Tuesday, September 12, 2006

News Corp. has purchased a controlling interest in Jamba, the ringtone company created by VeriSign. The $188 million give News Corp. a 51% interest in the public-owned company.

Jamba, and its American brand Jamster, will be merged into News Corp.’s Mobizzo. Mobizzo sells short video clips of television series. It is expected MySpace will integrate the ringtone sales somehow into News Corp.’s social networking website MySpace; MySpace recently announced it would sell music on its website.

News Corp President and CEO Peter Chernin commented to Reuters that “wireless technology gives us an enormous opportunity to reach billions of mobile phone users with our content”.

The announcement was made this morning by News Corporation, which owns MySpace.

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.

Sunday, July 10, 2011

British-based utility company Centrica, which holds ownership of British Gas, has announced its intentions to increase the prices of domestic electricity and gas later this year. On August 18, 2011, the company plans to raise the costs of gas and electrical supplies by eighteen and sixteen per cent, respectively. According to The Guardian, nine million customers will be affected by these changes.

British price comparison website uSwitch has reported that the “[a]verage household bill for a dual fuel British Gas customer will now go up from £1,096 to £1,288”. Mike O’Connor, the chief executive officer of consumer organisation Consumer Focus, has claimed that the announcement “will send a shock wave across the country” and will place an increasing amount of difficulties “on stretched household budgets. Consumers […] rightly question whether prices are fair.”

Phil Bentley, a managing director for British Gas, has claimed that value increases like this are “an issue facing all energy suppliers”. A director for British Gas, named Ian Peters, has claimed that “a fair return” will be made after the changes occur.

In 2010, British Gas experienced its largest ever profit, making £742 million (US$1,192 million, €835 million). Meanwhile, Centrica achieved £2.4 billion (US$3.8 billion, €2.7 billion) in profits. Richard Lloyd from product sampling charity Which? criticised the decision to raise prices, calling the declaration “unwelcome but unsurprising” for British Gas consumers.

Previously in December 2010, British Gas increased the price of its gas by 6.9%, which equates to £43 (US$69, €48). At the same time, the company’s electricity prices were raised by 6.7%, or £28 (US$45, €32). On Friday, Chris Huhne, the secretary of the Energy and Climate Change Select Committee, said that British electricity businesses must modify themselves so as to avoid “the cycle of fossil fuel addiction. Alternatives like renewables and nuclear power must be allowed to become the dominant component of our energy mix,” said Huhne.

This news comes to light as Scottish Power, a rival energy company to British Gas, announced last month their intentions to up the prices of their electricity and gas supplies by ten and nineteen per cent respectively.

Monday, December 3, 2007

At Thanksgiving dinner David Shankbone told his white middle class family that he was to interview Reverend Al Sharpton that Saturday. The announcement caused an impassioned discussion about the civil rights leader’s work, the problems facing the black community and whether Sharpton helps or hurts his cause. Opinion was divided. “He’s an opportunist.” “He only stirs things up.” “Why do I always see his face when there’s a problem?”

Shankbone went to the National Action Network’s headquarters in Harlem with this Thanksgiving discussion to inform the conversation. Below is his interview with Al Sharpton on everything from Tawana Brawley, his purported feud with Barack Obama, criticism by influential African Americans such as Clarence Page, his experience running for President, to how he never expected he would see fifty (he is now 53). “People would say to me, ‘Now that I hear you, even if I disagree with you I don’t think you’re as bad as I thought,'” said Sharpton. “I would say, ‘Let me ask you a question: what was “bad as you thought”?’ And they couldn’t say. They don’t know why they think you’re bad, they just know you’re supposed to be bad because the right wing tells them you’re bad.”

Thursday, October 25, 2007File:Entrance of Disneyland Paris.jpg

Walt Disney Resorts in Paris, Hong Kong, and Tokyo will eliminate trans fats from all food served at the parks by 2009.

This move comes in addition to ridding foods of trans fats at Disneyland in California and Walt Disney World in Florida, by the end of this calendar year. The American parks began to take action a year ago, as a response to nutritionists. Healthier options such as low-fat milk and baby carrots have been added to the menu, to increase guest choices.

Disney Consumer Products has already licensed the company’s brands to healthy prepared food products in Canada, via Sobey’s grocery stores’ Compliments label, while Tesco supermarkets will start offering similar foods next month.

As concern over childhood obesity grows, many companies are taking steps to cleanup their act, and gain the trust of customers. Trans fats have been linked to coronary diseases.

Saturday, July 7, 2007

On Saturday, a suicide truck bomb in a Shiite village, Tuz Khurmato, north of Baghdad damaged homes, shops and a large outdoor market. The bomb blast, blamed on Sunni militants, killed at least 100 and wounded another 250 Iraqi civilians.

Sunday, July 17, 2005

The Grand Theft Auto (G.T.A.) game series, based on the underworld, pushes social limits on violence and sexual content in the video gaming industry. The newer Grand Theft Auto 3 release sparked controversy when it came to light the plot was based on an unnamed character’s mission to destroy and slaughter his way to the top of the local crime scene. Since that release, further games were developed: Grand Theft Auto: Vice City, and Grand Theft Auto: San Andreas.

Thursday, according to a report filed by Gamespot, congresswoman Hillary Clinton called on the Federal Trade Commission (FTC) to “take immediate action to determine the source of graphic pornographic and violent content appearing on the Grand Theft Auto: San Andreas video game.” Clinton also wanted the FTC to determine if an “AO” rating would be more suitable for the game than current “M” rating.

Clinton said she would work quickly to create a bill for a federal law that would “put some teeth into video game ratings.” The federal legislation by Clinton would follow similar state initiatives. California assemblymen Leland Yee introduced a bill in his state, as did Illinois Governor Rod Blagojevich. The purpose of the state and federal bills would be to “prohibit the sale of violent and sexually explicit video games to minors.” The passage and enactment of the proposed bill by Clinton would make it a federal offence to sell video game content to persons under the age of the games’s rating.

Like many Grand Theft Auto gamers, the Entertainment Software Rating Board(ESRB) is cautious over Clinton legislative proposal. Patricia Vance, the president of ESRB, issued this statement: “We urge all parties not to rush to judgment until all of the relevant facts, some of which are highly technical and complicated, have been established. Any second guessing at this point would be premature and inappropriate as this investigation continues.” Vance said amongst the ESRB’s top interests were to protect children, to educate parents, and make sure parents make good decisions on what video games their children be allowed to play.

Jack Thompson, the subject of beefs with Grand Theft Auto in the past, is a Republican attorney from Miami. Thompson sent out an email to major gaming outlets (Gamespot for example). The letter at first stated “I, as a lifelong Republican, am going to thank Senator Hillary Rodham Clinton,” and offered admiration for Clinton’s campaign against violence and sexual content in video games. The email then went on to criticize Doug Lowenstein, who helps manage ESRB and is the president of the Entertainment Software Association. Thompson wrote, “Doug Lowenstein could have prevented what is going to happen today, but he preferred to shoot the messengers.” Thompson also mentioned the Columbine High School massacre, and claimed it was the fault of the developers of games (specifically id Software, the maker of Doom). He claims the U.S. Constitution first amendment right to freedom of speech in no way protects the gaming industry from censorship.

Lowenstein issued the following statement regarding the current video game/Hot Coffee issue: “Retailers should not sell Mature games to minors, parents should watch what their kids watch, and parents should and can rely on the ESRB ratings to make the right choices for their families. We hope that… Senator Clinton will abandon the bill and work cooperatively with industry and others to ensure that parents take advantage of the effective tools on the market to regulate the games their kids play.”

Although some of the statements mentioned are related to video games in general and not so much GTA, a majority of all of this recently publicity did indeed start with the Hot Coffee mod for Grand Theft Auto. ESRB has never been pressured any harder in the past than they are now, and Rockstar still denies that they put the sex scenes in the game; although it has been recently demonstrated that Action Max-Replay (a cheat/feature-unlocking system for the Sony PlayStation 2) allows the user to play the “mini sex games” – the exact same thing the Hot Coffee mod unlocks for the PC version of GTA San Andreas.

Tuesday, January 11, 2011

Data from recent detailed analyses of samples collected on NASA Apollo moon missions, released Sunday, show that Lunar water may originate from comets that collided with the moon early in its geologic history.

A team of astrophysicists led by James Greenwood of Wesleyan University in Connecticut analyzed samples collected on the Apollo 11, 12, 14, and 17 missions and found that the chemical properties of traces of lunar water in these samples differ from water typical of Earth.

“The values of deuterium/hydrogen (D/H) that we measure in apatite in the Apollo rock samples”, Greenwood told Space.com, “is clearly distinguishable from water from the Earth, mitigating against this being some sort of contamination on Earth.” Greenwood and his team of researchers studied in particular the variations of hydrogen in the mineral apatite.

The newfound data show that the chemical properties of water in the apatite samples resemble data from the comets Hale-Bopp, Halley, and Hyakutake, suggesting that the water present on the moon could have originated from these comets or others.

According to Greenwood, the results of this study could also provide evidence as to the origin of water on Earth.