philrealtor.com

Wednesday, April 13, 2011

On Monday, an Air France Airbus A380, operating as Air France Flight 007, collided with a Comair Bombardier CRJ-700, operating as Comair flight 553/Delta Connection flight 6293 in Delta Connection livery, on a taxiway at John F. Kennedy International Airport in New York City. The A380 had 520 people onboard, and the smaller plane had 66.

The Comair jet had just arrived from Boston Logan International Airport, and was stopped on the tarmac, awaiting a gate to offload passengers. The A380 was preparing to depart for Paris-Charles de Gaulle airport, and was taxiing along a taxiway when its wingtip struck the tail of the other plane. The impact spun the CRJ around 90 degrees and resulted in some damage to both planes.

A passenger on board the A380 said that “It really felt just like a speedbump or like hitting a pothole—a jolt—but it didn’t feel right [it felt] like that shouldn’t be happening.”

LiveATC.net captured the recording of the flight deck and ground control communications before and after the incident. In the recording, one can hear controllers giving taxi instructions to the Air France plane, then later a controller calling for emergency personnel to the intersection of taxiways Alpha and Mike.

The National Transportation Safety Board plans to investigate the incident, and will study the flight recorders, air traffic control recordings, and data from radar on the ground.

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.

Wednesday, July 12, 2006

A G8 summit has been planned to take place from 15-17 July in St Petersburg, Russia. Several sources have reported that a systematic police crackdown on people participating in alternative meetings (a Libertarian Forum and the Russian Social Forum) and critical of the official meeting has begun almost a week prior to the summit. Estimates range from dozens to one or two hundred arrests and detentions.

For the past several years, especially since the 27th G8 summit in 2001 in Genoa, the G8 summits of the leaders of seven of the world’s richest industrialised countries and of Russia have been regularly met by popular protests by critics who assert that members of G8 are responsible for global issues such as global warming due to carbon dioxide emission, poverty in Africa and developing countries due to debt crisis and unfair trade policy, exacerbating the AIDS crisis by medicine patent policy and other problems that are related to globalization. These protests have been met by massive numbers of arrests and police violence, on some occasions.

In contrast to previous G8 meetings, this time arrests have been taking place a week before the official meeting itself has started. At least 23-25 human rights activists and political activists, including two German citizens, have been detained by police in Moscow, St Petersburg and other cities in Russia since 7 July. Many of them have been sentenced to ten days’ imprisonment, enough to prevent them from participation in political protests until the end of the official summit.

Some sources claim that the true detention rate may be much higher, such as an unconfirmed report attributed to the Siberian Confederation of Labour (????????? ???????????? ?????) claiming 200 arrests. The activists’ legal team claims that more than 100 arrests and detainments have occurred.

Discussions on global energy issues and other themes have started at the Libertarian Forum despite the arrests, and the Russian Social Forum is expected to start on schedule on 13 July, followed by the official G8 meeting on 15-17 July. Permission to carry out a street demonstration by the Russian Social Forum has been refused by the authorities.

Russian authorities say that demonstrations are permitted, but only in the location set aside for them – a sports stadium about 25 km (16 miles) from the Constantine Palace, which will house the summit. The Russian Deputy Interior Minister Alexander Chekalin said that allegations of harassment were “from the realms of supposition”.

“The police’s actions are commensurate with the situation at hand. The situation demands particular measures, sometimes intensified. Sometimes it demands that we visit a family in their apartment,” He said.

Monday, December 14, 2020

On Tuesday, US-based software company Red Hat announced their plans to shift their focus away from CentOS in favour of CentOS Stream.

In the blog post Chris Wright, the Chief Technological Officer of Red Hat said Red Hat had informed the CentOS governing board that Red Hat was “shifting our investment fully from CentOS Linux to CentOS Stream”. At least five of the nine CentOS Governing Board listed on the project are Red Hat employees.

Started in 2004, CentOS has been a free-of-cost free/libre open source software which provided binary-code compatibility with Red Hat Enterprise Linux (RHEL) — Red Hat’s GNU General Public Licensed paid operating system. CentOS was absorbed into Red Hat in 2014, with Red Hat gaining the trademark rights of “CentOS”.

Red Hat also sponsors the Fedora operating system. Red Hat even gives the software engineering interns laptops with Fedora on it. Till now, software development took place on Fedora, which was later adopted in RHEL, which the Red Hat maintained and provided support for, for those customers who had RHEL subscription. CentOS would then follow RHEL to provide the same features free of cost, but without the support.

Stream was announced in September 2019, just two months after Red Hat was acquired by IBM. CentOS Stream’s development cycle had new features added to it before the features became a part of RHEL. Stream receives more frequent updates, however, it does not follow RHEL’s release cycle.

With CentOS Stream, developments from the community and the Red Hat emplyees would take place beforehand on both Fedora, and Stream as a rolling release, before those features are absorbed into RHEL. CentOS followed the release cycle of RHEL and therefore it was a stable distribution. Features available in CentOS were tried and tested by Fedora, and then RHEL maintainers. Stream, on the other hand, has features added to it before those features become a part of RHEL. That implies Stream would be ahead of RHEL’s development, containing new features which are not yet tried and tested by RHEL developers, and not be binary code-compatible with RHEL.

Writing “The future of CentOS Linux is CentOS Stream”, Wright further wrote in the announcement, CentOS Stream “provides a platform for rapid innovation at the community level but with a stable enough base to understand production dynamics.” Wright also said, “CentOS Stream isn’t a replacement for CentOS Linux; rather, it’s a natural, inevitable next step intended to fulfill the project’s goal of furthering enterprise Linux innovation.”

Since the announcement was made, many people expressed their anger on Internet Relay Chat (IRC), Reddit and CentOS project’s mailing list. CentOS 8’s End of Life (EOL) has been moved up from May 2029 to December 31, 2021, while CentOS 7 is expected to receive maintenance updates through June 2024, outliving CentOS 8.

Gregory Kurtzer, who had started the CentOS project, announced a new operating system, Rocky Linux. Rocky Linux describes itself as “a community enterprise Operating System designed to be 100% bug-for-bug compatible with Enterprise Linux”. The project said “Rocky Linux aims to function as a downstream build as CentOS had done previously, building releases after they have been added to the upstream vendor, not before.” The project maintainers have not decided a date for when the operating system will be released.

Kurtzer explained the reason to call the OS as Rocky Linux: “Thinking back to early CentOS days… My cofounder was Rocky McGaugh. He is no longer with us, so as a H/T [hat tip] to him, who never got to see the success that CentOS came to be, I introduce to you…Rocky Linux”.

Wikinews reached out to the members of the CentOS project, Pablo Greco and Rich Bowen, to discuss this move, its implications as well as the future of CentOS. Greco is a maintainer of armhfp (32-bit processors) and is a part of the CentOS’ quality assurance team. Bowen — who unlike Greco, works for Red Hat — is the community manager of the CentOS project.

Tuesday, August 17, 2010

Plastic surgeon to the stars Dr. Frank Ryan has died in a car accident at age 50. It is reported that the Jeep Ryan was driving crashed over the side of the Pacific Coast Highway and landed on rocks. Lifeguards were first on the scene and unsuccessfully tried to rescue Ryan. It is thought that no other vehicle was involved in the incident.

Dr. Ryan, a celebrity in his own right, performed plastic surgery on several stars including Janice Dickinson, Gene Simmons, Shauna Sand and Adrianne Curry. He appeared on several television shows and became one of the first people to perform plastic surgery on television in 1995.

A representative for Janice Dickinson released a statement about the death of Ryan. She said “Janice is deeply, deeply anguished! She is stunned and wants the world to know what a genius Dr. Ryan was.”

Ryan was traveling with his pet dog at the time of the crash; the dog was found seriously injured in the ocean and was transported to a local veterinarian. Dr. Ryan was pronounced dead at the scene.

Monday, February 25, 2008American art director and production designer Robert F. Boyle was honoured last night at the Academy Awards.

Hired as an extra in films during the Great Depression, the young architect became a draftsman at Paramount Studios, moving on to become a sketch artist and assistant art director, before becoming a full-fledged art director in the early 1940s, at Universal Studios.

His credits include Alfred Hitchcock films Saboteur (1942), North by Northwest (1959), and The Birds (1963). Other films to his credit include The Thomas Crown Affair (1968), Gaily, Gaily (1969), Fiddler on the Roof (1971), and The Shootist (1976).

The Oscar-nominated documentary short The Man on Lincoln’s Nose (2000) chronicles his career, which includes the 1997 Art Directors Guild’s Lifetime Achievement Award and four Oscar nominations.

Monday, August 11, 2008

Buffalo, New York —The Buffalo Fire Department and Police were called to a hazmat situation at Canisius College on Main Street after security reported that a one gallon glass container containing chloroform broke, spilling about a pint onto the floor of the college’s science building.

According to communications by firefighters, who arrived at around 8:20 a.m. (eastern time), the glass container spilled on the third floor in room 318. As a precaution the building was evacuated and East Delevan road between Main Street and Jefferson Avenues was closed to all vehicle and pedestrian traffic while crews worked to clean up the spill.

At about 9:15 hazmat crews entered the room and began to clean up the chemical “using kitty litter” and fans to air out the room. They then sealed the material in a five gallon container. At 9:23 a.m. firefighters stated that they no longer detected the chemical in the air and began to pack up their gear.

Officials for the college assessed the situation and decided to keep the building closed for the day. “At 8:22am this morning the Public Safety Department and Buffalo Fire Department responded to a report of a chemical spill on the third floor of the Health Science Center. As the building is cleaned, the Health Science Building will remain closed today and reopen tomorrow morning,” a college official said to Wikinews, adding they could not confirm the firefighter reports.

Firefighters believe the container containing the chemical was knocked over while someone working with maintenance was cleaning the floors.

There are no reports of injuries, but WKBW reports that the maintenance worker was taken to Sister’s of Saint Mercy’s hospital not far from the college for observation.

Chloroform is a common solvent used in chemistry laboratories. Minimal exposure can cause dizziness, headaches and fainting while prolonged exposure can cause liver and kidney damage. It is considered a hazardous material and environmentally unsafe. Banned as a consumer product since 1976 in the U.S., it was previously used in toothpaste, cough medicines and pharmaceuticals.