hollowayplasteringandstucco.com

Wednesday, April 5, 2006

Glen Stollery is a New Zealand website developer who created the site ScienTOMogy.info in mid 2005. The site, which is a parody of Tom Cruise and his involvement with the Church of Scientology, became the centre of controversy when it was served with a number of cease and desist orders initiated by the Church. On March 19, 2006, Glen issued a media release stating that his web hosting provider, YouTube, had removed videos of Tom Cruise which formed part of the site. The release suggested that YouTube had taken this action under external pressure from Cruise or Viacom.

Responding to a query by Wikinews reporters, YouTube stated “We have not received a DMCA notification letter from Viacom.” The Church of Scientology was offered the opportunity to respond to the claims made by Stollery during the interview. No reply was received.

This exclusive interview deals with these issues and others relating to the website. It was conducted with Glen via email between March 21 and April 3, 2006.

Monday, September 24, 2007

Marion Schaffer is running for the Green Party of Ontario in the Ontario provincial election, in the Oakville riding. Wikinews’ Nick Moreau interviewed her regarding her values, her experience, and her campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Saturday, March 20, 2010

According to an announcement from Gwent Police, a baby boy has died after being found abandoned behind a convenience store in Gwent, Wales. The boy, who has not yet been identified, was found behind a Spar convenience store in the town of Cwmcarn at 1815 GMT on Tuesday. The baby was found to be wrapped in a towel which was in a plastic shopping bag. Bystanders who were walking past the scene mistakenly believed that the bag had been unintentionally left there by a person who had visited the gym that is located next to the store.

A 14-year-old boy, who is the son of the man who owns the convenience store, then examinied the bag and discovered the baby. He made a phone call to the emergency services, however, when the baby was taken to Royal Gwent Hospital, it was pronounced dead on arrival. The baby was younger than one day old at the time of his death. A post-mortem examination proved to be indeterminate. Gwent Police have now launched an investigation to try and determine the identity of the baby’s mother.

Gursewak Singh, the father of the person who discovered the baby and the owner of the shop, explained: “We asked friends and colleagues what the bag was doing there, but it didn’t belong to anyone. A boy who works with us said it was just a towel in there and he didn’t open it. In the evening I went out to it and opened it, only saw a towel on top and didn’t look thoroughly. I just thought it was clothes underneath and didn’t want to root through them. I picked it up and hanged it on the gatepost so someone walking by might see it and recognise it as theirs. At about six o’clock there was a power cut and my 14-year-old son went out and picked up the bag and opened it and saw a little head in there. He called his uncle and said: ‘It’s not clothes, come and look’. They came over and saw the baby in there.” Singh commented that this incident “was shocking. We were all devastated. I wish we had checked earlier. If we had gone through the bag we could have made a difference. I’m worried what sort of condition the person who left the bag is in. We are so concerned about her. Other people saw the bag, but nobody thought about it. There could be a baby still alive. I wish we had checked straight away.”

Gwent Police member Superintendent John Burley stated about this case: “We are extremely concerned about the health and wellbeing of the mother of the baby and are appealing for her to come forward to receive any medical treatment she may require. This is a tragic incident which will sadden the local community and our priority at the moment is finding the mother of the baby. I would appeal to anyone who may have been in the vicinity of the Spar store on Thursday morning or afternoon who may be able to offer any information to assist our inquiry.”

Wednesday, April 5, 2006

According to Dutch researchers, tests performed on cats at Rotterdam’s Erasmus Medical Center by Dutch show that cats could play a key role in transmitting bird flu to humans.

Reports have noted that there are increased deaths in Europe and Asia involving cats that are carrying the deadly disease and also say that cats could play a key role in allowing mutation of bird flu so it can be transmitted between humans.

“Apart from the role that cats may play in H5N1 virus transmission to other species, they may be involved in helping the virus to adapt to efficient human-to-human transmission,” said researchers.

The experiments were performed on eight cats, all of which were exposed to the H5N1 virus in three different ways. In all three cases, the cats became infected. The researchers said that most domestic cats became infected with the H5N1 virus when they came in contact with wild and or domestic birds. In some cases, those cats transmitted the virus to other cats.

However, researchers said that their research was performed experimentally with infected cats and that those experiments did not show a mutation in the virus but did say that “such mutations cannot be ruled out.”

Researchers have strongly suggested that cats be kept indoors, but also said that this measure would be “impossible” in some parts of the world.

Researchers also say that cats need to be included in any precautionary measures against the virus.

“We have to take a number of precautionary measures. We need to keep in mind that mammals can be infected and that they can spread the disease, in principle. The potential role of cats should be considered in official guidelines for controlling the spread of H5N1 virus,” said Dr. Albert Osterhaus, of Erasmus University in Rotterdam in the Netherlands.

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.

Friday, May 2, 2014

The Russian Parliament passed a new bill on Tuesday to restrict and regulate blogging and social media content, expected to be enforced in August. The bill comes following Russian actions in Ukraine and a Russian crackdown on domestic criticism.

Under the bill, bloggers with 3000 or more daily views will face a similar level of legal liability as media organisations. These bloggers will be required to register their identities with Russia’s consumer rights protection agency, Rospotrebnadzor; they may not spread extremist material or violate citizen privacy, and must undertake fact-checking to verify published content. Non-compliance risks content blocking and individual fines of 10,000–30,000 rubles (US$270–US$833), business fines of 50,000–300,000 rubles (US$1400–US$8300).

Social networking sites, blog hosts, and other “distributors of information on the internet” will also be required register with Rospotrebnadzor, and will be expected to store the data of popular users, and provide up to six months of user activity logs on request for possible use in government investigations. Non-compliance will net fines for private citizens of 3,000–5,000 rubles (US$83–US$140), officials 30,000–50,000 rubles (US$833–US$1,388), and businesses 300,000–500,000 rubles (US$8,330–US$13,888).

The bill has drawn criticism from human rights activists and the Russian technology sector, with some search engines and blogging platforms taking steps to protect users and circumvent the new regulations.

Thursday, October 4, 2007

Rick Morelli is running for the NDP in the Ontario provincial election, in the Vaughan riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.