Wednesday, October 5, 2005

Government delegates are meeting this week at the World Intellectual Property Organization (WIPO) general assembly in Geneva to discuss the WIPO Development Agenda. The meeting will determine how developing countries must implement existing controversial intellectual property rights laws including copyrights, patents, and trademarks. They will also consider the disputed proposal for a global Treaty on the Protection of Broadcastings and Webcasting Organizations.

The Broadcastings/Webcasting Treaty proposal, pushed by traditional broadcast organizations, and lobbyists for a handful of Internet publishers, including Yahoo, is being pushed hardest by the United States government, which ironically, has never considered such legislation domestically. The treaty would create a new layer of intellectual monopoly rights for broadcasters, potentially including ‘webcasters’. Broadcasters would then be able to claim rights over material they broadcast–even material that was in the public domain or licensed under creative commons or copyleft licenses.

Many developing countries including Brazil, South Africa, India, Iran, Chile, and Venezuela are asking for time to evaluate and study the proposals, and opposition to the treaty has been registered by numerous NGOs and public interest advocates. Fearing a repeat of the Digital Millennium Copyright Act (DMCA), when US copyright law was made more strict to conform to WIPO standards, a coalition of U.S. NGOs is currently circulating a sign on letter calling for public hearings on the implications of the Broadcaster Treaty.

In a recent Financial Times article Professor James Boyle (Law, Duke University) [1] raised objections to the Broadcasting/Webcasting Treaty, saying “intellectual property laws are created without any empirical evidence that they are necessary, or that they will help rather than hurt”. He elaborated that such laws are made “as though it were just a deal brokered between industry groups,” and that concerns for “public interest in competition, access, free speech, and vigorous technological markets takes a back seat.” Professor Boyle fears that “communications networks are increasingly built around intellectual property rules” with harmful effects.

Sunday, January 14, 2007

Western Australian government authorities say they believe a toxin may be responsible for the recent mysterious death of an estimated 5,000 birds found in the area of Esperance – on the state’s south eastern coastline. Autopsies by toxicologists from the WA Department of Agriculture will test for organochlorins, organophosphates and heavy metals.

Esperance residents first noticed large numbers of dead birds littering their streets and gardens on December 7 last year. Populations of honeyeaters, wattle birds and miners have reportedly been effected.

The birds were being found vomiting and convulsing in bushland and suburban backyards over an extensive area. Department of Environment and Conservation‘s (DEC) nature conservation coordinator Mike Fitzgerald says toxic wetlands near Esperance are the most likely reason for the mass bird deaths.

The DEC says it has failed to figure out the cause of death despite interviewing industry groups, farmers, grain handlers and timber companies about pesticide and chemical use.

Birds Australia, the peak group dedicated to the conservation, study and enjoyment of Australia’s native birds and their habitats, said it had not heard of a similar occurrence. “Not on that scale, and all at the same time, and also the fact that it’s several different species,” chief executive Graeme Hamilton told the Sunday Times. “You’d have to call that a most unusual event and one that we’d all have to be concerned about.”

Mike Fitzgerald said the DEC were looking at something “pretty potent.” “This is not a normal situation. The common thing that we have seen and heard is that the affected birds have an insatiable thirst… If it turns out to be a toxin that is responsible, that will raise more questions because there is no obvious source of exposure.”

The deaths could be a result of a drier than normal winter, causing algal and bacterial blooms in the Esperance Lakes Nature Reserves. Esperance recorded 457mm rainfall in 2006; the average is 620mm.

Initially, health authorities feared a virus, such as the deadly avian bird flu, was responsible. That was quickly ruled out, along with poisoning from bacteria or eating poisoned insects.

The first deaths were reported by Esperance resident Michelle Crisp – who lives close to the worst-affected area. Dozens of native birds began dying in her back yard a week before Christmas. She says she contacted neighbours to discover if they were experiencing the same thing. Mrs Crisp found four dead birds, then 16, then 30 and finally up to 80.

Mike Fitzgerald said that any one of hundreds of toxins could be causing the deaths but so far all leads had not produced any answers.

Wednesday, March 2, 2005

Bucharest, Romania — The city centre of Bucharest, the capital of Romania, is set to get a major facelift due to a real estate project called Esplanada (The Esplanade), which will be constructed by TriGranit Development Corporation. The total investment in the project will be greater than 800 million euro and aims to build a modern commercial pedestrian area in downtown Bucharest, with several shopping malls, office buildings, hotels and dwellings. It will be the largest real estate program in Romania since the fall of Communism in 1989.

Bucharest is currently looking at possibilities to improve its appearance and rebrand itself as a lively, creative and vibrant city. Many initiatives have sprung up to improve the city, including the organisation of CowParade later this year. Additionally, the old town centre will be restored. Due to Romania’s current economic boom, several other major construction projects are taking place.

Bucharest City Hall has blocked traffic in the city center due both to the old town restoration and to the Esplanada project.

Thursday, September 19, 2013

File:CyanogenMod Cid.svg

The developers of CyanogenMod, an open source free Android-based operating system for smartphones, announced yesterday their incorporation following a successful venture capital campaign which netted the open-source project a US$7 million nest egg, and plan to roll out a simple installation app on Google Play for their Android firmware.

Android runs nearly 80% of new mobile devices; CyanogenMod operates on at least 7 or 8 million of those. CyanogenMod replaces the read-only-memory image in android devices which have been ‘rooted’ —control acquired of the device’s superuser account— allowing continuing development for, and backporting abilities of new generations of the operating system to, older devices.

Investor Mitch Lasky wrote on his blog “We believe that CM is poised to become one of the largest mobile operating systems in the world.” Benchmark Capital and Redpoint Ventures are part of the capital providers to form Cyanogen Inc.

“The only limitation we have right now is with the number of engineers and designers we currently have. As we hire more people and build this company, we’ll be able to work on so many cool things”, said Koushik ‘koush’ Dutta, who took questions alongside Steve ‘cyanogen’ Kondik and team social media manager Abhisek “ciwrl” Devkota in a Reddit Ask Me Anything event shortly after making the announcement on the CyanogenMod blog. The team of 17, including Boost co-founder Kirt McMaster as CEO, are in Palo Alto, California and Seattle.

Kondik says Cyanogen mod is named after him. “I’m terrible with names, so I just slapped ‘mod’ onto the end of my handle and ran with it”, he explained in the incorporation announcement.

An early question raised in the Reddit event concerned profit-making: “Monetization isn’t an immediate concern and our investors […] feel the same”, said Dutta, adding “Creating disruption in a multibilion dollar market is enough to make any investor raise their eyebrow.” This means CyanogenMod would continue to be free. Follow questions asked if the company was planning to release their own model of android device. “We certainly couldn’t take on the monumental task of building/testing hardware [right now]. Hardware would be one of many potential very long term paths we could take”, said Dutta.

The firm’s first announced step is to improve the process of installing the software on owner’s devices, which Kondik described as “hideous”. A new installer app is planned to be released “in the coming weeks” on Google Play. The installer app will not require rooting the device, instead installing by simply clicking a button.

A further step, broadly described without any details, is a project with an unnamed original equipment manufacturer (OEM). “We have a least one OEM partnership in the works, there will be an announcement next week regarding our plans there”, said Kondik. The team mentioned OEM licensing several times during the Q&A session on Reddit.

In addition to these corporate steps, there were questions regarding the roadmap for development of the ROM, which already has improvements regarding privacy and security over the native android loader. With “plenty of things in the product pipeline already” Dutta lists additional security features, AirPlay mirroring, screen recording, and Voice+ as upcoming. The mood throughout the event was jovial, with humourous questions such as “can you guys PLEASE release a CM build for my toaster? I’m not sure what model it is, but it’s white and I got it at Savers.” Kondik promised “Ship it to me and I’ll duct tape a G1 running CM to it”. Dutta said his “10 of your favorite lines of source code” are “The ones that worked when they shouldn’t have.”

Sunday, April 17, 2005

The Norwegian Dawn, a 965-foot-long luxury vessel, was struck by “a freak wave that caused two windows to break in two different cabins,” the owners, Norwegian Cruise Line, said in a statement. It changed course, docking in Charleston late Saturday afternoon instead of completing its planned travel to New York.

The wave, estimated at 7-stories-high, flooded 62 cabins and injured 4 passengers with cuts and bruises. Company spokeswoman Susan Robison said the wave reached to deck 10.

The hull was damaged but the vessel was not in any trouble, according to the Coast Guard, and the safety of the ship “was in no way compromised by this incident.” Passengers were told to don their flotation jackets anyway.

The ship left New York last Sunday on a week-long round-trip cruise to and from the Bahamas.

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.