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Thursday, October 5, 2006

The Independent Monitoring Commission has reported that the Provisional Irish Republican Army has undergone major changes within their military structure and shows that the IRA Army Council wants to put its military campaign behind it. The Commission consists of John Alderdice, a former Alliance Party leader; Joe Brosnan, former Secretary General of the Department of Justice, Republic of Ireland; John Grieve, former Deputy Assistant Commissioner of the Metropolitan Police and former head of the Metropolitan Police Anti-Terror Branch; and Dick Kerr, former Deputy Director of Central Intelligence Agency.

The report states the IRA no longer has the capacity to mount a military campaign anymore or return to one. The units that have been shut down were responsible for weapons-making, arms smuggling and training. The IRA decommissioned their arms last year.

The report also mentions that the IRA has also put its criminality beyond use and is “clamping down” on criminals within the organization, said Lord Alderdice, as he presented the report. He also added, “That doesn’t mean that criminal activity by all members has stopped but the leadership has made public statements and internal directions, investigated incidents of breach of the policy, even expelled some members and has emphasised the importance of ensuring that business affairs are conducted in a legitimate way.”

Finally, the report added that there is not enough evidence or intelligence to identify who killed Denis Donaldson, a British spy who infiltrated the IRA and Sinn Fein, before revealing his status as a spy.

However, the report added that splinter groups like the Real IRA (RIRA) and Continuity IRA (CIRA) are still threats and are still continuing their activity. The Real IRA was the group behind the deadly 1998 Omagh bombing. The Irish National Liberation Army (INLA) “was not capable of undertaking a sustained campaign [against the British State], nor does it aspire to” according to the report.

It is also noted the creation of two new organizations, Oglaigh na hEireann (Irish Gaelic for “Volunteers of Ireland” and is used by the Irish Defence Forces and the various IRAs.) and the Republican Defence Army. However, the groups are small dissident factions according to the report.

The report also added that the two loyalist paramilitaries, the Ulster Defence Association (UDA) and the Ulster Volunteer Force (UVF) are also beginning to move from violence but at slower pace and not at a grassroots level like the IRA. Another loyalist paramilitary, the Loyalist Volunteer Force

The report was received warmly by Irish Toaiseach Bertie Ahern and British Prime Minister Tony Blair. Ahern, said “These positive and clear-cut findings are of the utmost importance and significance. It is time to make decisions and for Northern Ireland to look to the future.”

“The IRA has done what we asked it to do, and while issues like policing remain to be solved, the door is now open to a final settlement, which is why the talks next week in Scotland are going to be so important.” said Tony Blair in a live statement.

In a surprising reaction, the notoriously hardline leader of the Democratic Unionist Party, Ian Paisley, also welcomed the report. He believes that his party’s pressure is working and if Sinn Fein signs up to policing there could be a deal. Paisley said, “If the police question is settled absolutely on a democratic basis and principle we would have come a long way along the road.”

Sinn Fein leader Gerry Adams said “The DUP don’t have anything other than very limited options. They will or will not participate in power-sharing arrangements. If they don’t participate they are condemning people here, but particularly their own constituents, to second class public services, run by second class fly-in, fly-out British ministers. All the DUP can do is to delay, is to attempt to slow down, but they can’t stop the process of changing.”

See the discussion page for instructions on adding schools to this list and for an alphabetically arranged listing of schools.

Due to the damage by Hurricane Katrina and subsequent flooding, a number of colleges and universities in the New Orleans metropolitan area will not be able to hold classes for the fall 2005 semester. It is estimated that 75,000 to 100,000 students have been displaced. [1]. In response, institutions across the United States and Canada are offering late registration for displaced students so that their academic progress is not unduly delayed. Some are offering free or reduced admission to displaced students. At some universities, especially state universities, this offer is limited to residents of the area.

Thursday, July 28, 2005

Dr. Tewolde Berhan Gebre Egziabher, the Ethiopian government’s chief scientist and its representative to the Montreal-based UN Convention on Biological Diversity (CBD) had his passport returned without the requested Canadian visa, and without explanation. Dr. Tewolde is Africa’s chief negotiator for the Cartagena Protocol on Biosafety.

Tewolde had announced he would be visiting Montreal the first week of August to lobby for the labeling of genetically modified (GM) seeds and food products and urge companies and governments to accept liability for environmental contamination their seeds could lead to. Canada has yet to ratify the UN biosafety protocol and opposes compulsory genetically modified labeling and liability.

Dr. Tewolde has worked against terminator technology (genetically-modified seed rendered sterile at harvest time, forcing farmers to buy new seeds each growing season). In the past, Dr. Tewolde has disagreed with Canadian scientists on proposed methods to regulate GM products.

“Dr. Tewolde is one of the most respected scientists in his field,” said Pat Mooney, representative for the conservationist ETC Group in Ottawa, “If the Canadian government can’t make sure Dr. Tewolde has his visa for the opening of the meetings, Canada does not deserve to host the Convention on Biological Diversity.”

Dr. Tewolde himself is concerned that Canada’s actions signal a pattern, “Now that I have been prevented from coming to Montreal, who knows which ones of you will be prevented next time?” he wrote.

This closely mirrors another more recent incident where 12 Ugandans (mainly youths) were denied visas by the Canadian High Commission in Kenya. After making two applications and having met all the requirements asked by the commission, the Ugandan delegation was still denied visas.

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”.

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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.

Thursday, August 6, 2009

American film director John Hughes, noted for such movies as Sixteen Candles, Pretty in Pink and The Breakfast Club, died Thursday due to a heart attack.

A statement, released by his representative, said that he experienced the heart attack while on a morning stroll in Manhattan, New York. Hughes was born on February 18, 1950 in Michigan. He started his career as an advertising copywriter in Chicago. By the end of the 1970s he was a frequent contributor to the National Lampoon magazine.

In the 1990s, he made the Home Alone series, which became a box office sensation and turned Macaulay Culkin into a star.

In recent years, Hughes stepped back from the movie industry to spend more time with his family. He is survived by his wife of 39 years, Nancy, two sons and four grandchildren.

Monday, December 10, 2012

Vail, Colorado, United States — Yesterday, Wikinews sat down with Australian blind Paralympic skier Melissa Perrine who was participating in a national team training camp in Vail, Colorado.

((Wikinews)) This is Melissa Perrine. And are you like Jess Gallagher and just here training and not competing?

Melissa Perrine: I’m not competing right now.

((WN)) And you competed in 2010 in Vancouver?

MP: I did. Yeah.

((WN)) And who was your guide?

MP: Andy Bor.

((WN)) Why a male guide? He’s got to have different skis, and he can’t turn exactly the same way.

MP: I think that with me it was just that Andy was the fittest person that was with the team when I came along. He used to be an assistant coach with the team before I started with him.

((WN)) And you guys have a good relationship?

MP: Yeah!

((WN)) Like a husband and wife relationship without the sex?

MP: No, not at all. (laughs) Older brother maybe. Good relationship though. We get along really well.

((WN)) So have you ever lost communications on the course in an embarrassing moment?

MP: We ski courses without communications. (unintelligible)

((WN)) You’re a B3 then?

MP: I’m a B2.

((WN)) So you can see even less than Jessica Gallagher.

MP: Yes.

((WN)) How do you ski down a course when you can’t even see it?

MP: Andy!

((WN)) You just said you had no communications!

MP: Oh, I just have to be a lot closer to him.

((WN)) So if he’s close enough you can overcome that issue?

MP: Yeah.

((WN)) Why are you doing skiing?

MP: Why? I enjoy it.

((WN)) You enjoy going fast?

MP: I love going fast. I like the challenge of it.

((WN)) Even though you can’t see how fast you’re going.

MP: Oh yes. It’s really good. It’s enjoyable. It’s a challenge. I love the sport, I love the atmosphere.

((WN)) I’ve asked the standing skiers, who’s the craziest Paralympic skiers? Is it the ones who are on the sit skis, the blind ones or the ones missing limbs?

MP: I probably think it’s the sit skiers who are a bit nuts. I think we all think the other categories are a bit mental. I wouldn’t jump on a sit ski and go down the course. Or put the blindfold on and do the same thing.

((WN)) B1 with the black goggles. Is your eye sight degenerative?

MP: No, I’m pretty stable.

((WN)) Not going to become a B1 any time soon?

MP: Oh God, I hope not. No, I’m pretty stable so I don’t envision getting much blinder than I am now unless something goes wrong.

((WN)) And you’re trying for Sochi?

MP: Definitely.

((WN)) And you think your chances are really good?

MP: I think I’ve got a decent chance. I just have to keep training like I have been.

((WN)) Win a medal this time?

MP: I’d like to. That’s the intention. (laughs)

((WN)) Do you like the media attention you’ve gotten? Do you wish there was more for yourself and winter sports, or of women athletes in general?

MP: I think that promoting women in sport and the winter games is more important than promoting myself. I’m quite happy to stay in the background, but if I can do something to promote the sport, or promote women in the sport, especially because we’ve got such a small amount of women competing in skiing, especially in blind skiing. I think that’s more important overall.

((WN)) Most skiers are men?

MP: There’s more men competing in skiing, far more. The standards are a bit higher with the males than with the females.

((WN)) The classification system for everyone else is functional ability, and you guys are a medical classification. Do you think you get a fair shake in terms of classification? Are you happy with the classification?

MP: I think I’m happy with it, the way it’s set out. With vision impairment I’m a B2, against other B2s. It may be the same category, but we have different disabilities, so there’s not much more they can do. I think it’s as fair as they possibly can.

((WN)) You like the point system? You’re okay with it? Competing against B1s and B3s even though you’re a B2?

MP: The factors even all that out. The way they’ve got it at the moment, I don’t have any issues with them, the blind categories.

((WN)) What was it that got you skiing in the first place?

MP: An accident, basically. Complete by chance. A friend of mine in the Department of Recreation used to run skiing camps in the South West Sydney region, and she had a spare spot at one of the camps. Knew that I was vision impaired, and: “Do you want to come along?” “Yeah, why, not, give it a go.” This was back when I was about twelve, thirteen. I went, and I loved it. Went back again, and again, and again. And for the first five or six years I just skied for like a week a season sort of thing, like, you’re on a camp. Fell in love with the sport; my skiing and the mountain atmosphere, I love it, and then, when I finished my HSC, I decided to take myself off to Canada, and skiing Kimberley, the disabled race program that was run by the ex-Australian who coaches Steve Boba, and I’d heard about it through Disabled Winter Sports Australia. And I thought I’d spend some time in Canada, which is for skiing, and had a year off between school and uni, so… first time I ran through a race course actually. It was pretty awesome. So I went back again the next year, and Steve [Boba] recommended me to Steve [Graham], and he watched me skiing in September in the South Island, and invited me on a camp with the Australian team, and I trained for Vancouver, and I qualified, and I said “sure, why not?” And here I am!

((WN)) So you liked Vancouver?

MP: It was just an amazing experience. I came into Vancouver… I had quite a bad accident on a downhill course in Sestriere about seven weeks out from the games, and I fractured my pelvis. So, I was coming into Vancouver with an injury and I had only just recovered and was in quite a lot of pain. So it was an amazing experience and I was quite glad I did it, but wish for a different outcome.

((WN)) So you are more optimistic about Sochi then?

MP: Yes.

((WN)) One of the things about skiing is that it’s really expensive to do. How do you afford to ski given how expensive it is? And the fact that you need a guide who’s got his own expenses.

MP: I’m lucky enough to rank quite high in the world at the moment, so due to my ranking I’m awarded a certain amount of funding from the Australian Sports Commission, which covers my equipment and expenses, and the team picks up training costs and travel costs. All I’ve got to pay for is food and my own equipment, which is good, so I’ve managed to do it a budget.

((WN)) What do you do outside of skiing, because you look kind of young? And you being not like, 30 or 40?

MP: I’m 24. I’m a student still.

((WN)) Which university?

MP: University of Western Sydney. It’s my third university degree. I’ve completed two others prior to this one that I’m doing now.

((WN)) Which degree? That you’re currently pursuing.

MP: Currently, physiotherapy.

((WN)) Because of your experience with sport?

MP: Not really, except that my experience with sport certainly helped my interest and kind of fueled a direction to take in the physiotherapy field when I’m finished my degree, but more the medical side of injury, rehabilitation that got me interested in physiotherapy to begin with, burns rehabilitation and things like that.

((WN)) You view yourself a full-time student as opposed to a full-time professional skier.

MP: Not really. I’m a student when uni’s on and when uni’s finished I’m a skier. The way that the term structure is in Australia it gives me all this time to ski. The uni starts at the end of February and goes to the beginning of June, and then we’ve got a six or seven week break until beginning or mid-August, and uni starts again then, and we go up to mid way through November, and then we’ve got a break again. Skiing fits in very nicely to that.

((WN)) What’s the route for qualification to Sochi for you.

MP: Just maintaining my points. At the moment I’ve qualified. I just need to maintain my points, keep my points under, and then I qualify for the Australian team.

((WN)) So there’s a chance they could say no?

MP: If I’m skiing really badly. An injury.

((WN)) Or if you’re like those Australian swimmers who had the guns…

MP: I’ve no sign of picking up a gun any time soon. Giving a blind girl a gun is not a good idea. (laughs)

((WN)) It just seemed to us that Sochi was so far away on out hand, and yet seemed to be in everybody’s mind. It’s on their program. Sixteen months away?

MP: Yes, something like that. Sixteen. I think it’s been on our mind ever since Vancouver was over and done with. Next season, that was that, it was like: “what are our goals for the next four years?” And it was, “What are our goals for the next three years and two years?” And subsequently, next season, it’s Sochi. What we need to work on, what we need to accomplish for then, to be as ready as possible.

((WN)) What is your favourite event of all the skiing ones? You like the downhill because it’s fast? Or you like Giant Slalom because it’s technically challenging? Or…

MP: I prefer the speed events. The downhill; frightens me but I do love the adrenalin. I’m always keen to do a downhill. But I think Super G might just be my favourite.

((WN)) Do you do any other adrenalin junkie type stuff? Do you go bungee jumping? Jumping out of airplanes? Snowboarding?

MP: I don’t snowboard, no. I have jumped out of a plane. I thought that was fun but downhill has got more adrenalin than jumping out of a plane, I found. I do mixed martial arts and judo. That’s my other passion.

((WN)) Have you thought of qualifying for the Summer [Para]lympics in judo?

MP: As far as I know, Australia doesn’t have a judo program for the Paralympics. But, if I ever get good enough, then sure.

((WN)) They sent one.

MP: They’ve sent one, and he’s amazing. He beats up blind guys, able bodieds, quite constantly. I’ve seen video of him fight, and he’s very very good. If I ever reach that level, then sure, it’s something I’d look into it.

((WN)) Does judo help with your skiing?

MP: Yes, it increases my agility and balance, and strength, for sure.

((WN)) I want to let you get back to changing. Thank you very much.

Sunday, March 23, 2008

Copies of The Profit, a 2001 film blocked from distribution in the United States due to a court injunction won by the Church of Scientology, appeared on the Internet Friday on peer-to-peer file-sharing websites and on the video sharing site YouTube.

Directed by former film executive Peter N. Alexander, the movie has been characterized by critics as a parody of Scientology and of its founder L. Ron Hubbard. Alexander was a Scientologist for twenty years, and left the organization in 1997. The film was funded by Bob Minton, a former critic of Scientology who later signed an agreement with the Church of Scientology and has attempted to stop distribution of the film. Alexander has stated that the movie is based on his research into cults, and when asked by the St. Petersburg Times about parallels to Scientology and L. Ron Hubbard said: “I’ll let you draw that conclusion … I say it’s entirely fictional.”

The film was released in August 2001, and was shown at a movie theatre in Clearwater, Florida and at a premiere at the Cannes Film Festival in France. A Scientology spokesman gave a statement at the time saying “the movie is fiction and has nothing to do with Scientology”. The Church of Scientology later took legal action in an attempt to stop further distribution of the film. The Church of Scientology claimed that the film was intended to influence the jury pool in the wrongful death case of Scientologist Lisa McPherson, who died under Scientology care in Clearwater, Florida.

In April 2002, a Pinellas County, Florida judge issued a court order enjoining The Profit from worldwide distribution for an indefinite period. According to the original court injunction received by Wikinews, the movie was originally banned because the court found that it could be seen as a parody of Scientology. In his April 20, 2002 ruling on the injunction, Judge Robert E. Beach of the Sixth Judicial Circuit Court in Pinellas County, Florida wrote: “…an average person viewing the film entitled The Profit could perceive that it is a parody of the Church of Scientology”.

“To the extent that any person considered as a potential juror in evaluating any issues involving the Church of Scientology, the process of voir dire provides a fair and complete remedy to eliminate any potential juror that may possibly have been influenced to be less than fair and impartial,” added Beach.

Luke Lirot, the attorney for the film’s production company, announced on the film’s website on April 7, 2007 that “We have absolutely no exposure for any repercussions from the court order,” but that the film was still blocked from distribution due to an ongoing legal battle. Lirot wrote: “all that’s stopping the release of the movie is the legal battle with the partner who was compromised by Scientology (Robert Minton) and is currently using his power as partner to stop the release of the film.”

In an October 2007 article, The Times described the film as “banned in the US because of a lawsuit taken out against it by The Church of Scientology,” and Russ Kick’s The Disinformation Book of Lists included the film in his “List of 16 Movies Banned in the U.S.”. An 8-minute teaser segment from The Profit appeared on the film’s website and on the video sharing site YouTube in February 2008, and an attorney representing Bob Minton sent a letter to Luke Lirot requesting that the film clip be taken down. In a response letter, Lirot wrote that “Rather than damage any asset of the LLC, the short clip merely keeps the film in the public eye, and in a positive way.”

On Friday, copies of the film began to circulate on peer-to-peer file-sharing websites and on YouTube. A link related to the film’s appearance on the Internet on the community-based link aggregator website Digg.com had 3,638 “Diggs” – and hit the front page of the site’s Entertainment section on Saturday.

	I had nothing to do with this release at all. But I’m happy it’s out there.

On Saturday, Scientology critic and Emmy award-winning journalist Mark Bunker put a streaming version of the film on his website, www.xenutv.com, and encouraged others to watch and discuss the film on a real-time chat channel. In a video posting to YouTube Saturday, Bunker said “I did not do it. I had nothing to do with it … I had nothing to do with this release at all. But I’m happy it’s out there … people are finally having a chance to see it. A lot of people have been curious over the years and there’s been a lot of interest in seeing the film, so finally you can.”

	We have all wanted to see this movie that scientology kept hidden away from us. We have all wondered just how damning could this story be that we were banned from watching it.

On the newsgroup alt.religion.scientology, a poster by the username “Alexia Death” commented on the film’s appearance on the Internet in the context of censorship: “It is out! And so it is a WIN if many people review it even if they say it SUCKS! … Being bad is no cause to allow censorship … And being censored is no cause to assume its good”. A post to the blog Blogsreel commented: “We have all wanted to see this movie that scientology kept hidden away from us. We have all wondered just how damning could this story be that we were banned from watching it.”

In a post on Sunday to the message board attached to the official website for the film, attorney Luke Lirot asked that individuals stop distributing copies of The Profit over the Internet. Lirot wrote: “It has been brought to my attention that several unauthorized transmissions and downloads of this protected work have taken place over the last 72 hours. Such actions are copyright violations and are unlawful. I request that any further distribution and/or dissemination of this important work cease immediately and any copies of the work that have been downloaded please be deleted.” In his statement, Lirot recognized the rights of individuals under the First Amendment to the United States Constitution, but also said that unauthorized distribution of the film “will only serve to harm the goal of vast distribution”.

Blog postings have attributed the film’s appearance on the Internet as part of the anti-Scientology movement Project Chanology organized by the Internet-based group Anonymous, but this has not been confirmed. Wikinews previously reported on international protests against Scientology which took place as part of Project Chanology on February 10 and March 15. A third international protest by Anonymous is scheduled for April 12. Titled “Operation Reconnect”, the third international protest will focus on highlighting Scientology’s practice of disconnection.