Tuesday, January 30, 2007

This Monday Hewlett-Packard is to announce that it is expanding its partnership with SAP. The partnership will be working with NetWeaver around several new services. The company is also expected to mention about its new enterprise solutions that are currently in development.

Hewlett-Packard will offer its clients services for upgrading servers, storage and NetWeaver – SAP’s application builder platform meant for integrating business processes throughout different systems. Among other services that the company is going to provide comprise assessment, governance and some architecture services for R3.

The manager of Worldwide Packaged Applications for Enterprise Applications Services at HP Services Consulting & Integration, Tim Treat, stated that the company first of all looks at servers, storage and management and only afterwards it makes a proposal regarding the things that are to be updated. He mentioned that when Hewlett-Packard will work on upgrading servers and management, it will turn its attention towards Intel.

After performing all the upgrades, the company is going to offer its clientele a variety of services package options that are related to NetWeaver. The services offered by Hewlett-Packard will include: enabling the service, design and implementation, application development and management.

Tim Treat said that adaptive infrastructure is one of the company’s new things that are to come. Recently the company’s clients have put in place enough hardware capacity and infrastructure with the goal of supporting peak or quarter-end processes. However, a big amount of that capacity is unused till peak times. This is why Hewlett-Packard looks forward to bring solutions that are to allow users pay for the things they really use.

Treat also outlined the fact that, besides its new services, the company is to announce business-process consulting together with IDS Scheer – software and consulting company, which is one of the leading providers of Business Process Management and IT solutions.

Saturday, December 9, 2006

When radio host Jerry Klein suggested that all Muslims in the United States should be identified with a crescent-shape tattoo,”the switchboard went from empty to totally jammed within minutes.” Some callers agreed with Klein, one saying that, “Not only do you tattoo them in the middle of their forehead but you ship them out of this country … they are here to kill us.” Another caller added that America should, “set up encampments like during World War Two with the Japanese and Germans”

At the end of the show Klein revealed that that it had been staged as a hoax. “I can’t believe any of you are sick enough to have agreed for one second with anything I said,” he told his AM 630 WMAL audience which covers Washington D.C., Northern Virginia and Maryland

“For me to suggest to tattoo marks on people’s bodies, have them wear armbands, put a crescent moon on their driver’s license on their passport or birth certificate is disgusting. It’s beyond disgusting.”

“Because basically what you just did was show me how the German people allowed what happened to the Jews to happen … We need to separate them, we need to tattoo their arms, we need to make them wear the yellow Star of David, we need to put them in concentration camps, we basically just need to kill them all because they are dangerous.”

Council on American-Islamic Relations Communications Director Ibrahim Hooper commented:

Wednesday, March 9, 2005 File:Plastic bag stock sized.jpg

They are cheap, useful, and very plentiful, and that is exactly the problem, according to researchers. A report issued on Feb. 23 by a cadre of environment and economics researchers suggested that Kenya should ban the common plastic bag that one gets at the checkout counter of grocery stores, and place a levy on other plastic bags, all to combat the country’s environmental problems stemming from the bags’ popularity.

Wednesday, June 28, 2006

Across Australia more than 100,000 people have rallied to protest against the federal government’s controversial Workchoices workplace reforms. According to estimates by police, the largest rally was held in Melbourne where more than 80,000 people were thought to be in attendance. The earlier protest in Sydney attracted some 30,000 protesters.

Smaller protests were held in other cities throughout the country.

At most rallies, members of the opposition and union leaders addressed the crowd, criticising the Howard government’s changes. Under the Workchoices system, centralised wage fixing was abolished and meal breaks, holidays and working hours became negotiable. Businesses with less than 100 employees were also given increased powers to dismiss workers. Unions and the opposition claim that the system will reduce worker’s rights and wages.

Australian federal opposition leader, Kim Beazley attended the Melbourne rally where he addressed the crowd. He said those who attended the rallies were patriots who were standing up to defend the Australian lifestyle. “This is a battle for ordinary Australian life,” he said

“This is a battle for Australian families. It’s also a battle for basic dignity in the workplace.

“You are the people that made this nation what it is.

“You are the builders of this nation. You are the true Australian patriots.”

Mr Beazley again promised that a government under his leadership would abolish the reforms.

“When we get into office in 18 months time, we will rip up these laws,” he said.

“Then we are going to put in place laws based on true Australian values.”

The Australian Chamber of Commerce and Industry (ACCI), which represents a large number of employers in Australia said the total number of protesters across Australia was less than 150, 000 and labelled the protests as a day of “inaction”, despite unions calling for a “day of action”.

Peter Hendy, chief executive of the ACCI said the turnout figure is less than 10 per cent of the membership of the Australian Council of Trade Unions, which encouraged workers to participate in a “national day of action” to “protect rights at work”

Mr Hendy said only 2 percent of Australian workers participated in the protests.

South Australia Unions secretary, Janet Giles said the protests showed the dislike ordinary workers have for the laws.

“What today’s demonstrated is that the momentum of this campaign is not waning, that union members, workers, community members are out today again to say we’re still determined to campaign against these laws,” she said.

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.

Tuesday, November 20, 2007

Last night HBO premiered I Am An Animal: The Story of Ingrid Newkirk and PETA. Since its inception, People for the Ethical Treatment of Animals (PETA) has made headlines and raised eyebrows. They are almost single-handedly responsible for the movement against animal testing and their efforts have raised the suffering animals experience in a broad spectrum of consumer goods production and food processing into a cause célèbre.

PETA first made headlines in the Silver Spring monkeys case, when Alex Pacheco, then a student at George Washington University, volunteered at a lab run by Edward Taub, who was testing neuroplasticity on live monkeys. Taub had cut sensory ganglia that supplied nerves to the monkeys’ fingers, hands, arms, legs; with some of the monkeys, he had severed the entire spinal column. He then tried to force the monkeys to use their limbs by exposing them to persistent electric shock, prolonged physical restraint of an intact arm or leg, and by withholding food. With footage obtained by Pacheco, Taub was convicted of six counts of animal cruelty—largely as a result of the monkeys’ reported living conditions—making them “the most famous lab animals in history,” according to psychiatrist Norman Doidge. Taub’s conviction was later overturned on appeal and the monkeys were eventually euthanized.

PETA was born.

In the subsequent decades they ran the Stop Huntingdon Animal Cruelty against Europe’s largest animal-testing facility (footage showed staff punching beagle puppies in the face, shouting at them, and simulating sex acts while taking blood samples); against Covance, the United State’s largest importer of primates for laboratory research (evidence was found that they were dissecting monkeys at its Vienna, Virginia laboratory while the animals were still alive); against General Motors for using live animals in crash tests; against L’Oreal for testing cosmetics on animals; against the use of fur for fashion and fur farms; against Smithfield Foods for torturing Butterball turkeys; and against fast food chains, most recently against KFC through the launch of their website kentuckyfriedcruelty.com.

They have launched campaigns and engaged in stunts that are designed for media attention. In 1996, PETA activists famously threw a dead raccoon onto the table of Anna Wintour, the fur supporting editor-in-chief of Vogue, while she was dining at the Four Seasons in New York, and left bloody paw prints and the words “Fur Hag” on the steps of her home. They ran a campaign entitled Holocaust on your Plate that consisted of eight 60-square-foot panels, each juxtaposing images of the Holocaust with images of factory farming. Photographs of concentration camp inmates in wooden bunks were shown next to photographs of caged chickens, and piled bodies of Holocaust victims next to a pile of pig carcasses. In 2003 in Jerusalem, after a donkey was loaded with explosives and blown up in a terrorist attack, Newkirk sent a letter to then-PLO leader Yasser Arafat to keep animals out of the conflict. As the film shows, they also took over Jean-Paul Gaultier‘s Paris boutique and smeared blood on the windows to protest his use of fur in his clothing.

The group’s tactics have been criticized. Co-founder Pacheco, who is no longer with PETA, called them “stupid human tricks.” Some feminists criticize their campaigns featuring the Lettuce Ladies and “I’d Rather Go Naked Than Wear Fur” ads as objectifying women. Of their Holocaust on a Plate campaign, Anti-Defamation League Chairman Abraham Foxman said “The effort by PETA to compare the deliberate systematic murder of millions of Jews to the issue of animal rights is abhorrent.” (Newkirk later issued an apology for any hurt it caused). Perhaps most controversial amongst politicians, the public and even other animal rights organizations is PETA’s refusal to condemn the actions of the Animal Liberation Front, which in January 2005 was named as a terrorist threat by the United States Department of Homeland Security.

David Shankbone attended the pre-release screening of I Am An Animal at HBO’s offices in New York City on November 12, and the following day he sat down with Ingrid Newkirk to discuss her perspectives on PETA, animal rights, her responses to criticism lodged against her and to discuss her on-going life’s work to raise human awareness of animal suffering. Below is her interview.

Tuesday, May 10, 2005

Google News submitted patent applications both in the United States and world-wide in September 2003 for a system of ranking search returns. The patent protection filings seek to control Google’s approach that filters headlines through a complicated algorithm, including the quality of the news organization. How much of this system is currently in use by the search engine giant is unknown.

Primitive search engines are expected to organically evaluate links based on how closely the keywords typed in the search field match an object link, and how many other links are attached to the object. Then a measure of relevance is calculated before returning a reply.

It seems some measure of the work being done at Google is a reaction to search engine optimization (SEO) campaigns which can, if done effectively, skew results to certain domains. A challenge for Google is to develop its technology to nullify efforts on the dark side of SEO and link-spamming.

What also seems to be coming out from this, according to research from the Internet Search Engine Database, is that Google does indeed have a ‘sandbox’ where domains are evaluated first by a human factor before being released into its algorithms.

In its first ever Securities and Exchange Commission filing since the company went public last year, Google indicated that it intends to spend US$500 million on technology development, more than double the $177 million it spent two years ago.

The language used in the lengthy patent application itself is difficult to understand. An excellent article titled “Google United – Google Patent Examined” found below, describes some of the nuts and bolts of Google’s techniques.