Friday, July 22, 2005

The Peace Tax Seven, who are campaigning to have the 10 per cent of their taxes which go to Britain’s defence budget diverted to non-military uses, have had their case rejected by a High Court judge.

The judicial review was called for under article 9 of the European Convention on Human Rights which guarantees freedom ‘to manifest one’s religion or beliefs’ and which was made a part of British law in 1998. The Convention includes the right to conscientious objection and the campaigners claim that this gives them the right not to pay other people to go to war on their behalf.

Their statement to the court said: “We want to make a positive contribution to society by paying our tax in full. We object in conscience to paying others to kill on our behalf, but current tax policy forces us to do just that.”

The courtroom had to be enlarged to make room for supporters and the judge listened to the case for three hours.

Roy Prockter, an accountant and campaign member as well as a Quaker, said that the judge told them that “our case has no possibility of being resolved in the British courts”. According to the Guardian, the judge suggested they take the case to Strasbourg. Roy said that the members were going to take time for reflection as they awaited the written judgment from the judge.

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.

Tuesday, April 11, 2006

Rapper Proof, born Deshaun Holton, was shot and killed on April 11, 2006, at approximately 4:30 a.m. EDT (0830 UTC) at the Triple C Club on 8 Mile Road in Detroit.

Proof was known for his work together with his good friend Eminem and his group D12.

Another man was shot shortly afterward, and was taken to St. John Hospital.

On April 12, 2006, Mario Etheridge, 28, of Detroit turned himself in to the police, having been named by several witnesses. Mario was allegedly a bouncer at the club. “Police said he is a cousin of Keith Bender Jr., the bouncer who was allegedly shot by Proof during the fight.” The fight that started inside the club was reported to be over a pool game. The argument was taken outside where, “A shot was fired in the air, Proof allegedly pistol-whipped Bender, knocked him to the ground and then shot him. Etheridge then allegedly opened fire on the rapper, striking him four times in the head and chest. One week later, Keith Bender Jr. died of his injuries on April 18, 2006.

Official Police reports are yet to determine the series of events which left Proof and Keith Bender, 35, deceased. Bender died 8 days later on April 18, 2006. Following Proof’s death, rapper Snoop Dogg called on fellow musicians to unite, describing the incident as “a loss to the hip-hop community”.

The tributes were led by fellow rapper The Game who was first to comment on the tragedy. The Game remembers how he and Proof became ‘real cool and real homies’ and that ‘Proof will always be remembered and I as well as the Black Wall Street family will keep his memory & his family in our prayers 1’. The second to comment on Proof was long time friend Royce da 5’9″ who was deeply saddened by the death of his good friend. Royce had been a friend of Proof for over 9 years and the two had recently reconciled. Royce echoed the music community, saying ‘He is such loss for the hip hop community…I hope that he will be remembered for the talented artist and great person that he was, and not the tragedy that he fell victim to’.

Eminem was the third to discuss Proof’s death days after his passing, clearly affected by the tragedy. Eminem described Proof as “funny, smart and charming” and said that he would be sorely missed and described him as “the heart and ambassador of Detroit hip-hop”. Eminem said that Proof was, and always will be, his best friend.

Tributes poured out of the UK with Vm2k6 leading the remembrance. Proof’s demise which was mainly overlooked by the UK media was documented and reflected by VM2k6 in which he calls Proof ‘fresh, talented and meaningful, a rarity in Hip Hop today’. He continues saying that Proof had ‘the greatest ability to transfer his experiences and most of all feelings into words’ and finished with the heartfelt line- ‘I guess its only in Death you really begin to shine’.

Several fan videos were released in tribute to Proof, including the hit “Good Die Young” music video which used D12’s 2004 single, which is currently one of the highest discussed and viewed videos on YouTube.com. Many other “slide show” flicks were created, which are appearing all over the internet. The “Good Die Young” clip was produced by RYKE Video Productions.

Proof stated how he wanted to be remembered in an interview with Sohh.com shortly after his album release; ‘I want people to say that I was a true artist’, ‘ That I did it best and stayed true to Hip Hop roots’ and ‘I’d want people to understand I did it for the love not for the charts.’

Wednesday, December 31, 2008

What would you tell your grandchildren about 2008 if they asked you about it in, let’s say, 20 years’ time? If the answer to a quiz question was 2008, what would the question be? The year that markets collapsed, or perhaps the year that Obama became US president? Or the year Heath Ledger died?

Let’s take a look at some of the important stories of 2008. Links to the original Wikinews articles are in all the titles.

Wednesday, May 5, 2010

The US Food and Drug Administration released a report today harshly criticizing the conditions at a Johnson & Johnson factory that produced medications recalled this weekend.

The report, the result of an FDA inspection conducted at the facility, said that the plant in question, located in Fort Washington, Pennsylvania, had upwards of 20 documented manufacturing problems, including both quality and security issues.

According to the report, material used in the medicines produced were contaminated with a type of bacteria not yet identified, and the factory had not had sufficient quality control procedures or facilities for testing the quality of products. The report also noted that employees had received insufficient training in safe manufacturing procedures.

The FDA’s inspection of the plant had begun in mid April, and concluded last Friday. A recall of the drugs, which included Tylenol, Motrin, Zyrtec and Benadryl, was issued by Johnson & Johnson later on Friday. The products affected were sold in twelve countries worldwide, including the US.

According to McNeil Consumer Healthcare, a division of J&J, the recalled medications can include higher than indicated amounts of active ingredients, foreign particles, or ingredients that don’t meet requirements for testing. The recalls followed at least 46 consumer complaints in the last year of “black or dark specks” found in J&J Tylenol products.

According to a senior FDA official, “[t]his is yet another example of when a company has to take full accountability for the quality of its drugs [with] severe consequences for not doing so.”

In a response, J&J said in a statement that “we have no higher concern than providing parents with the highest quality products for their children” and “the quality issues that the FDA has observed, many of which we had recently identified in our own quality reviews and communicated to the FDA, are unacceptable to us.” The company said the plant affected has temporarily ceased all production.

Saturday, June 5, 2010

The 1,200-ton MV Rachel Corrie, an Irish aid ship, was seized by the Israeli Naval Forces, as it attempted to challenge the blockade of Gaza. It was seized in international waters, about 20 miles (30 kilometers) from Gaza’s shore.

The military said its forces boarded ship from the sea, not helicopters and didn’t meet any resistance. The Palestine Solidarity Campaign said: “No contact has yet been made with the kidnapped passengers but we have learned that they have been taken to Holon detention centre where they could be deported as early as tonight.”

Passengers include Irishman Dennis Halliday, a former assistant Secretary-General of the United Nations, the Northern Irish Nobel Peace Prize laureate Mairead Corrigan Maguire, and a group of Irish and Malaysian pro-Palestinian activists.

The ship, named in honor of American peace activist Rachel Corrie, contains support including: toys, school supplies, wheelchairs, medical equipment and cement, a material that Israel has restricted from entry into Gaza. The crew had rejected an offer to unload its cargo in Israel and accompany it across the border.

The Ireland Palestine Solidarity Campaign initially organised the ship. Jenny Graham, a Free Gaza Movement (FGM) activist, assured that everything aboard the ship had been inspected in Ireland. A FGM activist Greta Berlin, based in Cyprus, said: “We are an initiative to break Israel’s blockade of 1.5 million people in Gaza. Our mission has not changed and this is not going to be the last flotilla.”

This comes after the death of nine activists when Israeli commandos raided the ‘Gaza Freedom Flotilla’ that planned to breach the Gaza blockade.