Tuesday, May 2, 2006

Beginning Monday morning, many BlueFrog and Blue Security users began receiving an email warning them that if they did not remove their email addresses from the Blue Security registry, they would begin to receive huge amounts of unsolicited email. As quickly as four hours after the initial warning message, some users began to receive an unprecedented amount of spam. Most of the messages were simply useless text. Users reported that Blue Security’s website was unavailable or extremely slow in responding.

Blue Security is an online community dedicated to fighting spam. As they became more popular, their member list increased substantially. The members’ email address is encrypted and added to a list of e-mail addresses that wish to stop receiving spam. Blue Security maintains the encrypted list, which uses an encrypted hash function. Spammers are encouraged to remove all addressed from their email list that are also in Blue Security’s Do Not Intrude Registry by using free compliance tools available at Blue Security’s web site.

According to Blue Security’s web site, “A major spammer had started spamming our members with discouraging messages in an attempt to demoralize our community. This spammer is using mailing lists he already owns that may contain addresses of some community members.” Reportedly, Blue Security has received complaints from users about spam allegedly sent from Blue Security promoting their anti-spam solution and web site.

Blue Security states they are “an anti-spam company determined to fight spam and as such never has and never will send unsolicited email.” There are also reports of non-users of BlueSecurity/BlueFrog receiving the warning emails, which now seems is also being sent to email addresses of people who have never added their email address to Blue Security’s Do Not Intrude Registry.

Monday, March 13, 2023

On Friday, Jackline Sabana Bona Musa, a Sydney, Australia woman who fatally crushed her adulterous boyfriend in 2020, received a 20-year prison sentence, including time served; she is set to be eligible for parole in 2034.

Sentencing Justice Richard Button described the murder as “spontaneous and not premeditated”, but also a “grave example of an extremely grave offence”.

He continued: “As I have said, the offence was spontaneous and not premeditated. The intention to inflict serious harm existed for only a matter of seconds. One cannot be satisfied of an intention to kill.

“On the other hand, the life of a fellow human being was violently extinguished in a place where he was entitled to feel safe. His final ordeal was short, but terrifying, and he surely died in enormous pain. What occurred was a deeply self-centred imposition of violence on a fellow human being.”

Button called Musa’s early life and childhood “grossly deprived and traumatic”.

He said: “[Musa] was born in Sudan in north-eastern Africa […] She grew up in a village that, for example, had no running water. Her family was often short of food. Her father died when she was very young, and her mother, a deeply religious woman, devoted herself to the care of her large family in poverty-stricken circumstances.

“I accept that she suffered many traumatic, indeed horrific experiences over the years. By way of example, whilst she was part of a convoy fleeing the fighting, the vehicle in front of hers was blown up, and other persons were injured and killed before her eyes.”

In 2004, Musa arrived in Australia as a refugee, with many of her family members dead from poverty and war. She was, by that time, afflicted with post-traumatic stress disorder and fluctuating levels of anxiety and depression.

The justice also noted the former aged care worker had “been employed consistently”, “cared for her four children and her aged mother” and “completely abstained from drugs and alcohol”.

Concluding his sentencing remarks, Justice Button said: “This case is a tragedy from many perspectives: primarily, from that of the deceased, of course, and those who loved him and honour his memory; but also from the perspective of a previously law-abiding offender, her family, and Australian society generally.

“In short, a life was taken simply because a fellow human being was exercising autonomy in romantic matters […] Deplorable violence was inflicted upon him, whereby he was crushed to death. There is no remorse on the part of the offender, even now. To be weighed against those matters is that, after an early life of great deprivation and disruption, the offender made a successful fresh start in this country, something especially to her credit in light of the psychological problems that had been inflicted upon on her. They played their part in this fatal explosion of emotion.”

Button said: “I believe that, many years from now, the offender has a good chance of becoming a valued member of the community again. By way of my sentence, I seek to balance and reflect that multitude of countervailing factors.”

The killing occurred on June 27, 2020 in the suburb of Wentworth Point, at a garage along Hill Road and near Half Street.

According to Button, that morning Musa thought her boyfriend, 31-year-old Payman “Paul” Thagipur, was economically abusing her, feeling “cut off” from him.

An acquaintance told her to send Thagipur a text message; the then 44-year-old Musa texted him: “Hi, how are you? Am concerned and worried. I just wanted to know that you’re not hurt or sick. If there’s something I did wrong, I would like to apologise. Please get in touch”.

Thagipur did not respond.

In the early evening, Musa unsuccessfully searched for Thagipur in several cafés and restaurants in Granville. She then drove to his apartment in Wentworth Point. After several failed attempts to enter the secured garage, she tailgated another vehicle through the roller door, which struck the roof of her Toyota Kluger SUV.

After parking in her usual space, next to Thagipur’s allocated one, she told a resident inspecting the damaged roller door she lived in “apartment 201”, Thagipur’s unit and her key fob was “not working”. Musa asked to be let into the building and the resident obliged.

Thagipur answered the door for her in his underwear and Musa entered to see another woman sitting inside.

Musa asked the other woman, “is it your turn today” and spat in her boyfriend’s face, before returning to her car, with Thagipur entering the garage behind her.

Button argued that, over “several seconds”, Musa “spontaneously formed an intention to inflict really serious physical injury” on the victim.

Musa sped forward and crashed into the 31-year-old Thagipur, continuing through a bollard, before colliding with and pinning him against a brick wall. Musa approached Thagipur as he was “gasping for air”.

After about one minute, she called emergency services, telling the operator: “I kill someone here. It was a terrible accident. I didn’t mean it […] I just hit him and he’s dead.”

Police treated Thagipur at the scene until paramedics arrived.

In footage released by 7NEWS, one officer says: “Mate, keep breathing, keep breathing. Don’t stop breathing.” Another says: “You’re doing well mate, you’re doing well. Stay with us.”

Leading Senior Constable Steve Nevill told the Supreme Court he saw Thagipur lying on the ground, and “there was a lot of blood on the ground underneath him.” Nevill said Thagipur was making gasping-like noises, but these were postmortem sounds, not breathing.

Musa claimed, “I was driving out and he came in front of me […] This person is my boyfriend. The whole week I am trying to get hold of him, he never reply […] He stopped talking to me […] I was hurt inside as a woman.”

Musa was arrested and taken to Concord Hospital under police guard for mandatory testing.

At her murder trial last year, defence counsel Madeleine Avenell SC did not dispute that Musa had driven at Thagipur, but insisted that she did not drive towards him with murderous intent or in an unlawful manner amounting to manslaughter.

Avenell said: “What is in dispute is that Ms Musa saw Mr Thagipur before colliding with him, that she deliberately drove at him as he walked through the car park and that she intended to cause him grievous bodily harm or intended to kill him.

“She denies the allegation of murder […] She denies that the circumstances were such as to amount to an unlawful and dangerous act of manslaughter.”

Prosecutors argued that the homicide was committed in a “state of anger”.

“The crown case is the accused, seated in the driver’s seat of her car, [was] very angry about what had just happened – seeing the deceased in his underpants and seeing another woman in the apartment,” Crown prosecutor Emma Blizard told the court.

Blizard continued: “In this state of anger, she drove her car out of the parking spot very quickly, she drove her car at the deceased deliberately as he walked towards her through the carpark.”

On December 12, Musa was found guilty of murder by a jury. As the decision was read, she began sobbing and collapsed; paramedics examined her, but she was not hospitalised.

Tuesday, April 14, 2020

In February 2017, the Iranian Chess Federation announced two teenage chess players, Dorsa Derakhshani and her younger brother Borna Derakhshani, were banned from representing the national team. The federation announced their decision although Dorsa Derakhshani had previously decided and informed the chess federation she did not wish to play for Iran.

Dorsa Derakhshani is currently 21 years old and holds the International Master (IM) as well as Woman Grand Master (WGM) titles. Her brother, Borna, plays for the English Federation and holds the FIDE Master title.

Dorsa Derakhshani was banned since she did not wear a hijab, an Islamic headscarf, while competing at the Tradewise Gibraltar Chess Festival in January 2017. Under the laws of Islamic Republic of Iran, hijab is a mandatory dress code. Her brother Borna Deraskhsani was banned for playing against Israeli Grand Master (GM) Alexander Huzman at the same tournament. Iran does not recognise the existence of Israel, and previously, Irani athletes have avoided playing against Israeli athletes.

Mehrdad Pahlavanzadeh, the president of the country’s chess federation, explained the decision to ban the players saying, “As a first step, these two will be denied entry to all tournaments taking place in Iran and in the name of Iran, they will no longer be allowed the opportunity to be present on the national team.” ^{((fa))Farsi language: ?????? ????? ?? ??? ??? ?? ??? ????? ?? ?? ???? ???????? ?? ?? ????? ? ?? ??? ????? ?????? ??????? ????? ??????? ? ???? ???? ???? ?? ??? ??? ?? ??????? ????.} He further stated, “Unfortunately, something that should not have happened has happened and our national interest is paramount and we have reported this position to the Ministry of Sports.” ^{((fa))Farsi language: ????????? ?????? ?? ????? ????????? ?????? ??? ? ????? ??? ?? ?? ?? ???? ?????? ???? ? ?? ??? ???? ?? ?? ????? ???? ?? ????? ?????.}

IM Dorsa Derakhshani, who currently studies at Saint Louis University in the United States and plays for the United States Chess Federation, discussed her chess career, time in Iran and the 2017 controversy, and her life in Saint Louis with a Wikinews correspondent.

Friday, March 23, 2007

Senior Judge Lowell Reed Jr. of the U. S. District Court for the Eastern District of Pennsylvania issued a permanent injunction on Thursday against the Child Online Protection Act (COPA) passed in 1998 that says it is a crime to make online pornography accessible for underage children.

Reed expressed “personal regret at having to set aside yet another attempt to protect our children from harmful material” but said that adults would “do the minors of this country harm, if First Amendment protections, which they will with age inherit fully, are chipped away in the name of their protection.”

He added that software filters would be more effective in protecting children than the COPA.

Chris Hansen of the ACLU, the plaintiffs, said that were the law to go into effect, “all Internet would have had to be brought down to a level that is acceptable to a 6-year-old and that would have had a devastating effect on the kind of interactions that take place on the Internet.”

According to the law, which became effective in 1998 but had been barred from enforcement by the Supreme Court, websites containing “commercial” pornography are required to verify that the person looking at the material is of age, by asking for a credit card number. The law says that it would stop minors from viewing material that is “harmful by contemporary community standards.”

One advocacy group, Enough is Enough which tries to protect underage children from Internet predators and pornography, spoke out against the ruling.

“It’s a very frustrating decision. We have an epidemic problem of kids accessing pornographic material online. Pornographers continue to get a free pass on the Internet from our federal courts, and efforts by Congress keep getting trumped,” said president of the organization, Donna Rice Hughes.

If websites were caught not following the law, penalties could range from a 6 month jail sentence and fines of up to $50,000 [USD].

The United States Attorney’s office is reported to be looking over the ruling and trying to make a decision on whether to try and appeal the decision in Supreme Court.

Monday, November 21, 2016

UK Prime Minister Theresa May and opposition leader Jeremy Corbyn both spoke at the annual Confederation of British Industry conference today, talking about Britain after its planned ‘Brexit’ from the European Union, and future plans for business.

May formally announced plans to cut corporation tax from 20%, without giving details, in order to discourage businesses from leaving the UK post-Brexit. Corbyn said in his speech he believes investment by the government on things such as infrastructure improvements is shared ground between Labour and businesses but “businesses will need to contribute” meaning “some increase in corporation tax” under his administration.

Theresa May also toned down plans to put ordinary workers on corporate boards, a campaign promise from running to become leader of the ruling Conservative Party. She said she is working to create a “model that works for everyone” after consulting firms and the general public, with possible plans including panels or advisory committees. The General Secretary of the Trades Union Congress responded by saying “Theresa May made a clear promise to have workers represented on company boards […] This is not the way to show that you want to govern for ordinary working people.” Jeremy Corbyn also criticised this announcement saying “we need to see genuine employee representation at board level, which the prime minister promised, but I see is already backing away from.”

Theresa May also announced she wishes to spend £2Bn annually in research and development, as well as plans to start a small business research initiative to look into helping innovators get ahead. Jeremy Corbyn however said he plans to spend 3% of the UK’s GDP on R&D, significantly more than specified by May.

Jeremy Corbyn’s plans for the UK’s economy focussed on investment. Speaking at the conference he said “First and foremost, a Labour government will prioritise investing in our economy.” As well as the investment in research, Corbyn also promised funds for areas including house building and infrastructure. This would be controlled by the proposed “National Investment Bank”. Corbyn said “Our National Investment Bank will deliver long term strategic investment in our under-powered infrastructure and provide the patient finance that our businesses need across the country.”

May told the conference she would not give “a running commentary on every twist and turn” of the Brexit negotiations. This comes after allegation in the press that she she has no plan to keep under wraps, a claim that has been backed up by an alleged leaked internal government memo that talks about a “lack of overall negotiation strategy” within government.

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.

Friday, August 27, 2010

Apple Inc. will hold a music-centered event in San Francisco, California on September 1. It has been widely speculated that the company will introduce an updated line of iPod portable music players and a new Apple TV.

The company e-mailed invitations for the event to various media organizations on Wednesday. The message included a picture of a guitar and the time of the event. Apple did not release any information about what products would be involved.

Apple has released new iPods through previous similar events in September in anticipation of the holiday shopping season. This year, Apple may unveil a new iPod Touch with two cameras, similar to their recent iPhone 4 design. It will likely also update the iTunes music store and software.

Speculation about a new Apple TV is mixed. While many blogs are reporting that a refresh of the device will be announced, analysts say that it is unlikely to happen during next Wednesday’s event. According to Reuters, sources are saying that Apple is negotiating with major television networks, including ABC and NBC, in order to provide shows for purchase on iTunes. However, they also reported that the deal has not been completed, and none of the companies involved have commented on the rumors.

It has also been rumored that Apple will introduce a new online music service. In 2009, Apple took over a company that allowed users to stream music online rather than download individual songs. Apple has not confirmed the rumors.

Last September’s media event saw the return of Apple CEO Steve Jobs after he took a break to undergo a liver transplant. This year, the event will be held in San Francisco’s Yerba Buena Center for the Arts, previously used by Apple in April for the unveiling of the iPad.

Saturday, October 23, 2010

In a Wednesday media event, Apple Inc. released a new lineup of MacBook Air laptops and the 2011 version of the company’s iLife software suite. The “Back to the Mac” event also included a preview of Apple’s forthcoming Mac OS X Lion operating system, to be released in mid-2011.

Apple CEO Steve Jobs unveiled the new products at the Cupertino, California event, saying the company has “been inspired by the work [it has] done on the iPad, and [it wants] to bring it back to the Mac.” Apple has plans to import more features of its iOS mobile operating system to the Mac OS X operating system.

Jobs announced today that the “Lion” release to OS X, which is scheduled for release next summer, will include more support for multitouch and a desktop version of the company’s App Store. He said that the App Store will be available for Apple’s current OS “Snow Leopard” within 90 days, and that applications can be submitted starting next month. Jobs also announced that a beta version of FaceTime, Apple’s IOS video calling application, would be available for OS X users immediately. Several new applications will be added in OS X Lion, dubbed “Mission Control” and “Launchpad.”

In his keynote address Wednesday, Jobs announced the release of Apple’s iLife ’11 software suite, which includes the iPhoto, iMovie, and GarageBand programs. iPhoto has new slide show templates, while iMovie has added audio editing capabilities. GarageBand now includes several new piano- and guitar-playing lessons. iLife ’11 was released on Wednesday as a US$49 upgrade, and is also available free with new Mac purchases.

In another move to bring iOS functionality to Macintosh computers, Jobs announced an updated MacBook Air series of laptops, on sale now. The new MacBook Air uses flash memory rather than a traditional hard drive, and has no CD/DVD drive, an approach seen on the iPad tablet computer. In addition, the laptop’s battery life has been extended, even though it is only 0.68 in (1.73 cm) thick and weighs less than 3 lbs (1.36 kg). “We think it’s the future of notebooks,” said Jobs. There are now two models of the MacBook Air: an 11.6-inch (29.46-cm) version and a 13.3-inch (33.78-cm) model. Analyst Shawn Wu says the company “priced it really aggressively,” referring to the computer’s base price of US$999.

Jobs said that his company sold 13.7 million Macs last year, totaling US$22 billion. In the last financial quarter, Mac sales increased 22 percent, comprising 24 percent of total revenue for Apple. However, the original MacBook Air did not fare so well. Sales and hype over the first Air decreased soon after its introduction, and the line was overshadowed by the release of Apple’s 13-inch (33.02-cm) MacBook Pro. The MacBook Air had not been significantly updated since 2008.