Friday, January 10, 2020

At about 15:30 local time (1430 UTC) on Tuesday a fire was reported in the “Kiss & Fly” section of a parking structure at Stavanger Airport, Sola in Norway. The structure has over 3000 parking spaces; reports said more than half of those were filled. The airport was quickly closed to air traffic.

It was initially reported the fire started in an electric vehicle, but news broadcaster NRK later reported the fire started in a recalled 2005 Opel Zafira. The car was recalled after a similar fire in Cork, Ireland in August last year, causing damage to about 60 cars. Police said they questioned the car’s owner.

The fire produced heavy smoke, and local officials said there was danger the building might collapse. Nils-Erik Haagenrud of Rogaland Fire and Rescue said late on Tuesday no personnel would be sent into the building. Rogaland Fire and Rescue requested support and equipment from other fire departments. The airport and nearby hotel were both evacuated and local police warned people in the general vicinity to stay inside and close exterior vents and windows. Through Tuesday evening the fire was reduced and the order for a fire extinguisher robot from Oslo Fire and Rescue was canceled.

The airport closure also led to Norwegian Prime Minister Erna Solberg being stranded after a visit to the Johan Sverdrup oil field. Solberg posted on Twitter asking for places to eat for the seven hour drive from Stavanger to the capital of Oslo.

Reports as of Wednesday said an estimated two to three hundred vehicles had been damaged or destroyed, but no humans had been hurt.

By about 22:00 local time (2100 UTC) on Tuesday the flames were under control. Local firefighters planned to continue to monitor the situation and work to prevent further damage. It was also discovered the structure was built without sprinklers. Stavanger Airport, Sola was to open on Wednesday morning, but returning to normal service was expected to take longer. Affected travelers were advised to contact their airlines for rebooking.

Wednesday, August 13, 2008

File:BeijingOlimpicGames2008-08-08.jpg

Officials representing the Beijing Olympic Games in China have confirmed that the organizations in charge of the Opening Ceremony for the 2008 Summer Olympics may have faked at least two parts of the production. The ceremony lasted a total of four and a half hours.

It has been revealed that nine-year-old Lin Miaoke, who performed “Ode to the Motherland” during the ceremony, was only a visual effect. A recording of another girl’s voice played throughout the stadium and on the television and radio broadcasts. It is also now known that that some of the fireworks shown on television were computer-generated imagery.

The New York Times reports Lin’s voice was not perfect, and a member of the Chinese Politburo demanded that a more suitable voice was used. Organizers found that voice in seven-year-old Yang Peiyi. Another girl was used in rehearsals, but she was deemed to be too old.

“The reason was for the national interest,” Chen Qigang, the opening ceremonies general music designer, said Sunday during a radio interview. “The child on camera should be flawless in image, internal feeling and expression.”

Filmmaker Zhang Yimou, the production’s director, praised Lin at a press conference with Chinese media.

“She’s very cute and sings quite well, too,” he said according to a transcript of the news conference. “I was moved every time we did a rehearsal on this, from the bottom of my heart.”

The initial performer was a ten-year-old girl who was not named in the report and “whose voice was really good,” but Zhang decided that she was too old. About ten girls were auditioned for the role at Central People’s Radio Station in Beijing.

“After the recording, we thought that Lin Miaoke’s voice was not very suitable,” Chen Qigang said during his radio interview with Beijing Music Radio. “Finally, we made the decision that the voice we would use was Yang Peiyi’s.”

During the 2006 Winter Olympics in Torino, Italy, tenor Luciano Pavarotti mimed to a recorded version of the song he was singing. The recording was of him, but the singer, then 70 years old, had problems with a cold and opted to lip sync.

Monday, May 21, 2012

Bruce, Canberra — This past week, an overstocked Australian Opals, the women’s national basketball team, prepared for the 2012 Olympic Games in London with a weeklong training camp at the Australian Institute of Sport (AIS) to be used to help narrow the nineteen member Opals squad down to the twelve that go to the Games, and provide players who rarely play together an extended period of time to play together in order to improve on court dynamics.

Camp started on Sunday, with players arriving from hometowns around Australia including Cairns, MacKay, Gladstone, Brisbane, Adelaide, and Melbourne.

The defending champions, the United States women’s national basketball team, are perceived as the Australian Opals’ main competitors. In the last three Olympic Games the Opals got silver medals. In each of these cases the United States got first place. Coach Carrie Graf said “thinking about the US too soon in inappropriate”, “Our focus is first and foremost, game by game winning our pool”. Amongst the Australian Opals’ competitors in the pool are Brazil, Russia, and Great Britain. Carrie Graf said Great Britain “will put up a fight on home turf” but there is a “world class [AIS] facility” and “world class medical support staff” supporting the team.

Australian Opal player Penny Taylor recently suffered injury from a torn anterior cruciate ligament, meaning she cannot play Olympics this year. In regards to the situation player Lauren Jackson, who is going into her fourth Olympics, said “you would never wish that upon anybody.” She says as a team they have to “move on, move through that” and “come together” to pick up their offence and defense. Despite the loss of one of their key players she says “we definitely have the talent there” and the team is all “on the same page.” She feels “pretty confident” and speaks of “very exciting” times ahead. Jenna O’Hea is going into her first Olympics with the team. She is still “pinching” herself and says she is taking it “day by day”.

A typical day at the camp might start with a 7.00am – 8.30am breakfast at the AIS Dining hall, before one and a half or two hours of court, gym, or swimming training. The middle of each day might consist of media meetings, medical checks, team meetings, and time to practise shooting. Around 12.00pm, the players meet to eat lunch and recover from the morning. The afternoon typically consists of more training, and some scrimmage games. Players usually finish around 7.00pm for dinner, and perhaps a massage.

The nineteen players in attendance this week at training camp were Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Rohanee Cox, Cayla Francis, Kristi Harrower, Laura Hodges, Natalie Hurst, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, Kristen Veal, Carly Wilson, and Hanna Zavecz. Basketball Australia has named fifteen players that are to attend the second phase of the camp: Suzy Batkovic, Abby Bishop, Elizabeth Cambage, Kristi Harrower, Laura Hodges, Lauren Jackson, Rachel Jarry, Kathleen MacLeod, Jenna O’Hea, Erin Phillips, Samantha Richards, Jennifer Screen, Belinda Snell, Marianna Tolo, and Hanna Zavecz.

Saturday, October 22, 2016

The California Department of Justice on Wednesday released the warrant and affidavit of a criminal investigation of the Wells Fargo bank. The State of California served the warrant on October 5 to search the San Francisco headquarters of Wells Fargo for felonious activities related to identity theft.

The warrant said property to be seized at the bank’s San Francisco headquarters was related to the unauthorized creation of accounts by Wells Fargo employees including the names of individuals for the accounts; account information and fees; the names of employees and their managers who created accounts without the consent of the Wells Fargo customers in question; and all communications including emails referencing the unauthorised accounts.

California Attorney General Kamala Harris’s criminal probe is part of an increasing list of officials nationwide questioning the business practices of Wells Fargo such as California State Treasurer John Chiang who announced a one-year suspension of State investment with the bank on September 28; Illinois State Treasurer Mike Frerichs followed suit with a year-long ban on October 3; and Democratic United States Senators Bob Menendez of New Jersey, Jeff Merkley of Oregon, and Elizabeth Warren of Massachusetts, who wrote to the U.S. Security Exchanges Commission (SEC) suggesting investigation on September 29.

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.

Thursday, October 11, 2007

Industrial Technology Research Institute (ITRI) showed their solutions of excellence not only at TAITRONICS Autumn and TaiwanRFID exhibitions, but also held “The 4th Jinyi Award Ceremony” and “Photovoltaic Applications on Construction Seminar” accompanied with PV Taiwan Forum and Exhibition this year.

For the “Jinyi Award”, ITRI set a special pavilion at their booth to show the nominated products and current solutions with solar energy. According to ITRI, “Jinyi Award” encouraged individual or group participants can applied the creations on solar energy and photovoltaics to life of the human beings. ITRI also hoped those solutions can transform with valued products. This year, ITRI cooperated with Taiwan Design Center supervised by Taiwan External Trade Development Council (TAITRA) with judgments of the 4th Jinyi Award.

This competition has three groups (Product Design, Professional Design, Design Competition) with different natures, competition places, and fields of participants. Winners of “Professional Design Group” and the 1st and 2nd place of “Design Competition Group” were named at the Ceremony.

After the Ceremony, ITRI held “Photovoltaic Applications on Construction Seminar” for participants with semiconductor, photovoltaic, environment, and constriction industries. “Governments and companies in Taiwan should learn some successful cases in Europe and USA. ITRI started constructions of photovoltaic and solar energy system at South Taiwan. Photovoltaic and solar energy are the valuable and important energy source from now, and its industry will be taken effect on some environment issues such as increasing of oil prices, greenhouse effect, trendy changes of environment awareness.” Dr. Joeng-shein Chen (Deputy Manager of Photovoltaics Technology Center of Industrial Technology Research Institute) taught to the participants at this seminar.

Saturday, November 26, 2005

Canadian community art group Visual Arts Brampton is looking for entries for its international entry mail art exhibit “Control”.

The exhibit’s entry information discusses the theme of the show: “Are you a control-freak, or more happy-go-lucky? What do you think of corporations’ control on the media and governments? Is your life quickly spinning out of control? Always hitting Ctrl-Alt-Del?”

The exhibition dates have yet to be scheduled, but the show will run in early 2006 at either the Fridge Front Gallery or upcoming World Art Gallery in Shoppers World Brampton, a mall in suburban Toronto.

While it prefers 4 x 6 inch artworks, VAB asks that entries are no larger than 6 x 6 inches. VAB’s address is “Snail Mail Central / 1 Bartley Bull Parkway, Suite 10 / Brampton ON / L6W 3T7”. Entries must be received by January 31, 2006.

This show will help Visual Arts Brampton to continue to build up a reputation in the mail art world. The non-profit community art group is in the process of opening up the World Art Gallery, which will be the first permanent display space to solely exhibit mail art. Over the past few years, the club has organized three general no theme exhibits, and “SAT: An Exhibit of Chairs”, which is running currently.