Sunday, January 21, 2007

Ricky “The Hitman” Hatton regained the IBF light welterweight title belt he relinquished less than 12 months ago when he defeated Juan Urango in Las Vegas, Nevada tonight.

“The Hitman” won by unanimous decision, as the fight went to 12 rounds. Despite early match odds suggesting Hatton would dominate the fight, this was not the case. Each round was close, but most pundits and judges alike agreed that Urango only won 1 of the 12 rounds, with Hatton taking the other 11.

Despite the unfamiliar confines of Las Vegas, Hatton looked touched by the ringing of football fan-like chants, familiar in British boxing, that rang around the arena, as more than half of it was filled by traveling support from across the atlantic.

Many in the UK will hope Hatton has ended the “curse” that has seen names such as Frank Bruno, Naseem Hamed, Barry McGuigan and others fall short while headlining fights on “The Strip”.

From here, it is widely believed “The Hitman” will move on to fight Jose Luis Castillo in June, again likely in Vegas.

Thursday, July 15, 2010

For the first time since April 20, no oil is flowing into the Gulf of Mexico, though the halt may be temporary, as integrity testing began on a new sealing cap. The cap was installed on a leaking well in an effort by the BP energy company to contain oil spewing into the Gulf of Mexico. The previous containment cap, which was removed Saturday, had a much looser fit than the new one and allowed oil to escape into the Gulf. It took about three days for the cap to be removed, the site prepared, and the new one to be slowly lowered into position.

The energy company had planned to begin running integrity tests Tuesday to measure the performance of the well under pressure. The tests were delayed a day for further analysis, but clearance to proceed was given Wednesday afternoon, then a leak in a choke line had to be repaired. BP senior vice president Kent Wells announced at his Thursday afternoon briefing that the final valve on the cap assembly started to close at 1:15 PM Thursday and was fully closed at 2:25 PM, finally shutting in the oil flow. If the tests show that the well is strong enough, the sealing cap valves will likely remain closed. If the well cannot be safely closed from the top, the new cap is designed to funnel almost all the oil to ships above while two relief wells are constructed for a permanent fix. After the old cap was removed, oil flowed freely into the waters of the Gulf until the present cap was installed at about 7:00 PM CDT Monday (00:00 UTC Tuesday).

BP has stated that this oil containment system has never been deployed at the current depths, nor has it been tested in the conditions that it will be expected to operate in. During the testing period, which could last anywhere from six to forty-eight hours, all undersea oil containment systems will be temporarily suspended. The company made clear that, even if the tests succeed, this does not mean that oil leakage has permanently ceased.

Doug Suttles, a BP executive, explained that during the test, the well pressure will be carefully monitored. Suttles said at a Monday briefing that the ideal would be for tests to show high pressure around the seal, indicating that no oil is escaping. He also stated that on the other hand, the pressures could be lower than anticipated, leading to the assumption that the well is damaged and is leaking oil and gas into surrounding rock. If this were to happen, keeping the cap shut could further damage the well. The solution for this scenario is to reopen the valves and funnel most, if not all, of the oil to ships above.

Drilling of the first relief well was suspended until completion of the integrity test. Kent Wells explained at his Wednesday morning briefing that the first relief well is now 4 feet from the original well and there is a remote possibility that the pressure test could open a path to the relief well. Drilling of the second relief well has stopped at 16,000 feet so as not to interfere with the first well and to keep routing options open in case the first relief well fails. Even if the pressure tests do succeed and the main well is shut, work on the first relief well will continue until it intercepts the main well. When this occurs, mud and cement will be pumped into the well for a permanent seal. Containment and clean up operations will continue even after the relief wells are finished to deal with oil already released.

The Deepwater Horizon oil spill began on April 20 when the Deepwater Horizon oil rig exploded, killing eleven and marking the start of the worst offshore oil spill in United States history.

Friday, March 30, 2007

The US Food and Drug Administration (FDA) announced at a press conference today that a chemical used in the manufacture of plastics was found in recalled pet food from Menu Foods.

The FDA found melamine in samples of Menu Foods pet food and in samples of wheat gluten, imported from China, which was used as an ingredient. The FDA analysis, however, does not confirm the presence of the rodenticide aminopterin, which was reported March 23 by the New York State Food Laboratory.

According to Stephen Sundlof, director of the FDA’s Center for Veterinary Medicine, melamine is used primarily to make plastic kitchenware, although it has been used as a fertilizer in Asia.

Sundlof also indicated that the presence of melamine in the urine of cats that died from kidney failure was revealed through testing. He stressed that melamine was not determined to be the source of illness or deaths in the affected animals.

Sundlof suggested that melamine would not be found normally in pet food.

At a news conference Friday, Paul Henderson, President and CEO of Menu Foods, indicated that Menu Foods is satisfied that the contamination problem was related to melamine and not aminopterin. “One week ago, some of the dedicated researchers who had been investigating this matter reported the discovery of a single, toxic compound in our pet food,” said Henderson in his opening statement. “That, seemingly, cleared the way for us to address the problem, deal fairly with the pet-owners who had been injured, put our business back together, and move on,” he continued.

“In the intervening week, other top scientists have been unable to validate the findings. That is, they were unable to find the toxin – called aminopterin – in our pet food, or in any of the component ingredients. It was also brought to our attention that some veterinary experts held the view that aminopterin was inconsistent with what was being observed in dogs and cats,” Henderson said.

Menu Foods has determined that melamine in wheat gluten from a new US supplier was the likely source of contamination, and that they are confident that the issue has been resolved. “Melamine has been found in the wheat gluten from a new supplier in the United States, who sourced this wheat gluten in China,” said Henderson. “This is the same ingredient that Menu Foods made reference to in its recall press release of March 16. Melamine has not been found in the wheat gluten that we obtain from our other suppliers.”

Henderson refused to name the supplier of the wheat gluten, leaving that up to the FDA. “We have had correspondence with the FDA and we know that they are diligently following-up on the supply of the suspect wheat gluten. It is not our place to name the supplier as we do not want to interfere in any way with the important investigation they are conducting.”

Menu Foods is maintaining the warning on the previously recalled product. “The recalled product is unfit for consumption by pets. It contains melamine. The pet food that we have manufactured after March 6 is safe and healthy,” stated Henderson.

Menu Foods is the manufacturer of several brands of cat and dog food subject to a March 16, 2007 recall.

Friday, April 1, 2005Several sources report Pope John Paul II, who was receiving nutrition from a tube inserted through his nose, is no longer using the tube. The tube was inserted shortly after the pontiff appeared at his window overlooking St. Peter’s Square and was only able to speak several words.

The tube used was threaded down the nose and throat into the stomach. A surgically implanted tube was also considered at the time, but it was deemed excessively invasive according to Dr. Barbara Paris, director of geriatrics at Maimonides Medical Center in New York.

There are reports the pontiff has a severe urinary tract infection. The infection caused a severe fever which developed into a medical crisis. He is being treated by antibiotics and has recently suffered from heart failure and a significant reduction in kidney function. According to the Vatican, he is currently “lucid”, breathing shallowly, and surrounded by his top aides.

The Pope’s condition has led many to pray — both Catholics and non-Catholics. A large number of people are outside the papal apartment in the Vatican City. Many people have also come to pray at St. Patrick’s Cathedral in New York City.

The ailing Pope also suffers from Parkinson’s disease, which makes it difficult for him to talk while knee and hip ailments are taking a serious toll on his mobility. The series of new ailments follows the breathing tube insertion by only a month’s time.

Tuesday, April 14, 2020

In February 2017, the Iranian Chess Federation announced two teenage chess players, Dorsa Derakhshani and her younger brother Borna Derakhshani, were banned from representing the national team. The federation announced their decision although Dorsa Derakhshani had previously decided and informed the chess federation she did not wish to play for Iran.

Dorsa Derakhshani is currently 21 years old and holds the International Master (IM) as well as Woman Grand Master (WGM) titles. Her brother, Borna, plays for the English Federation and holds the FIDE Master title.

Dorsa Derakhshani was banned since she did not wear a hijab, an Islamic headscarf, while competing at the Tradewise Gibraltar Chess Festival in January 2017. Under the laws of Islamic Republic of Iran, hijab is a mandatory dress code. Her brother Borna Deraskhsani was banned for playing against Israeli Grand Master (GM) Alexander Huzman at the same tournament. Iran does not recognise the existence of Israel, and previously, Irani athletes have avoided playing against Israeli athletes.

Mehrdad Pahlavanzadeh, the president of the country’s chess federation, explained the decision to ban the players saying, “As a first step, these two will be denied entry to all tournaments taking place in Iran and in the name of Iran, they will no longer be allowed the opportunity to be present on the national team.” ^{((fa))Farsi language: ?????? ????? ?? ??? ??? ?? ??? ????? ?? ?? ???? ???????? ?? ?? ????? ? ?? ??? ????? ?????? ??????? ????? ??????? ? ???? ???? ???? ?? ??? ??? ?? ??????? ????.} He further stated, “Unfortunately, something that should not have happened has happened and our national interest is paramount and we have reported this position to the Ministry of Sports.” ^{((fa))Farsi language: ????????? ?????? ?? ????? ????????? ?????? ??? ? ????? ??? ?? ?? ?? ???? ?????? ???? ? ?? ??? ???? ?? ?? ????? ???? ?? ????? ?????.}

IM Dorsa Derakhshani, who currently studies at Saint Louis University in the United States and plays for the United States Chess Federation, discussed her chess career, time in Iran and the 2017 controversy, and her life in Saint Louis with a Wikinews correspondent.

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.