Friday, October 17, 2008

Muslim Somali workers at a meat packing plant in Grand Island, Nebraska wanted to pray. Their colleagues from Latin America wanted to work. A dispute over the company’s break schedule led to formal discrimination claims, mass job walk-offs and public protests by both sides last month, and a reported 200 firings.

Tensions at the plant began after a Federal government raid in December 2006 removed 200 undocumented workers. An equal number of employees quit shortly afterward. Altogether, six government immigration raids at meat packing plants of Brazilian-owned JBS Swift & Co. had removed 1,200 employees from the company’s work force, which caused substantial production problems. Management at the Nebraska plant responded by hiring approximately 400 Somali immigrants who resided in the United States legally as political refugees. Stricter Federal enforcement of immigration laws has had a significant impact on the meat packing industry because few native-born Americans are willing to work in its low-wage factories. Employers advertise to immigrant communities and after the immigration crackdowns the company turned to the Somali community, which was unlikely to be targeted for deportation.

Many of the new Somali workers were observant Muslims who wanted to practice the traditional religious prayer schedule, and few spoke English. The existing union contract had been negotiated before Muslims became a significant part of the factory work force, when religious needs had not been an issue, and break times were assigned according to a rigid schedule to ensure continuous production and prevent workers from working too long without a break. The sharp knives the meat packers wield for their job pose a substantial risk of accidental injury.

At first the Somali workers prayed during scheduled breaks and visits to the rest room. A few Somalis were fired for “illegal breaks” they had spent praying. Rima Kapitan, a lawyer who represents the Muslim meat packers of Grand Island, told USA Today, “they shouldn’t be forced to choose between their job and their religion.” The Somalis offered to let their employer deduct pay for time at prayer, but supervisors considered it unworkable to lose the labor of hundreds of people simultaneously, even if the interruptions lasted less than five minutes.

Plant worker Fidencio Sandoval, a naturalized United States citizen who was born in Mexico, had polite reservations. “I kind of admire all the effort they make to follow that religion, but sometimes you have to adapt to the workplace.” An immigrant from El Salvador was less sympathetic. “They used to go to the bathroom,” said José Amaya, “but actually they’re praying and the rest of us have to do their work.” Raul A. García, a 73-year-old Mexican meat packer, told The New York Times, “The Latino is very humble, but they [the Somalis] are arrogant… They act like the United States owes them.”

Differences of opinion arose over whether the prayers, which are a religious obligation five times a day for practicing Muslims and vary in exact time according the position of the sun, constitute a reasonable accommodation or an undue burden upon non-Muslim coworkers. Abdifatah Warsame, a Somali meat packer, told The New York Times that “Latinos were sometimes saying, ‘Don’t pray, don’t pray’”.

As the Muslim holy month of Ramadan approached during 2007 the Somalis requested time off for religious reasons. Observant Muslims fast throughout daylight hours during Ramadan. Management refused, believing it would affect the production line. Dozens of Somali workers quit their jobs temporarily in protest. Negotiations between the Somali workers and management broke down in October 2007. Some of the fired Somalis filed religious discrimination complaints with the U.S. Equal Employment Opportunity Commission.

Problems resurfaced after September 10, 2008 when Somali workers approached plant general manager Dennis Sydow with a request to start their dinner half an hour before the usual schedule in order to break their Ramadan fast closer to sundown. Sydow refused due to concern the request would slow production and burden non-Muslim workers. During the same month a Somali woman complained that a plant supervisor had kicked her while she was praying. The union investigated the charge and the supervisor responded that he had not seen her while she bent in prayer and had only kicked the cardboard that was underneath her.

Somali workers walked out on strike September 15 and protested at Grand Island City Hall, asking for prayer time. The following day the union brokered a compromise with plant management to move the dinner break by 15 minutes. Plant scheduling rules would have reduced the work day by 15 minutes with resulting loss in pay for the hourly workers.

A Somali worker, Abdalla Omar, told the press “We had complaints from the whites, Hispanics and [Christian] Sudanese“. False rumors spread about further cuts to the work day and preferential concessions to the Somalis. Over 1,000 non-Somalis staged a counterprotest on September 17. Union and management returned to the original dinner schedule. Substantial numbers of Somali workers left the plant afterward and either quit or were fired as a result. Sources differ as to the number of Somalis who still work at the plant: The New York Times reports union leadership as saying 300 remain, while Somali community leaders assert the number is closer to 100.

The EEOC has sent staff to determine whether treatment of Somali workers has been in compliance with the The Civil Rights Act of 1964. Under the law, employers must make reasonable accommodation for religious practices, but the law grants exceptions if religious practice places substantial hardship on an employer’s business.

Doug Schult, the JBS Swift manager in charge of labor relations, expressed frustration at the inability to resolve the problem, which had surfaced in a Colorado plant as well as the Nebraska plant. He told The Wall Street Journal that his office had spent months trying to understand and comply with new EEOC guidelines in light of conflicting pressures. Local union chapter president Daniel O. Hoppes of United Food and Commercial Workers worries that similar problems could continue to arise at the plant. “Right now, this is a real kindling box”.

Wednesday, June 12, 2013

In May, periodical cicadas with 17 years life cycle emerged on the East Coast of the USA after underground development as juveniles since 1996. Researchers and scientists worked to map and study the rare wave, and the locals prepared for the noisy event. First recorded in 1666, the Magicicada septendecim species recently emerged in 1979, 1996, this year, with a next wave due in 2030.

This week, Wikinews interviewed Chris Simon, an ecology and evolutionary biologist at University of Connecticut, about the cicadas.

((Wikinews)) What caused your initial interest in periodical cicadas?

Chris Simon: As an undergraduate student, I was interested in the formation of species so when I went to graduate school I looked for a study organism that was likely to be in the process of forming new species. I chose periodical cicadas because they are broken up into reproductively isolated broods (or year classes). Reproductive isolation leads to speciation so I planned to study biochemical differences among the broods.

((WN)) You study the emergence of the periodical cicadas. What do you study? What observations are you making?

CS: We record exactly where each cicada population emerges (using GPS automated mapping and crowd sourcing). We record the presence or absence of each of the three morphologically distinct species groups of periodical cicadas (Decim group, Cassini group, and Decula group). We collect specimens for DNA analysis. We look for cicadas coming up one and four years early and late. We dig up cicada nymphs and monitor their growth rates.

((WN)) What equipment do you use?

CS: Nets, shovels, automated GPS recorders, cameras, laptop computers, automated DNA sequencers.

((WN)) Do you study the periodical cicadas with anyone else? What is their role?

CS: Yes, there are a large number of people studying periodical cicadas in my lab and in other labs. My lab is made up of Research Scientists, Postdoctoral Researchers, a technician, graduate students, and undergraduates. Research Scientist John Cooley is the leader of the GPS mapping project; he invented the automated GPS recorder; he built our crowd-sourcing website, and he is instrumental in public outreach. Postdoctoral research David Marshall also participates in the mapping project and leads the part of the research related to the mapping of stragglers. John and Dave and Technician Kathy Hill all study periodical cicada mating behavior and conduct mating and hybridization experiments. One of my graduate students Beth Wade has participated in the nymph collections and will soon start genetic work involving genome wide association mapping designed to locate genes related to life cycle. My graduate student Russ Meister is studying the genes of the bacterial endosymbionts of cicadas. My current undergraduate honors student Erin Dwyer is also studying the development of Magicicada nymphs and is helping to design a lab exercise for college students around the eastern US to do the same. Many of my past undergraduate students have studied the biochemical genetics and development of periodical cicadas. See the Simon Lab website.

CS: We are collaborating with Teiji Sota at the University Kyoto and Jin Yoshimura at Shizuoka University in Japan. They are studying the phylogeography of Magicicada. We are collaborating with John McCutcheon of the University of Montana who is studying the endosymbiont genomes.

CS: We are also collaborating with ecologists Rick Karban and Louie Yang, both professors at UC Davis who have an interest in cicada population dynamics and nutrient cycling in the ecosystem.

((WN)) You studied the periodical cicadas in 1979 and 1996 too. What changes with time?

CS: I have studied periodical cicadas since I was a student back in 1974. What changes with time is increased human development constantly shrinking the patch size of cicada populations.

((WN)) What are your thoughts on the long life span of the periodical cicadas? Why could it be so? What advantages and what disadvantages does it have?

CS: Most or all cicadas have long life cycles compared to your typical annual insect. Examples have been found of two-year to 9-year cycles in different species. Periodical cicadas evolved an even-longer life cycle and I think that part of this relates to the evolution of their synchronized life cycles and peculiar safety-in-numbers strategy for survival. To become synchronized, periodical cicadas had to evolve an exact length life cycle and all adults would have to appear in the same year. Because the nymphs grow at different rates underground, a longer life cycle and a way of counting years must have evolved so that the individuals that get to the last nymphal (underground juvenile) stage first would wait long enough for all other individuals in the population to become ready to emerge.

((WN)) News reports mention this is ‘Brood II’ of the periodical cicadas. What are the distinctive features of this specific species and what is its full scientific name?

CS: The same species exist in multiple broods. No species is restricted to Brood II. The three species present in Brood II are: Magicicada septendecim, M. cassini, and M. septendecula. These same three species are found in every 17-year brood (except the farthest north which only has M. septendecim).

((WN)) At what depth do the cicadas juveniles live underground?

CS: Most live within the top foot of soil but some have been found deeper. We do not know if they go deeper in winter. We need to do much more digging to understand the nymphs.

((WN)) How do people prepare for the cicada emergence?

CS: Of course various people prepare in different ways. Ideally, everyone prepares by studying information available on the web (especially on our websites Magicicada Central and Magicicada.org).

((WN)) Do cicadas affect transport in the local area?

CS: No, not really. Occasionally individuals can be seeing flying across highways and sometimes they smash into cars.

((WN)) Do cicadas usually stay outside or do they also invade houses too?

CS: They stay outside. One might accidentally fly in through an open window but that would be rare.

((WN)) What do the cicadas eat?

CS: Cicadas suck xylem fluid (the watery fluid coming up from the roots of plants) in deciduous forest trees and herbs. Essential amino acids in the cicada diet are supplied by their bacterial endosymbionts. There are two species of endosymbionts. One makes 8 essential amino acids and one makes two essential amino acids.

((WN)) Do cicadas damage crops or city vegetation? What damage?

CS: Cicadas do not chew leave so they do not damage crops like other insects. They can inflict some damage by their egg laying. Cicadas lay eggs in pencil-sized tree branches. If there are not enough branches available, too many female cicadas may lay eggs in a single branch weakening it and making it susceptible to breakage by wind. This can sometimes cause damage in fruit orchards. If the branches break, the eggs die so this behavior is selected against by natural selection.

((WN)) Thank you.

CS: You’re welcome. I am happy to have this opportunity to communicate with your readers!

Saturday, February 24, 2007

On 19 February 2007, XM Satellite Radio and Sirius Satellite Radio announced a move that will change the face of satellite radio in the United States and Canada: XM and Sirius will be merging, creating a single satellite radio provider.

Multi-million dollar losses, combined with increasing competition from internet radio, downloadable music, and HD radio were factors in this merger.

Mel Karmazin, CEO of Sirius Satellite Radio, described the problem: “We don’t want to take subscribers from XM. We won’t make money that way. We need new subscribers.” Likewise, XM executives say they can’t succeed by stealing Sirius subscribers. This leaves both companies with the problem of attracting new customers and distinguishing their brand, while at the same time trying to convince potential customers to pay $12.95 a month for radio, something that people are used to getting for free. Even if one company were to force the other out of the marketplace, the remaining company would have won a Pyrrhic victory, without enough capital remaining to take advantage of the situation.

The solution: make a deal now, while both companies are both strong and in a position to expand their technologies and services. That’s exactly what they plan to do: In press releases and news postings on both of their web sites, both companies have pledged to make the combined company better than either service by itself. “You’ve heard of 1+1=3,” Karmazin said during an invester conference call, “that’s what this is.”

Pending approval of the deal, each share of XM stock will be replaced with 4.6 shares of Sirius. Each company’s stockholders will retain approximately 50% of the joined company. Sirius CEO Mel Karmazin will retain his CEO title in the new company, and XM chairman Gary Parsons will retain his. XM CEO Hugh Panero will retain his position until the merger is complete, which should happen near the end of 2007.

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.

Tuesday, January 28, 2014

Evansville, Indiana, United States — This past week marked the opening night of an Andy Warhol exhibit at the University of Southern Indiana. USI’s art gallery, like 189 other educational galleries and museums around the country, is a recipient of a major Warhol donor program, and this program is cultivating new interest in Warhol’s photographic legacy. Wikinews reporters attended the opening and spoke to donors, exhibit organizers and patrons.

The USI art gallery celebrated the Thursday opening with its display of Warhol’s Polaroids, gelatin silver prints and several colored screen prints. USI’s exhibit, which is located in Evansville, Indiana, is to run from January 23 through March 9.

The McCutchan Art Center/Pace Galleries at USI bases its exhibit around roughly 100 Polaroids selected from its collection. The Polaroids were all donated by the Andy Warhol Photographic Legacy Program, according to Kristen Wilkins, assistant professor of photography and curator of the exhibit. The Andy Warhol Foundation for the Visual Arts made two donations to USI Art Collections, in 2007 and a second recently.

Kathryn Waters, director of the gallery, expressed interest in further donations from the foundation in the future.

Since 2007 the Andy Warhol Photographic Legacy Program has seeded university art galleries throughout the United States with over 28,000 Andy Warhol photographs and other artifacts. The program takes a decentralized approach to Warhol’s photography collection and encourages university art galleries to regularly disseminate and educate audiences about Warhol’s artistic vision, especially in the area of photography.

Wikinews provides additional video, audio and photographs so our readers may learn more.

Wilkins observed that the 2007 starting date of the donation program, which is part of the Andy Warhol Foundation for the Visual Arts, coincided with the 20th anniversary of Andy Warhol’s death in 1987. USI was not alone in receiving a donation.

K.C. Maurer, chief financial officer and treasurer at the Andy Warhol Foundation, said 500 institutions received the initial invitation and currently 190 universities have accepted one or more donations. Institutional recipients, said Mauer, are required to exhibit their donated Warhol photographs every ten years as one stipulation.

While USI is holding its exhibit, there are also Warhol Polaroid exhibits at the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York and an Edward Steichen and Andy Warhol exhibit at the Mary & Leigh Block Museum of Art at Northwestern University in Evanston, Illinois. All have received Polaroids from the foundation.

University exhibits can reach out and attract large audiences. For example, the Weatherspoon Art Museum at the University of North Carolina at Greensboro saw attendance levels reach 11,000 visitors when it exhibited its Warhol collection in 2010, according to curator Elaine Gustafon. That exhibit was part of a collaboration combining the collections from Duke University, located in Durham, North Carolina, and University of North Carolina at Chapel Hill, which also were recipients of donated items from the Andy Warhol Photographic Legacy Program.

Each collection donated by the Andy Warhol Photographic Legacy Program holds Polaroids of well-known celebrities. The successful UNC Greensboro exhibit included Polaroids of author Truman Capote and singer-songwriter Carly Simon.

“I think America’s obsession with celebrity culture is as strong today as it was when Warhol was living”, said Gustafon. “People are still intrigued by how stars live, dress and socialize, since it is so different from most people’s every day lives.”

Wilkins explained Warhol’s obsession with celebrities began when he first collected head shots as a kid and continued as a passion throughout his life. “He’s hanging out with the celebrities, and has kind of become the same sort of celebrity he was interested in documenting earlier in his career”, Wilkins said.

The exhibit at USI includes Polaroids of actor Dennis Hopper; musician Nick Rhodes of Duran Duran; publishers Jann Wenner of Rolling Stone Magazine and Carlo De Benedetti of Italy’s la Repubblica; disco club owner Steve Rubell of Studio 54; photographers Nat Finkelstein, Christopher Makos and Felice Quinto; and athletes Vitas Gerulaitis (tennis) and Jack Nicklaus (golf).

Wikinews observed the USI exhibit identifies and features Polaroids of fashion designer Halston, a former resident of Evansville.

University collections across the United States also include Polaroids of “unknowns” who have not yet had their fifteen minutes of fame. Cynthia Thompson, curator and director of exhibits at the University of Arkansas, Fayetteville, said, “These images serve as documentation of people in his every day life and art — one which many of us enjoy a glimpse into.”

Warhol was close to important touchstones of the 1960s, including art, music, consumer culture, fashion, and celebrity worship, which were all buzzwords and images Wikinews observed at USI’s opening exhibit.

He was also an influential figure in the pop art movement. “Pop art was about what popular American culture really thought was important”, Kathryn Waters said. “That’s why he did the Campbell Soup cans or the Marilyn pictures, these iconic products of American culture whether they be in film, video or actually products we consumed. So even back in the sixties, he was very aware of this part of our culture. Which as we all know in 2014, has only increased probably a thousand fold.”

“I think everybody knows Andy Warhol’s name, even non-art people, that’s a name they might know because he was such a personality”, Water said.

Hilary Braysmith, USI associate professor of art history, said, “I think his photography is equally influential as his graphic works, his more famous pictures of Marilyn. In terms of the evolution of photography and experimentation, like painting on them or the celebrity fascination, I think he was really ground-breaking in that regard.”

The Polaroid format is not what made Warhol famous, however, he is in the company of other well-known photographers who used the camera, such as Ansel Adams, Chuck Close, Walker Evans, Robert Mapplethorpe, and Helmut Newton.

Wilkins said, “[Warhol] liked the way photo booths and the Polaroid’s front flash looked”. She explained how Warhol’s adoption of the Polaroid camera revealed his process. According to Wilkins, Warhol was able to reproduce the Polaroid photograph and create an enlargement of it, which he then could use to commit the image to the silk screen medium by applying paint or manipulating them further. One of the silk screens exhibited at USI this time was the Annie Oakley screen print called “Cowboys and Indians” from 1987.

Wilkins also said Warhol was both an artist and a businessperson. “As a way to commercialize his work, he would make a blue Marilyn and a pink Marilyn and a yellow Marilyn, and then you could pick your favorite color and buy that. It was a very practical salesman approach to his work. He was very prolific but very business minded about that.”

“He wanted to be rich and famous and he made lots of choices to go that way”, Wilkins said.

Kiara Perkins, a second year USI art major, admitted she was willing to skip class Thursday night to attend the opening exhibit but then circumstances allowed for her to attend the exhibit. Why did she so badly want to attend? “It’s Warhol. He is a legend.”

For Kevin Allton, a USI instructor in English, Warhol was also a legend. He said, “Andy Warhol was the center of the Zeitgeist for the 20th century and everything since. He is a post-modern diety.”

Allton said he had only seen the Silver Clouds installation before in film. The Silver Clouds installation were silver balloons blown up with helium, and those balloons filled one of the smaller rooms in the gallery. “I thought that in real life it was really kind of magical,” Allton said. “I smacked them around.”

Elements of the Zeitgeist were also playfully recreated on USI’s opening night. In her opening remarks for attendees, Waters pointed out those features to attendees, noting the touches of the Warhol Factory, or the studio where he worked, that were present around them. She pointed to the refreshment table with Campbell’s Soup served with “electric” Kool Aid and tables adorned with colorful gumball “pills”. The music in the background was from such bands as The Velvet Underground.

The big hit of the evening, Wikinews observed from the long line, was the Polaroid-room where attendees could wear a Warhol-like wig or don crazy glasses and have their own Polaroid taken. The Polaroids were ready in an instant and immediately displayed at the entry of the exhibit. Exhibit goers then became part of the very exhibit they had wanted to attend. In fact, many people Wikinews observed took out their mobiles as they left for the evening and used their own phone cameras to make one further record of the moment — a photo of a photo. Perhaps they had learned an important lesson from the Warhol exhibit that cultural events like these were ripe for use and reuse. We might even call these exit instant snap shots, the self selfie.

Tuesday, January 15, 2008

Satire site Uncyclopedia, a parody of online encyclopedia Wikipedia, has been labeled by the Malaysian government as dangerous. The Internal Security Department of Malaysia issued the warning today, saying that the site has “messages and information insulting Malaysia”.

The warning notes the creation date of the website as being 5 January 2005, and hosted by Wikia, Inc., both of which are correct. However, it claims Wikia owns Wikipedia; Wikipedia is a charitable non-profit website owned by the non-profit Wikimedia Foundation, while Wikia is an independent, for-profit company.

The report evidently mentions that Uncyclopedia covers Malaysian “history, culture, the political leaders, the government, the national song and the name / history of the national flag,” none of which is “correct”. They accuse the website of helping to reinforce a bad international image of their country.

There are no reports of the site being blocked from access within the country, only this statement, which urges Malaysians not to circulate the content.

Uncyclopedia’s article on Malaysia begins:

The site has fired back with a parody article posted at the site under their UnNews section, titled Uncyclopedia Internal Security Department warns on Malaysia. The article suggests that the “Internal Security Department of the Uncyclomedia Foundation,” which is a facetious and fictitious parent organization of Uncyclopedia, identifies Malaysia “as a dangerous country… It warned its people not to use the country today.”

There are forty-seven individual language editions of Uncyclopedia, including Tolololpedia, which is written in Bahasa Melayu, the Malay language. This is in addition to fictional “language” editions which include Oscar Wilde, Newspeak, N00b, White Supremacist, and Re: PharmaccgRy.

Monday, October 11, 2010

Wikinews interviewed author Amy Scobee about her book Scientology – Abuse at the Top, and asked her about her experiences working as an executive within the organization. Scobee joined the organization at age 14, and worked at Scientology’s international management headquarters for several years before leaving in 2005. She served as a Scientology executive in multiple high-ranking positions, working out of the international headquarters of Scientology known as “Gold Base”, located in Gilman Hot Springs near Hemet, California.