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Thursday, December 18, 2008

Internet giant Yahoo! announced on Wednesday that by January 2009 it will begin purging personal data collected when users access its search page at the 3 month mark, a far shorter time period than any of its search engine rivals such as Google, which retains personal data for 9 months, down from 18 months as of September, and Microsoft, which retains data for an 18 month period, though Microsoft has stated support for a six month industry standard. Prior to the announcement, Yahoo purged data at 13 months.

Just three years ago, the policy of all three search engines was to keep collected private data permanently, on the basis that it was necessary in order for them to run their services. However, in the wake of substantial public pressure, private advocacy and indications from regulators that if the industry did not police itself, it would be imposed upon them, all three companies instituted data protection schemes. Calls for shortening the time period before data is removed or obscured soon began and have grown in pitch.

Anne Toth, Yahoo’s vice president of policy and head of privacy stated that “we want to take the issue of data retention off the table.”

The move puts pressure on Google and Microsoft to follow suit, in a climate where European Union regulators have pushed for legislation, private advocacy groups are planning such a push in the U.S., and where Congress has raised questions about the extent Internet tracking of private data by telecommunications companies is being used to target advertising based on personal information.

Despite Yahoo’s data policy being more restrictive than that of Google’s or Microsoft’s, personal data will not be destroyed entirely but will by “anonymized”—hidden in various ways, including: deleting the final eight bits of a user’s IP address; changing the user’s Yahoo! ID to a one-way, secret, hash code and deleting one half of the identifier created; a similar hash obscuring of all cookie identifiers; and will filter certain types of unique personal identifiers such as credit card and social security numbers. Additionally, Yahoo indicates that it will purge information on page views, ad views, page clicks and ad clicks.

In a press release, Massachusetts Democrat Edward J. Markey, chairman of the House Energy Subcommittee on Telecommunications and the Internet, praised the restriction, and stated, “I urge other leading online companies to match or beat the commitments announced by Yahoo.”

Tuesday, March 4, 2008

Ernest Gary Gygax, co-creator of Dungeons & Dragons, died in his Lake Geneva, Wisconsin home on Tuesday at the age of 69 due to heart problems.

Dave Arneson’s Blackmoor was the first role-playing game, a genre in which players describe their characters in thorough detail and can attempt almost any action the character plausibly could. Gygax, then a close friend of Arneson, worked with him during 1972-73 to develop the extensive set of rules (in this case three volumes) that such a game requires. This became the first edition of Dungeons & Dragons. He also fleshed out the default setting for the game, a “sword-and-sorcery” world inspired primarily by fantasy fiction such as Three Hearts and Three Lions. He then founded TSR Inc. to publish the game; although it was a runaway success, financial difficulties ultimately forced the company to sell itself to Wizards of the Coast, which currently publishes the game and is now a subsidiary of Hasbro.

Although not involved with later editions of D&D, Gygax later worked on other role-playing games and wrote fantasy novels. He also designed niche-market board games.

Dungeons & Dragons is considered a tabletop RPG, since it is played with pen, paper, dice and miniature figures. It inspired other tabletop RPGs (such as GURPS), as well as video RPGs (such as the Final Fantasy series). The most recent form of RPG is the massively-multiplayer online roleplaying game, such as World of Warcraft. An estimated 20 million people worldwide have played the game. Magazines, print and web comics and independent bands have been dedicated to the game, as have thousands of fan websites.

Gygax’s death comes mere months before the scheduled release of the 4th Edition of D&D in June, as well as a scheduled “GM Day” among D&D fans on the internet.

Friday, February 3, 2006

The publishing of a series of cartoons of the Prophet Mohammad in a Copenhagen newspaper sparked a string of harsh and in some places violent reactions in the Middle East, forcing European leaders to try to calm the situation.

This backlash started in late September 2005, when the Danish newspaper Jyllands-Posten published a dozen cartoons depicting the Prophet Mohammad. The images ranged from serious to comical in nature; a particularly controversial cartoon portrays Mohammad with a bomb wrapped in his turban. The Jutland-based newspaper states that the images were meant to inspire some level of public debate over the image of Islam in Europe, and had no direct aim of offending anyone.

However, many Muslims follow the doctrine of aniconism concerning the portrayal of Mohammad. This tenet of Islam states that the Prophet Mohammad should not be depicted in any type of art, regardless of the intent of the piece. This belief, along with the potentially insensitive nature of some of the caricatures, have caused offense to many Muslims in the Arab world.

In the past month, the controversy over these cartoons escalated. The cartoons were re-published last month in Spain, Italy, Germany, France and the Netherlands (where the latter two nations have large Muslim populations), and have begun to re-circulate throughout the Middle East.

Many Danish companies have been targeted for boycotts. As Wikinews reported last week, Arla Foods, Denmark’s top dairy company, has seen their sales fall to zero in some Middle East nations. Carrefour, a French retail chain, has pulled all Danish products from its shelves in the region. Earlier this week, protests were held throughout the region, including the Gaza Strip in Jerusalem, where Hamas supporters led an assault and protest that surrounded the European Union offices for Israel.

Hamas members, some armed with guns, stormed the EU office (which is primarily staffed by Arabs) and demanded apologies from EU member states, saying they would otherwise face serious consequences. “It will be a suitable reaction, and it won’t be predictable,” said Abu Hafss, a member of the Al Quds Brigade (an affiliate of the group Islamic Jihad), in a press conference outside the EU offices. And the Abu al-Reesh Brigades, a group related to the late Yassir Arafat’s Fatah party, warned that EU member states had 10 hours to apologize for the cartoons or their citizens would be “in danger”.

Jamila Al Shanty, a newly elected Hamas legislator, stated that more rallies will be planned in protest of the cartoons. “We are angry – very, very, very angry,” Al Shanty said today, adding that “No one can say a bad word about our prophet.”

The Iranian newspaper Hamshari daily has stated that on February 8 it will publish anti-semitic cartoons in response to the Danish cartoons, apparently failing to notice that Denmark has only a tiny Jewish population, since most escaped to Sweden during the World War II Holocaust. The newspaper says that the cartoons will lampoon the Holocaust despite denials by the Iranian government that the Holocaust even happened.

Jyllands-Posten, the newspaper that first published the cartoons did issue an apology to Arab countries on Monday, shortly after the EU office incident. But with the support of the government of Denmark, the newspaper had earlier defended its actions fiercely, citing the universal right to free press, and its duty to serve democratic traditions by inspiring debate. Indeed, Anders Fogh Rasmussen, Prime Minister of Denmark, said “We are talking about an issue with fundamental significance to how democracies work.” In fact, some European pundits have placed more fault on Muslims for refusing to “accept Western standards of free speech and pluralism”. When the cartoons were originally published in 2005 they were intended to highlight and redress the unequal restrictions applied to Islamic content in European newspapers in comparison with content referring to other religions. The cartoons are also self-referential, with one character in the cartoons writing in Arabic on a blackboard “Jyllands-Posten’s journalists are a bunch of reactionary provocateurs”, and another cartoon showing a cartoonist having to work in hiding because one of the cartoons he is drawing includes an image of the Prophet Mohammad. The text around the cartoons stated:

“The modern, secular society is rejected by some Muslims. They demand a special position, insisting on special consideration of their own religious feelings. It is incompatible with contemporary democracy and freedom of speech, where you must be ready to put up with insults, mockery and ridicule. It is certainly not always equally attractive and nice to look at, and it does not mean that religious feelings should be made fun of at any price, but that is less important in this context. […] we are on our way to a slippery slope where no-one can tell how the self-censorship will end. That is why Morgenavisen Jyllands-Posten has invited members of the Danish editorial cartoonists union to draw Muhammad as they see him. […]”

However, some world leaders have elected to help defuse what could be a major social crisis in Europe and the Middle East. France’s foreign minister Philippe Douste-Blazy said that freedom of the press should be exercised “in the spirit of tolerance”, sentiments which were echoed by United Nations General Secretary Kofi Annan. Ursula Plassnik, foreign minister of Austria, said that the European community must “clearly condemn” acts which insult religion. And Hamid Karzai, president of Afghanistan, warned Europe that “any insult to the Holy Prophet (Peace Be Upon Him) is an insult to more than one billion Muslims and an act like this must never be allowed to be repeated.”

Rasmussen, in an interview with Arabic TV Al arabia, said that “…Danish government condemns any expression and any action which offends people’s religious feelings…” and also said that he does not understand why, as the cartoons were originally published in September, the situation has only truly started to deteriorate in the past week.

In Denmark, there are counter-demonstrations by moderate Muslims saying they don’t want the images banned. Munira Mirza commented that many Muslims “want to be able to say: ‘Hey we’re not children, we can handle criticism, we don’t need special protection – we’re equal’. Many don’t want to be treated as a special group, seen as worthy of more protection from criticism than other groups because of their apparent victim status.”

Religious satirist Stewart Lee commented that Jyllands-Posten had “tried to deal with a subject they don’t know enough about, and this is one of the teething problems of the cross-over of cultures in the world. I’m sure the level of offence is far greater than would have been intended.”

The director (Directeur de publication) of “France Soir“, a French national newspaper was fired in response for publishing a cartoon titled: “Yes, we have the right to (joke about) characterise God” (Oui, on a le droit de caricaturer Dieu). The “France-Soir” web site is presently offline. The cartoon is partially visible on a nouvelobs.com website.

Today, Libération, another French national newspaper, is publishing two of the “Mohammad Cartoons”. Other newspapers across France are asking for their rights to freedom of the press to be defended.

Charlie Hebdo, a well-known satirical newspaper, will publish articles to support cartoonists, freedom of speech and freedom of the press.

The general reaction in France seems to be that most citizens except religious people (Catholics, Muslims,…) are astounded by the level of anger against the “Mohammad Cartoons”.

On February 9 2006 Queensland Premier Peter Beattie gave The Courier Mail Newspaper his blessings in publishing the Jyllands-Posten Muhammad cartoons/depictions of Muhammad stating that he is a firm believer in free speech and ones freedom of expression.On the very same day he got his legal representative to write to the author of this site photoduck.com demanding he censor material relating to him and his Government.

Although many newspapers have not republished the cartoons in order to avoid backlashes, the drawings have appeared on the Internet and are being revealed at a number of Web sites and blogs. On January 30th, Fox News contributor Michelle Malkin placed the drawings on her blog, and encouraged others to do the same.

Friday, November 30, 2012

Qatari non-profit organization Gulf Organization for Research and Development (GORD) launched a low emissions car at the 2012 United Nations Climate Change Conference (COP 18) in Doha. The car was designed and developed in Qatar.

Revealed during a press conference at the Qatar National Convention Centre, the car in addition to an internal combustion engine, includes an automotive thermoelectric generator designed to capture waste heat to produce hydrogen. GORD expects the heat waste collecting system to be compatible with any gasoline or compressed natural gas car.

GORD chairman Dr Al-Horr summarised the key concepts of the invention in a statement saying, “Our car produces electricity at no cost by capturing thermal waste energy, reducing costs and eliminating the need for an external source of electricity. Also, bulky compressed-hydrogen cylinders are a thing of the past, as our concept accomplishes the production of hydrogen by using water through fuel cells integrated within the car.”

Most of the energy in Qatari vehicle comes from the the car’s gasoline tank, supplemented by a thin film photo-voltaic panel on the roof. Normally in a combustion engine, chemical energy stored in a fuel, such as gasoline, is converted into heat energy through combustion. This heat energy is then converted into mechanical energy, manifested as an increase in pressure in the combustion chamber due to the kinetic energy of the combustion gases. The kinetic energy of these combustion gases are then converted into work; because of the inefficiencies in converting chemical energy into useful work, internal combustion engines have a theoretical maximum effiecincy of 37% (with what is achievable in day to day applications being about half of this). Of the chemical energy in the consumed fuel used by an internal combustion engine 40% is dissipated as waste heat. However, the Qatari vehicle uses a thermoelectric generator to convert this waste heat into electricity. Such generators are used in space vehicles, and produce electricity when thermoelectric materials are subjected to a temperature gradient, the greater the gradient the greater the amount of electrcity produced. In the GORD vehicle the electricity produced is used to electrolyse potable water to produce hydrogen which can be introduced into the vehicle’s existing fuel system.

The researchers showed that the heat waste collection engine caused a decrease in the car’s emissions, including a decrease of carbon monoxide and nitrous oxide emissions by more than 50%, the fuel efficiency increasing by 20%. On its website, GORD said that the heat waste collector engine is universal, “Any car can be adapted to accommodate the system as it doesn’t alter any electro-mechanical systems”.

Saturday, July 22, 2006

The UK Film Council has said British films claimed a record one-third share of UK cinema takings last year.

The council has also revealed that Harry Potter and the Goblet of Fire was Britain’s top-grossing film in 2005 after taking £435m ($808m) at the Box Office worldwide. It was one of eight British films to be included in the top 20 list of the world’s biggest grossing movies. Charlie and the Chocolate Factory, Batman Begins, Kingdom of Heaven, Wallace & Gromit: The Curse of the Were-Rabbit, The Hitchhiker’s Guide to the Galaxy, Nanny McPhee and Pride and Prejudice took £1.8bn ($3.3) in total globally and were seen by 600 million people.

John Woodward, the chief executive officer of the UK Film Council, said: “The figures show that the public love British films and 2005 was a great year for British films at the cinema with the largest slice of Box Office takings since records began.”

Culture Secretary Tessa Jowell|, who has exposed tax incentives aimed at luring filmmakers to the UK, said: “Harry Potter, Nanny McPhee and Willy Wonka have all been hits at home and abroad – helping us achieve great success at the Box Office. I hope that next year, buoyed by the new tax incentive, the UK film industry will be in even better health.”

The amount of British people viewing foreign language films also increased. More than 200 foreign language films in 32 different languages were shown at cinemas across the UK. Downfall, a German-produced movie depicting the final days of Adolf Hitler, was the most popular, according to the council.

Movies are classed as being UK-made if they are filmed in the country, star UK personalities, and invest money in the UK or on British staff and services.

Monday, April 2, 2007

Iran state television broadcast a new video of two officers among the fifteen British sailors and marines seized by Iran last week.

Yesterday, Iranian students demonstrated in front of the British embassy in Tehran over the incident.

Demonstrators threw stones, firecrackers and a smoke grenade but were prevented from entering the embassy compound by police. No damage was reported and no one at the embassy was injured. The BBC‘s correspondent on the location reported that the protestors were hardline Islamist students from Tehran University, who chanted “Death to Britain” and called for an apology from the UK for the incident and putting the seized soldiers on trial. Protestors also carried banners saying “finally wipe Israel from the face of the Earth”.

The new video shows one of the servicemen, Royal Marine Capt. Chris Air, pointed to an area on a map where Iran says they were when the British troops were arrested.

“We were seized apparently at this point here on their maps and on the GPS they’ve shown us, which is inside Iranian territorial waters. And so far we have been treated very well by all the people here. They have looked after us and made sure there’s been enough food and we’ve been treated very well by them, so we thank them for that,” said Air.

Lt. Felix Carman is the second serviceman to appear in the video. Carman was also showing viewers where they were detained by Iranian forces.

“[It is] completely unacceptable for these pictures to be shown on TV,” said a British Foreign Ministry spokesman, echoing previous statements from the Prime Minister Tony Blair and Foreign Secretary Margaret Beckett.

On March 23, the fifteen sailors and marines from the frigate HMS Cornwall were inspecting a ship, in what the UK identified as Iraqi waters, when they were surrounded by Iranian gunboats and taken into custody. Iran claims the UK forces were in Iranian waters, though they have released the 15.

Friday, August 24, 2007

Just before midnight Wednesday, four-year-old Taylor Bailey, nicknamed Bucky, was attacked by a neighbor’s dog. The Staffordshire Bull Terrier mix named Money chased the boy after he stepped out of his mother’s car, eventually knocking the boy to the ground and latching onto his leg.

The same dog had bitten the boy’s father the week before, according to the family, although this has not been confirmed by police. He recognized the dog and alerted his mother to the dogs presence just moments before the attack. She urged her son to come to her, but the one-year-old, 85-pound (~39 kg) male broke free from his restraints and attacked the screaming boy.

The struggle lasted several minutes before the boy’s mother, Melinda Walters, was able to fight off the dog, leaving her knees scraped and thigh scratched. The boy’s legs were punctured, scratched and bruised with bits of flesh missing. “It didn’t go away. It was just trying to grab me … trying to kill me,” the boy said. Walters was carrying her three-year-old son Jason on her hip during much of the fight.

The dog’s owner, Marquita Mooney, 23, was ticketed along with a relative who was watching the dog. She said that rather than register the dog as a potentially dangerous animal—which involves an insurance bond, fees, kennel requirements and more—she would have the dog put down. Police reports indicate that the dog bit two other dogs about two weeks ago. Mooney has been ticketed for both incidents.

This is the second such incident in Minneapolis this month—seven-year-old Zach King Jr. was attacked and killed in his home last week by his family’s pit bull—fueling the debate over banning pit bulls and other “dangerous breeds” in some communities. Since 1966, there have been four other deaths from dog attacks in Minnesota, all but one of which were of children seven-years-old or younger.

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.