Thursday, February 23, 2006

Buffalo, New York —

Residents and business owners in the Elmwood Avenue neighborhood and surrounding area in Buffalo heard a competing proposal for development in their neighborhood at the February 22 meeting held at the Burchfield-Penney Art Gallery, at Buffalo State College. The meeting, attended by at least 140, was originally to consider the Elmwood Village Hotel but also included a new revitalization proposal from Rocco Termini which would increase retail space, but involves less demolition and no hotel.

Rocco Termini, a Buffalo, New York developer wants to develop the corner of Elmwood and Forest, the same spot where Savarino Construction Services Corporation want to build the Elmwood Village Hotel.

Termini proposed that a similar revitalization take place on the intersection like one that incorporated 3 buildings on Aurburn and Elmwood just last year. Termini’s proposal will add more retail space than Savarino’s proposal with the possibility of including up to seven retail outlets.

“I just think it’s necessary to preserve the streetscape that we have. That’s the whole point of living and shopping on Elmwood,” said Termini. “You should be able to go into little shops, that have unique items, and that bring people to Elmwood. When you bring a big box on Elmwood Avenue, it takes something away from the urban-streetscape, just as suburban areas do not want a big box Wal-Mart. We don’t want a big box on Elmwood avenue and I think that’s just what this (the hotel) does, brings a big box to Elmwood,” said Termini.

When asked if there were any development companies currently interested in his proposal Termini said, “I will be willing to take a look at this myself,” said Termini. “Or I would be more than happy to be partners with Sam, Sam Savarino,” who is President and Chief Executive Officer of Savarino Construction Services Corp.

An unnamed source close to the project stated, “Rocco has serious concerns that the Mobius’s asking price could make his project infeasible.”

It is unknown if Savarino Construction or the city of Buffalo will consider Termini’s proposal.

Termini purchased and developed several buildings and areas including the Ellicott Lofts on Ellicott Street in Buffalo, which opened in 2003, The Oak School Lofts which used to be a Buffalo Alternative School, and ‘IS’ Lofts on Oak Street in Buffalo.

Eva Hassett, Vice President of Savarino Construction, and Karl Frizlen an architect from The Frizlen Group and designer of the hotel commented on the development proposal. Hassett said, “We’ve been thinking about it and trying to put it together for the last few months, and it was made public a couple of weeks ago.”

“There are lots of different areas you can look at. This is an Elmwood Avenue hotel. Putting it somewhere else makes a completely different kind of hotel. We wanted a hotel that people could walk to from the business on Elmwood. We wanted a hotel that people could walk to from the Albright Knox Art Gallery. This is really a location for this kind of hotel. Other locations end up being for other kinds of hotels,” said Hassett

“We are excited about the concept of a boutique hotel at this corner. We think it makes sense to the various businesses in the area or the galleries just down the street. We also believe that this is a way for the visitors of Buffalo to experience what the best of what Buffalo has to offer. We think it will be a great way for people from out of town, to get to know what we know about the city,” said Hassett.

Although Hassett had said that the proposal has only been around “for a few months”, Karl Frizlen said that he came up with the idea “three years ago when Hans Mobius,” former owner of the properties at risk, “came to me and asked what we could do with these properties.” Frizlen also said that he introduced Mobius to “four different developers, who after seeing the properties, did not want to tackle them, saying that they felt like it was too much for them to take on.”

Hans Mobius did not attend last nights meeting.

Frizlen is also designing the former telephone company building at 504 Elmwood which would be a “mixed use building with retail on the lowest level and lofts on the other two floors.”

After speeches from developers, residents and business owners were invited to present questions and comments.

Mark Freelend, a Buffalo resident, and local artist, said “I’m looking at my house in the picture, and I’m picturing all the houses on Granger street behind me, and I’m realizing that, if this is implemented (the hotel), we will get zero sunlight. The Sun is supposed to be free, for everyone. The people on Granger are going to have eighty windows looking at them and their children being raised, and playing in the backyard, guests looking in the windows of their houses twenty-four hours a day. A million people starring into their houses. No sunlight, and they are on permanent reality TV. Put a price on that!”

“I think this hotel is totally out of scale to the area and it does not conform to the style (of Elmwood) at all. It will totally obscure the gateway of Elmwood. The gateway now has open arms that allow for passage and view into the commercial corridor. This hotel stands as a brick wall as far as I can tell,” said Nancy Pollina one of the owners of Don Apparel at 1119 Elmwood. Pollina referenced to the recent ‘revitalization’ project on Auburn and Elmwood saying, “That building was boarded up for years, and that was beautiful a renovation. That building was not in any less need of repair than Hans Mobius’s properties.”

Both residents and business owners in the area are concerned that the proposal is moving too quickly and said that the developers should wait before having any city meetings and wait for a consensus from the community on the hotel.

Mrs. Pollina said, “I think people feel passionate about their neighborhood, and this is their neighborhood. I feel that what was most shocking is that the city’s planning board meeting and Common Council meeting, which are they need to push this through, is next week without almost no notice. This (the proposal) is being rushed.

However; Sam Savarino did say that “some people have gotten emotional about this project. And I want to let the community know that we will listen to what you have to say. We’re not forcing this down anybody’s throat. If this is not something this community wants, we do not want to have it here.”

The city’s Planning Board is expected to meet on February 28, 2006 at 8:00am in room 901 on the 9th floor of City Hall. The city’s Legislative Committee meeting of Common Council is expected to take place on the same day at 2:00pm in Council Chambers on the 13th floor of City Hall.

It has just been confirmed from an unnamed source close to the project that “significant changes” will be made to the design of the Elmwood Village Hotel. “Its not being cancelled, just redesigned,” he said. The changes are not yet known, but they are could be released “tomorrow. He (Savarino) doesn’t want it released until he touches base with a few people today.”

Thursday, August 30, 2007

It has been confirmed that eight thoroughbred race horses at Randwick Racecourse in Sydney have been infected with equine influenza. Randwick has been locked down, and is expected to remain so for up to two months.

It is expected that the virulent flu will affect the majority of the 700 horses stabled at Randwick. NSW Minister for Primary Industries said the facility would be quarantined until 30 days after the last sign of the flu.

The cases are the first infections of race horses, despite infecting dozens of recreational horses across NSW and Queensland. The flu is highly contagious but cannot be transmitted to humans. The national racing shutdown was costing the industry tens of millions of dollars every day.

Chief Executive of Racing NSW, Peter V’Landys said while racing had been disrupted since a ban on horse movements last weekend today was a “grim, black day” for the racing industry in NSW. Racing is expected to resume in all Australian states except NSW and Queensland on the weekend.

While Sydney’s spring racing carnival has been canceled, Melbourne’s is expected to kick off this weekend with the Caufield Cup. The cup will be ran with special precautions in place to attempt to keep the state free of the virus. Contact between the general public and those working with the horses will be banned and Sydney-based jockeys Darren Beadman and Hugh Bowman and a number of interstate trainers including Bart Cummings are not allowed to take part.

Federal Minister for Agriculture, Peter McGauran said the spring carnival in Melbourne will remain “largely intact” despite losing some of the biggest names in Australian racing.

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.

Wednesday, April 18, 2007

Natural Balance Pet Foods has recalled some of its wet and dry food for cats and dogs after several owners said that their pets were becoming sick. The company urges owners to stop feeding their pets the food immediately.

The brands recalled include Venison & Brown Rice Dry Dog Food and Venison & Green Pea Dry Cat Food.

Last month, Menu Foods recalled all of its 60 million products of dry and wet dog and cat food after pets began to fall ill and in some cases died of kidney failure.

“Natural Balance, Pacoima, CA, is issuing a voluntary nationwide recall for all of its Venison dog products and the dry Venison cat food only, regardless of date codes. The recalled products include Venison and Brown Rice canned and bagged dog foods, Venison and Brown Rice dog treats, and Venison and Green Pea dry cat food. Recent laboratory results show that the products contain melamine. We believe the source of the melamine is a rice protein concentrate. Natural Balance has confirmed this morning that some production batches of these products may contain melamine,” said a press released issued by Natural Balance.

The FDA states that the “investigation remains open and active, and the agency continues to follow leads to get closer to the root cause of the problem and to ensure that all contaminated product is removed from the market.”

“The source of the melamine appears to be a rice protein concentrate, which was recently added to the dry venison formulas. Natural Balance does not use wheat gluten, which was associated with the previous melamine contamination,” said the press release.

Bags, cans and zip lock bags of the food are expected to be the most affected.

“The products are packaged in bags, cans and zip lock treat bags and sold in pet specialty stores and PetCo nationally. No other Natural Balance products are involved in this voluntary recall as none of our other formulas include the rice protein concentrate,” added the press release.

The company states that the food, Venison & Brown Rice Dry Dog Food and Venison & Green Pea Dry Cat Food, are the only brands affected by the recall.

Friday, October 16, 2009

A man has been arrested and charged after the assault of British singer Leona Lewis, which occurred on Wednesday. The attacker turned out to be 29-year-old Peter Kowalczyk, who suffers from a health condition called anaemia, which causes a reduction from the normal number of red blood cells. The condition also causes a decrease in oxygen-binding ability. His parents said that it “affects his state of mind”. He had also been suffering from a series of psychological problems, of which he was getting music therapy for from the National Health Service (NHS).

It was thought that he attacked Leona Lewis out of envy because she had won the third series of The X Factor UK, whereas he was turned down from the show, according to British tabloid The Sun. On Wednesday, Leona was signing copies of her autobiography “Dreams” for attending fans in a Waterstone’s book specialist store in the Piccadilly region of London, England. Kowalczyk was believed to be waiting for five hours to get an autobiography signing. When he did attack Lewis, he was immediately wrestled to the ground by security guards at the scene, while Leona was escorted away. The attack left a large bruise on her head.

Peter has been arrested and charged with assault. He was placed into a psychiatric hospital and sectioned under the Mental Health Act 2007 on Thursday. As a result of this incident, Leona Lewis has cancelled a trip to Germany, where she would have signed more copies of her autobiography. The 24-year-old singer is now being cared for in her East London home by Jo and Maria, her parents, and is also being comforted by Lou Al-Chaama, her boyfriend. It has been reported that Kowalczyk is due to appear in a court in late October 2009.

Thursday, October 5, 2006

A volcano alert has been issued after a moderate 2.8 magnitude earthquake occurred at Mount Ruapehu last night at 10.30 p.m. (NZDT). The quake also broke the Crater Lake cable which generated a call-out from the lahar response team.

The New Zealand Department of Conservation has issued a high risk warning for the crater at Mount Ruapehu and Dave Wakelin, community relations officer for Tongariro-Taupo, said: “The warning was issued Thursday morning, in case more volcanic activity follows.”

It is yet to be confirmed if there was an eruption, as poor weather made it hard to see the crater from plane. Craig Miller, vulcanologist for Geological and Nuclear Sciences (GNS Science), said: “I had hoped to see if the lake was surrounded by blackened snow. All we could see was cloud.” Steve Sherburn, duty vulcanologist for GNS Science, said: “The cause of the alert would remain uncertain until the weather cleared and there could be a proper examination. Part of the DOC lahar monitoring system appears to have been damaged at the time of the earthquake which suggests there may have been an eruption, but other monitoring data says that any eruption must have been relatively small.” If there was an eruption it was probably only a small one.

The alert level is remaining at one, which means there are signs of volcanic unrest.

Monitoring of Mount Ruapehu will continue.

This was the first reported call-out since 1995.

Saturday, January 14, 2006

Israeli Prime Minister Ariel Sharon remains in a coma after 10 days.

Medical experts on the outside say that Sharon’s failure to regain consciousness does not look well for his recovery.

On Wednesday, doctors began reducing the level of sedatives with the intent of drawing Sharon out of an induced coma. Hospital officials say that Sharon remains “lightly sedated”, but are not sure when he will wake up once they stop giving him the sedatives.

New reports say an EEG has shown that Sharon has activity on both sides of his brain and doctors say that’s the most “promising” signs they have had since they started to bring him out of the coma. Doctors also say that activity in both lobes doesn’t indicate anything about the extent of the brain damage. “It is another piece of information that on its own means nothing,” said Dr. Gal Ifergan, a neurologist at Soroka Medical Center in Beer Sheva, who is not treating Sharon.

Although he has activity on both sides of his brain, Sharon could still have extensive brain damage, Ifergan said. He also said that it’s “very worrisome that he hasn’t woken from his coma”, yet.

There are 2 major types of stroke, and Sharon has had both. The first was a mild stroke Dec. 18 caused by a blood clot that lodged in an artery in the brain, cutting off blood flow and causing minor damage. The second occurred just one day before he was scheduled to undergo surgery to repair a hole in his heart. This one was a severe cerebral hemorrhage

“After nine days he has had very slow progress and that indicates more permanent injury to a level where his quality of life is affected,” Dr. Demetrius Lopes, a Rush University Medical Center neurosurgeon said. “And then decisions will have to be made,” he added.

Sharon’s condition is still critical but stable.