul. The two blocks closer to the Ruins of St. Paul were demolished in March to make room for the archaeological project.

The relics included Chinese-styled porcelain tiles, eave tiles, potteries and iron artillery shells. Furthermore, a part of an ancient wall is found at a nearby construction site.

The walls are confirmed as parts of the Ruins of St. Paul as it does match the maps of it dated back to 1760, 1886, and 1912. By examining the walls, it is proved that the wall was constructed of at least five layers of stone, with layers of blue bricks on top of them, as well as rammed earth each measuring at least ten centimeters thick.

The remaining two buildings will be demolished next week for further investigation.

Wednesday, March 22, 2006

Buffalo, New York —The city’s Common Council met in Council Chambers today with a full agenda. Among the items in the agenda was the Elmwood Village Hotel proposal.

The Elmwood Village Hotel is a proposed hotel by Savarino Construction Services Corporation and is designed by architect Karl Frizlen of the Frizlen Group. It is to be placed on the corner of Elmwood and Forest Avenues in Buffalo and will require the demolition of at least five properties (1109-1121 Elmwood).

During the hour-and-a-half meeting, the Common Council approved the hotel proposal. The entire voting process for the proposal took less than two minutes, and the public was not allowed to speak. The Council voted unanimously in support of the proposal; however, the city’s Planning Board must also approve the proposal. The Board will meet on Tuesday, March 28, 2006 at 8:00 a.m. on the 9th floor of City Hall, room 902.

The approval allows for the rezoning of all five properties, including 605 Forest, to a “special development plan,” or a C-2 zone.

“There is a ‘special development plan’ in front of the council, which changes only one thing about the zoning. It allows one permitted use — for just a hotel. The rest of the zoning remains as it is under the current Elmwood Business District zoning. 605 and 607 Forest are not required for the project. They are not part of the footprint for the project. Let me answer this question again. This is on the record, in council: 605 needs to be rezoned in order to facilitate the project because of the sideyard requirement. Anything in C-2 is excluded besides the hotel. So we’ve taken the C-2 and included the hotel as a permitted use, and excluded everything else, and everything else remains the same,” Eva Hassett, Vice President of Savarino Consrtruction, said to Wikinews during a public meeting on March 16, 2006.

However, during the same meeting, Pano Georgiadis, owner of 605 Forest and owner of Pano’s Restaurant on Elmwood, threatened to “sue” Savarino Construction saying, “If you try to get a variance to change the code, I will sue you. This is my home, number one.”

Savarino Construction hopes to break ground this Summer.

Despite the Council’s approval, organizers have scheduled another protest that will be held this Saturday, March 25, 2006 at 2:00 p.m. on Forest and Elmwood.

Some citizens are even considering legal action and are considering an “injunction in State Supreme Court,” going “pro se, meaning I am going to present the case myself,” said Clarence Carnahan, a concerned citizen and local business owner who is opposed to the hotel, to Wikinews.

Carnahan wrote a “notice of cease and desist” which was also presented to the Council at today’s meeting.

Patty Morris, co-owner of Don Apparel with Nancy Pollina, said, “We are going to fight the good fight to the bitter end, but we cannot afford it [legal action]. Now it’s a legal matter, and it’s in the hands of the law, and I know there are some people very interested in hiring a lawyer.”

Nancy Pollina says that she is “looking into a defense fund” and is currently talking to lawyers.

==Related Wikinews==

• “Citizens protest Buffalo, N.Y. hotel proposal” — Wikinews, March 20, 2006
• “Buffalo, N.Y. hotel proposal threatened by possible lawsuit” — Wikinews, March 16, 2006
• “Buffalo, N.Y. hotel proposal delayed further” — Wikinews, March 10, 2006
• “No hotel previously on site of proposed Buffalo, N.Y. hotel location” — Wikinews, March 4, 2006
• “City Planning Board postpones decision on Buffalo, N.Y. hotel proposal” — Wikinews, March 2, 2006
• “Residents and business owners attend “private” meeting on Buffalo, N.Y. hotel proposal” — Wikinews, February 28, 2006
• “Eva Hassett, VP of Savarino Construction Services Corp. answers questions on Buffalo, N.Y. hotel redesign” — Wikinews, February 27, 2006
• “Alternative to controversial hotel proposed to Buffalo, N.Y. business owners and residents” — Wikinews, February 23, 2006
• “Hotel development proposal could displace Buffalo, NY business owners” — Wikinews, February 17, 2006

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.