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Monday, September 27, 2021

Since June 2019, the people of South Gippsland Shire, located at the southernmost tip of Australia, have been without a local council, after a state government inquiry found “high levels of tension” within the council. Administrators were appointed by the Victorian state government in July 2019, who have governed the shire since then. However, South Gippsland’s council is scheduled to be restored with an election to be held via post from October 5–22, 2021.

Wikinews interviewed one of the candidates standing in this election, David Liebelt, an independent candidate running in the Coastal-Promontory Ward. The Coastal-Promontory ward covers towns such as Venus Bay, Waratah Bay, Yanakie, Foster, Port Welshpool, and Toora, and elects three councillors to the South Gippsland Shire Council.

Sunday, January 27, 2008

Viktor Schreckengost, the father of industrial design and creator of the Jazz Bowl, an iconic piece of Jazz Age art designed for Eleanor Roosevelt during his association with Cowan Pottery died yesterday. He was 101.

Schreckengost was born on June 26, 1906 in Sebring, Ohio, United States.

Schreckengost’s peers included the far more famous designers Raymond Loewy and Norman Bel Geddes.

In 2000, the Cleveland Museum of Art curated the first ever retrospective of Schreckengost’s work. Stunning in scope, the exhibition included sculpture, pottery, dinnerware, drawings, and paintings.

Friday, April 1, 2005File:Map of USA highlighting Texas.png

Witnesses say a truck was idling near the scene of an explosion at a Texas refinery which killed 15 and injured over 100 others on March 23, according to U.S. Chemical Safety and Hazard Investigation Manager Bill Hoyle.

“Witnesses saw vapor in the area of the truck and observed the engine begin to rev up and race,” Hoyle’s statement said. “This behavior by a diesel engine indicates the presence of a flammable atmosphere entering the air intake. A driver reported trying to shut off the engine but was unable to do so.” Hoyle’s statement continued, “There are multiple possible sources of ignition in an operating refinery unit and we have made no determination about the ignition source at this time.”

The investigation has been delayed by BP and Occupational Safety & Health Administration officials, who are trying to preserve evidence at the site for their investigation. They are also concerned about further injuries from hazards left over from the explosion, such as falling debris and unstable structures. The Environmental Protection Agency also detected benzene in the atmosphere over the plant, which was treated with a layer of foam.

BP has retained control of the plant since the March 23 accident. Police arrived quickly the day of the explosion, but left after the initial emergency was over.

“Our officers could respond over there, but they don’t have a clue,” Texas City police Sgt. Curtis Pope told the Houston Chronicle. “The fact is they have chemical and equipment hazards. We don’t know the chemicals.”

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.

Wednesday, April 25, 2007

The Iranian police forces have faced criticism from Ayatollah Hashemi Shahrudi, the head of the judiciary who was appointed by Grand Ayatollah Ali Khamenei, for their re-invigorated campaign to do away with un-Islamic dress.

Ayatollah Shahroudi proclaimed, “Tough measures on social problems will backfire and have counter-productive effects.” Others have, of course, made it clear that un-Islamic dress can lead to moral corruption, engender innumerable vices, and hurt the Islamic character of the nation.

Some believe that no one had any issue with the creation of an Islamic atmosphere. The core of the matter revolves around the implementation of the Islamic dress code; additionally, heavy-handed measures should be shunned. For instance, Mehdi Ahmadi, information head of Tehran’s police, told Al Jazeera: “Some citizens may complain about the way the law is being enforced but they all agree with the plan itself.”

According to one student, “You simply can’t tell people what to wear. They don’t understand that use of force only brings hatred towards them, not love.” Nevertheless, Hojatoll-Islam Mostafa Pour-Mohammadi, Iran’s interior minister who is in charge of policing, prognosticated positive feedback from the populace when he said, “People are unhappy with the social and moral status of the society. They expect that the fight against social insecurity be properly implemented.” Thus, Hujjat al-Islam Pour-Mohammadi re-iterated the necessity of proper implementation and methodology towards the restoration of morality in the Islamic Republic. Islamic officials and religious people affirm that this is indispensable to promote righteousness, curb sin, and bring open sinners to justice.

Following the Islamic Revolution in 1979, hijab became mandatory in Iran for every woman including foreigners after over 98% of citizens voted for an Islamic government. Women may face caning up to 74 strokes for failing to observe hijab. In this recent crackdown, the authorities have arrested many citizens throughout the country. Not only have women been taken into custody for their hair being uncovered on their foreheads and tight clothes that show body shapes, For men they need to cover from knee to their waist as according to Sharia. Even a foreign journalist was detained because the photograph on her press card was indecent.

It has not been clear whence the directive for the re-newed clampdown emanated. Some have blamed Mahmoud Ahmadinejad while Gholam Hossein Elham, the government spokesman, stated to reporters, “The police work as agents of the judiciary to confront crimes. The government as an executive body does not interfere in the affairs of the judiciary.” The following pre-election speech seems to corroborate this latter statement:

Thursday, March 31, 2005A report Tuesday from a United Nations-backed project, consulting more than 1,300 scientists from 95 countries, and written over the last four years, warns that 60 percent of the basics of life on Earth — water, food, timber, clean air — are currently being used in ways which degrade them. Furthermore, fisheries and fresh water use-patterns are unsustainable, and getting worse.

“The harmful consequences of this degradation could grow significantly worse in the next 50 years,” according to a press release from the Millennium Ecosystem Assessment (MA), a massive four-year study begun in 2001.

“We’ve had many reports on environmental degradation, but for the first time we’re now able to draw connections between ecosystem services and human well-being,” Cristian Samper, director of the Smithsonian Institution’s National Museum of Natural History in Washington and a chief architect of the study, told the Christian Science Monitor.

The project’s Synthesis Report, first in a series of eleven documents and published yesterday, explains the objective: “to assess the consequences of ecosystem change for human well-being and to establish the scientific basis for actions needed to enhance the conservation and sustainable use of ecosystems and their contributions to human well-being.”

It then goes on to report on four main findings:

• Changes over the last 50 years to meet rapidly growing demands for food, fresh water, timber, fiber and fuel, have effected substantial and largely irreversible loss in the diversity of life on Earth.

• Net gains in human well-being and economic development are offset by growing costs, in the form ecosystem degradation, the possibility of abrupt and unpredictable ecosystem changes, and worsened poverty for some groups. Unless addressed, these problems will substantially diminish the benefits that future generations obtain from ecosystems.

• Ecosystem degradation could grow significantly worse over the next 50 years, presenting a barrier to meeting UN Millennium Development Goals.

• The challenge of reversing the degradation while meeting increasing ecological demands can be partially met under some scenarios, but only with significant changes in policies, institutions and practices — changes that are not currently under way.

Walter Reid, the study’s director, speaking at yesterday’s London launch of the report said it shows that over the last 50 years “humans have changed ecosystems more rapidly and extensively than in any comparable time in human history.”

“This has resulted in substantial and largely irreversible loss in the diversity of life on Earth,” he said.

It is unclear what this will mean to future generations or the possible emergence of new diseases, absence of fresh water and the continuing decline of fisheries and completely unpredictable weather.

With half of the urban populations of Africa, Asia, Latin America and the Caribbean suffering from several diseases associated with these problems, the death toll is reaching 1.7 million people a year. Entire species of mammals, birds and amphibians are disappearing from the planet at nearly 1,000 times the natural rate, according to the study. Oxygen-depleted coastal waters and rivers result from overuse of nitrogen fertilizer – an effect known as “nutrient loading” which leads to continuing biodiversity loss.

With the United States’ non-participation in the Kyoto Treaty, former U.S. Senator Timothy Wirth, president of this U.N. Foundation, says “U.S. leadership is critical in providing much-needed expertise, technological capabilities and ingenuity to restore ecosystems.

“We can take steps at home to reduce our nation’s adverse impact on the global environment.”

“At the heart of this assessment is a stark warning,” said the 45-member board.

Friday, April 8, 2005Professor Perry Bartlett of University of Queensland‘s Brain Institute recommends sex, cryptic crosswords and a good run to stave off dementia.

The researcher, interviewed on Australian ABC radio today [1], said that with 52,000 Australians expected to be diagnosed with dementia by the end of the year, people wishing to ward off the degenerative disorder may benefit from activities which stimulate growth of new cells in the brain, accompanied by mental exercise to select for survival of the resulting crop of new cells.

“Quite prolonged exercise is very good to make new neurones,” said the Professor. “These new nerve cells are really quite vital to our ability to function in the higher brain functions, such as memory and learning. Most of them die. We now know that we can preserve some of them by giving direct stimuli.”

Professor Bartlett explained recent research findings, including those from collaborator Jeffrey D. Macklis [2] at Harvard in the US.

“There are a lot of hormones and changes in blood that go up and down after exercise, and so that may be a lead to some of the chemicals that can drive the production of nerve cells.

“One of the chemicals that seems to promote neurogenesis is prolactin, and prolactin levels are very high in pregnant females. Prolactin levels, by the way, also go up during sex as well. So one could think of a number of more entertaining activities than running in order to regulate the production of nerve cells.

“Perhaps doing something a little more inquisitive or intellectual might be good at selecting their survival. So perhaps one should run a long distance and do the cryptic crossword or something like that,” he said.

Professor Bartlett gave the same suggestions as being potentially helpful in depression, last year in an interview on the ABC Science Show. [3]