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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.

Monday, December 16, 2013

Glasgow —Last weekend, December 8, The Reid Foundation, a left-leaning think-tank, launched The Common Weal, a vision for a more socially just and inclusive post-Independence Scotland. Five- to six-hundred turned up for the event, billed as “[a] ‘revolution’ … with T-shirts and dancing” by the Sunday Herald, and held in The Arches club and theatre, under Glasgow’s Central Street Station.

Wikinews’ Brian McNeil travelled to Glasgow to attend, walking through the city’s festively decorated George Square, and busy shopping streets, to the venue under Hielanman’s Umbrella.

More known for theatre, live music, and club nights, organisers in The Arches confirmed around 800 had signed up for the free Sunday afternoon event. The crowd was a mix of all ages, including families with young childen. Stuart Braithwaite of Mogwai entertained the early arrivals by DJ-ing until the launch video for the Common Weal was screened.

The Common Weal present themselves as “an emerging movement which is developing a vision for economic and social development in Scotland which is distinct and different from the political orthodoxy that dominates politics and economics in London.” Contrasting current “me first politics” against concerns of ordinary Scots, the launch video’s opening, monochrome half, stresses everyday common concerns: “Will I have a pension I can survive on when I retire?”, “I miss my local library”, “Public transport is so bad it’s hard to get to work”; and, “Why can we always find money to bail out banks but not to protect public services?”, “Why is it always the poor, the disabled, and immigrants who get the blame?”

The preferred vision offered by the Common Weal, “Not me first, all of us first”, makes up the more-aspirational second-half of the film, advocating a national fund for industry, taking the nation’s energy into collective ownership, building quality new public housing, strengthening the welfare state, and ending tax evasion. Throughout the event a distinction between these ‘popular politics’, which experience wide support, and the derogatory ‘populist’ label, often used to dismiss such calls for a fairer society, was emphasised.

Comedienne Janey Godley took over following the film, to compère the afternoon, and introduce Reid Foundation director Robin McAlpine. With the mixed audience, Godley made avoiding profanity — due to the presence of children — a theme of her warm-up; although, the humour remained fairly adult in nature.

McAlpine sketched out the movement’s hopes and plans. After thanking those who were giving their time for free, he characterised modern politics as “[…] a game that is played by a small number of professionals, in a small number of rooms, in a small number of expensively-rented premises, across Scotland — and across Britain. It’s become a thing people do as a profession, and the rest of us are all supposed to applaud them — or stand back — nod our heads every four years, and be glad for it.” With a receptive audience, he continued: “The idea that politics is something that ordinary people cannae talk about is one of the great achievements of the right-wing [over] the last thirty to forty years in Britain”; remarking, to applause, “they scared us aff.”

On discussions around the country, he claimed that “across Scottish politics, […] the people that want this, … ‘me first’ politics, there’s not many of them. The people that want Common Weal politics, all of us first politics, I’m meeting them everywhere. […] Everyone I meet wants this, a decent politics that puts people first. […] We wanted to find a way to communicate an idea of a politics which work for all the people who those politics seek to govern, not just a few of them. People don’t understand or recognise the language of politics any more, so we want to change that language.”.

Crediting the Sunday Herald newspaper for an opportunity to share some ideas underpinning the Common Weal, McAlpine was scathing in his criticism of mainstream coverage of the independence debate: “There’s this massive debate. It’s not in the mainstream.” Seeking to “get a real debate going, about a really strong vision for a future for Scotland, it’s hard. They’re still doing IFS, accounting this, and another paper from a Whitehall that. And, we’ll all debate things that nobody really cares about, interminably, until they all go away for good.” On the current political debate, he remarked: “If mainstream politics fails to recognise what is really going on in Scotland just now, then that is its problem. […] Someone is going to offer ordinary people what they want, and when they do, everything will change.”

Urging the crowd to get involved, he said: “If we can create a popular politics, that ordinary people care about, and talk about, and work[s], we can take a grip of Scotland. We can decide the future politics of Scotland, and standing around waiting for professional politicians to,… disappoint us less than they always do, does not have to be the way we do this anymore.” He concluded, “It genuinely is time for a politics that puts all of us first.”

Janey Godley took the microphone, as McAlpine left the stage to cheers and applause; joking about the ‘rabble-rousing’ tone of the speech she then introduced David Whyte of Tangent Design, creator of the Common Weal’s logo.

Whyte explained they hoped the simple image would come to represent the “all of us first” philosophy, and “a new way of doing things”. He was not the first to jokingly remark that the four-line graphic — a triangle, with a balanced line on top of it — would be an easily-applied piece of graffiti.

Politics, and the launch of the movement’s logo, then took more of a back-seat; the rest of the event more in-keeping with having a party, and the festive decorations elsewhere around the city centre. Godley, and fellow Scottish joker Bruce Morton, provided more barbed comedy. Singer Karine Polwart encouraged the crowd to sing along to a song she said was written on her way to the party, and Actor Tam Dean Burn read a speech from the 16th century Scottish play “Satire of the three estates” — given by the character John Common Weal, representing the common man — where the deeds and behaviour of the ruling classes are such that, if done by a common man, they’d be hanged.

Scotland’s Independence referendum is to take place next year, September 18. This was a repeated election pledge of the Scottish National Party (SNP) — who moved from leading a minority government, to an outright majority in the devolved parliament’s 2011 general election — making good on their promise by announcing in January 2011 their intent to hold the referendum in autumn 2014.

The question being put to the electorate is: “Should Scotland be an independent country?” A “Yes” vote would be followed with negotiations to bring to an end the early eighteenth-century ‘Union of the Parliaments’. The SNP has proposed Scotland retain Elizabeth II as head of state, a position she holds on the basis of the century-earlier Union of the Crowns.

Monday, May 24, 2010

The black boxes from an Air India flight that crashed into a valley of near the southern Indian city of Mangalore Saturday, killing 158 of the 166 onboard, have been found by investigators. The flight data recorder was recovered late yesterday and the cockpit voice recorder was located today.

At the end of Sunday, 146 of the 158 bodies have been identified, and all have been recovered.

According to reports, the plane touched down at Mangalore’s Bajpe airport, overshooting the touchdown point by several thousand feet; one tire did not hit the runway at all. Sudden braking occured, the airliner’s wings hit a neighboring cliff, and the plane careened into a heavily forested ravine where it burst into flames. “The plane veered off toward some trees on the side and then the cabin filled with smoke,” said survivor Umer Farooq, “I got caught in some cables but managed to scramble out.” “I didn’t think of anything at the time. All I knew was that I had to get out and get far away from the plane. The fire was spreading fast. Behind me I could feel other people jumping out but I didn’t turn back to look,” said survivor Koolikkunnu Krishnan.

The black boxes record communication data, technical information such as speed, altitude, etc., as well as conversation in the airplane cockpit, which could help investigators determine why the jet crashed. “The black box has been recovered from the crash site. It is vital in finding information about key details like the last moments of the flight and whether there was any error from the pilot’s side. The box will be brought to the accident lab of the Director General of Civil Aviation in the national capital where it will be opened and to find out what exactly went wrong,” reported investigators. They did not clarify which box they were refering to, but both have been recovered.

The Air India Express Boeing 737-800, which had departed from Dubai of the United Arab Emirates, was bound for Mangalore in the southern Indian state of Karnataka. The Bajpe airport has a “tabletop” runway which means it is set atop a hill surrounded by a deep gorge. The airport, which was constructed in 2006, has seen over 32,000 successful landings since opening. After visiting the eight survivors, Arvind Jadhav, chairman of Air India said, “My heart goes out to those who died and who lost friends and relatives.”

Tuesday, March 11, 2008

An Algerian rebel group that has pledged its allegiance to Al-Qaeda announced on Monday that it had kidnapped two Austrians vacationing in Tunisia on February 22, 2008.

The statement was read by Salah Abou-Mohammad, a spokesman for the Islamist group which last January announced it was redefining itself as “Al-Qaeda Organization in the Islamic Maghreb“.

“A squadron of heroic mujahideen was able to infiltrate deep into the Tunisian state and succeeded in kidnapping two Austrian tourists,” Abou-Mohammed said. “The two kidnapped are in good health and are being treated well in keeping with the teachings of Islamic Sharia.”

He added, “We tell Western tourists flocking to Tunisia for leisure at a time when our brethren are being slaughtered in Gaza by the Jews with the complicity of Western states … the apostate Tunisian state is not able, and will not be able, to protect you.”

Austrian authorities have confirmed that two of its citizens have been missing since mid-February, but declined to identify them. Reports in local Austrian media say that they are a couple from near Salzburg: Andrea Kloiber, aged 43, and Wolfgang Ebner, aged 51. Abou-Mohammad identified them by their professions as a nurse and a consultant, respectively.

According to a statement released by the Tunisian government, the pair was last reported heading into the Sahara in a direction that could have taken them across the border.

“Until now there is no element that proves that the two Austrian citizens are in Tunisian territory or that they were kidnapped inside Tunisian borders,” it said. However it also said, “The authorities have begun carrying out intensive search operations by land and air.”

Tunisia was also the scene of the 2002 Ghriba synagogue bombing, for which Al-Qaeda claimed responsibility. That attack left 14 Germans, six Tunisians, and one Frenchman dead and more than 30 others wounded.

Tuesday, April 25, 2006

Buffalo, New York —Attorney Arthur J. Giacalone has filed a lawsuit in New York Supreme Court against the city of Buffalo‘s Common Council and Planning board, alleging that the proposed Elmwood Village Hotel was approved “without giving meaningful consideration to either the impact on the adjoining residential neighborhood, or the unique character of this section of Elmwood Avenue.” Giacalone is representing Nancy Pollina and Patricia Morris, who operate the Don Apparel (a vintage clothing and collectibles shop at 1119 Elmwood Avenue), Angeline Genovese and Evelyn Bencinich, owners of residences on Granger Place which abut the rear of the proposed site, Nina Freudenheim, a resident of nearby Penhurst Park, and Sandra Girage, the owner of a two-family residence on Forest Avenue less than a hundred feet from the proposed hotel’s sole entrance and exit driveway.

The Elmwood Village Hotel is a 72-room, seven-million-dollar hotel proposed by Savarino Construction Services Corporation and designed by architect Karl Frizlen of the Frizlen Group. Its construction would require the demolition of at least five buildings, currently at 1109-1121 Elmwood, which house several shops and residents. Although the properties are “under contract,” it is still not known whether Savarino Construction actually owns the buildings. It is believed that Hans Mobius, a resident of Clarence, New York and former Buffalo mayoral candidate, is still the owner. The hotel is expected to be a franchise of the Wyndham Hotels group.

The lawsuit, filed in State Supreme Court, is seeking annulment of the City of Buffalo’s rezoning and site plan approvals for the hotel.

“Had the Common Council members complied with State law and waited to receive comments from the County’s planning agency, they would have been obliged to address the County’s concerns regarding the replacement of former residential buildings with ‘a much larger commercial structure’, the health effects of placing a 55-vehicle parking area next to existing homes, and the absence of a traffic study to assess the likelihood that the project would add ‘considerable congestion’ to the Elmwood/Forest intersection,” said Giacalone.

“The four-story hotel will overshadow the neighboring homes and backyards, impacting quality of life and property values. Equally as important, the project will displace a unique and diverse group of businesses that have served nearby college students and Buffalo’s arts and theater community for many years, and replace them with upscale retail establishments that will cater, not to local residents, but to affluent tourists and business travelers,” added Giacalone.

On March 22, 2006 the city’s Common Council approved the rezoning for the proposed hotel and on March 28, the Planning board approved the design and site plan of the hotel.

The lawsuit, entitled Pollina et al. v. Common Council of the City of Buffalo et al., [Index No. I-2006-3885], has been assigned to the Honorable Rose H. Sconiers, and is scheduled for oral argument at 9:30 A.M. on Thursday June 8, 2006.

Wednesday, February 4, 2009

A new historic physics record has been set by scientists for exceedingly small writing, opening a new door to computing‘s future. Stanford University physicists have claimed to have written the letters “SU” at sub-atomic size.

Graduate students Christopher Moon, Laila Mattos, Brian Foster and Gabriel Zeltzer, under the direction of assistant professor of physics Hari Manoharan, have produced the world’s smallest lettering, which is approximately 1.5 nanometres tall, using a molecular projector, called Scanning Tunneling Microscope (STM) to push individual carbon monoxide molecules on a copper or silver sheet surface, based on interference of electron energy states.

A nanometre (Greek: ?????, nanos, dwarf; ?????, metr?, count) is a unit of length in the metric system, equal to one billionth of a metre (i.e., 10^-9 m or one millionth of a millimetre), and also equals ten Ångström, an internationally recognized non-SI unit of length. It is often associated with the field of nanotechnology.

“We miniaturised their size so drastically that we ended up with the smallest writing in history,” said Manoharan. “S” and “U,” the two letters in honor of their employer have been reduced so tiny in nanoimprint that if used to print out 32 volumes of an Encyclopedia, 2,000 times, the contents would easily fit on a pinhead.

In the world of downsizing, nanoscribes Manoharan and Moon have proven that information, if reduced in size smaller than an atom, can be stored in more compact form than previously thought. In computing jargon, small sizing results to greater speed and better computer data storage.

“Writing really small has a long history. We wondered: What are the limits? How far can you go? Because materials are made of atoms, it was always believed that if you continue scaling down, you’d end up at that fundamental limit. You’d hit a wall,” said Manoharan.

In writing the letters, the Stanford team utilized an electron‘s unique feature of “pinball table for electrons” — its ability to bounce between different quantum states. In the vibration-proof basement lab of Stanford’s Varian Physics Building, the physicists used a Scanning tunneling microscope in encoding the “S” and “U” within the patterns formed by the electron’s activity, called wave function, arranging carbon monoxide molecules in a very specific pattern on a copper or silver sheet surface.

“Imagine [the copper as] a very shallow pool of water into which we put some rocks [the carbon monoxide molecules]. The water waves scatter and interfere off the rocks, making well defined standing wave patterns,” Manoharan noted. If the “rocks” are placed just right, then the shapes of the waves will form any letters in the alphabet, the researchers said. They used the quantum properties of electrons, rather than photons, as their source of illumination.

According to the study, the atoms were ordered in a circular fashion, with a hole in the middle. A flow of electrons was thereafter fired at the copper support, which resulted into a ripple effect in between the existing atoms. These were pushed aside, and a holographic projection of the letters “SU” became visible in the space between them. “What we did is show that the atom is not the limit — that you can go below that,” Manoharan said.

“It’s difficult to properly express the size of their stacked S and U, but the equivalent would be 0.3 nanometres. This is sufficiently small that you could copy out the Encyclopaedia Britannica on the head of a pin not just once, but thousands of times over,” Manoharan and his nanohologram collaborator Christopher Moon explained.

The team has also shown the salient features of the holographic principle, a property of quantum gravity theories which resolves the black hole information paradox within string theory. They stacked “S” and the “U” – two layers, or pages, of information — within the hologram.

The team stressed their discovery was concentrating electrons in space, in essence, a wire, hoping such a structure could be used to wire together a super-fast quantum computer in the future. In essence, “these electron patterns can act as holograms, that pack information into subatomic spaces, which could one day lead to unlimited information storage,” the study states.

The “Conclusion” of the Stanford article goes as follows:

The team is not the first to design or print small letters, as attempts have been made since as early as 1960. In December 1959, Nobel Prize-winning physicist Richard Feynman, who delivered his now-legendary lecture entitled “There’s Plenty of Room at the Bottom,” promised new opportunities for those who “thought small.”

Feynman was an American physicist known for the path integral formulation of quantum mechanics, the theory of quantum electrodynamics and the physics of the superfluidity of supercooled liquid helium, as well as work in particle physics (he proposed the parton model).

Feynman offered two challenges at the annual meeting of the American Physical Society, held that year in Caltech, offering a $1000 prize to the first person to solve each of them. Both challenges involved nanotechnology, and the first prize was won by William McLellan, who solved the first. The first problem required someone to build a working electric motor that would fit inside a cube ¹/₆₄ inches on each side. McLellan achieved this feat by November 1960 with his 250-microgram 2000-rpm motor consisting of 13 separate parts.

In 1985, the prize for the second challenge was claimed by Stanford Tom Newman, who, working with electrical engineering professor Fabian Pease, used electron lithography. He wrote or engraved the first page of Charles Dickens’ A Tale of Two Cities, at the required scale, on the head of a pin, with a beam of electrons. The main problem he had before he could claim the prize was finding the text after he had written it; the head of the pin was a huge empty space compared with the text inscribed on it. Such small print could only be read with an electron microscope.

In 1989, however, Stanford lost its record, when Donald Eigler and Erhard Schweizer, scientists at IBM’s Almaden Research Center in San Jose were the first to position or manipulate 35 individual atoms of xenon one at a time to form the letters I, B and M using a STM. The atoms were pushed on the surface of the nickel to create letters 5nm tall.

In 1991, Japanese researchers managed to chisel 1.5 nm-tall characters onto a molybdenum disulphide crystal, using the same STM method. Hitachi, at that time, set the record for the smallest microscopic calligraphy ever designed. The Stanford effort failed to surpass the feat, but it, however, introduced a novel technique. Having equaled Hitachi’s record, the Stanford team went a step further. They used a holographic variation on the IBM technique, for instead of fixing the letters onto a support, the new method created them holographically.

In the scientific breakthrough, the Stanford team has now claimed they have written the smallest letters ever – assembled from subatomic-sized bits as small as 0.3 nanometers, or roughly one third of a billionth of a meter. The new super-mini letters created are 40 times smaller than the original effort and more than four times smaller than the IBM initials, states the paper Quantum holographic encoding in a two-dimensional electron gas, published online in the journal Nature Nanotechnology. The new sub-atomic size letters are around a third of the size of the atomic ones created by Eigler and Schweizer at IBM.

A subatomic particle is an elementary or composite particle smaller than an atom. Particle physics and nuclear physics are concerned with the study of these particles, their interactions, and non-atomic matter. Subatomic particles include the atomic constituents electrons, protons, and neutrons. Protons and neutrons are composite particles, consisting of quarks.

“Everyone can look around and see the growing amount of information we deal with on a daily basis. All that knowledge is out there. For society to move forward, we need a better way to process it, and store it more densely,” Manoharan said. “Although these projections are stable — they’ll last as long as none of the carbon dioxide molecules move — this technique is unlikely to revolutionize storage, as it’s currently a bit too challenging to determine and create the appropriate pattern of molecules to create a desired hologram,” the authors cautioned. Nevertheless, they suggest that “the practical limits of both the technique and the data density it enables merit further research.”

In 2000, it was Hari Manoharan, Christopher Lutz and Donald Eigler who first experimentally observed quantum mirage at the IBM Almaden Research Center in San Jose, California. In physics, a quantum mirage is a peculiar result in quantum chaos. Their study in a paper published in Nature, states they demonstrated that the Kondo resonance signature of a magnetic adatom located at one focus of an elliptically shaped quantum corral could be projected to, and made large at the other focus of the corral.

Friday, August 12, 2005

All this week, prices at the pump have been reaching record levels across the United States. Since yesterday, the price for a gallon of gasoline increased by as much as fifteen cents in some places. Large cities in California, such as San Francisco and Los Angeles, have reported gas prices that top $3.00 a gallon for regular grade, twenty cents higher than the state’s average of $2.80. Chicago is reporting gas prices beyond $2.80. These price hikes are a direct reflection of the record price of crude oil at $67 per barrel and the fact that 12 U.S. refineries have reported issues that have affected output.

These price increases are concerning some who worry that those with considerable financial hardships will endure more of a burden. A poll was conducted for The Associated Press and America Online News about whether or not these gas prices will cause problems with people’s personal finances and the poll found that 64 percent say gas prices will cause money problems for them in the next six months, while 35 percent did not think so.

According to a AAA Texas motor club spokesman, additional price increases will more than likely continue into the weekend.

Thursday, June 5, 2008

Nearly 20,000 websites have been attacked by unknown malicious computer users using a technique known as an SQL injection. The attackers have inserted code to install malware onto visitors’ computers. The code exploits a newly-discovered weakness in Adobe Flash Player, a very common web-browser plugin. The attacks prompted an investigation by the Taiwanese information security industry into the source of these attacks.

An SQL injection is a common method employed by malicious users to attack and deface websites, arising from website mistakes in checking user input. Attackers take advantage of these weaknesses to inject information of their choosing into the website. For example, in June of 2007, Microsoft UK found its webpage changed to a picture of the Saudi Arabia flag, an attack which was carried out using an SQL injection.

According to SecurityFocus, this most recent series of attacks stems from a vulnerability in versions 9.0.115.0 and 9.0.124.0 of Flash Player. It allows attackers to load any code they wish onto a computer running these versions of Flash.

As the vulnerability in Flash is newly discovered, Adobe has not yet released a newer version which fixes the problem. For the time being, computer security experts recommend that internet users with one of the unprotected versions of Flash disable the plug-in on Mozilla Firefox or Internet Explorer to prevent malicious users from gaining control over their computers.

The most recent version of the Flash Player, version 9.0.124.0, does not appear to be vulnerable to this exploit.