Saudi Arabia to allow women to drive

Thursday, September 28, 2017

On Tuesday, Salman bin Abdulaziz, the king of Saudi Arabia, signed a royal decree to permit Saudi women to obtain a driver’s license and drive. The new decree is to be under effect from June 2018. After the signing of the landmark decree, Saudi’s foreign affairs ministry tweeted, “By order .. Traffic system allows women to drive the car in the Kingdom” ^{((ar))Arabic language: ????? ????.. ???? ?????? ???? ?????? ?????? ??????? ?? ???????}.

Saudi Arabia was the only country where women were prohibited from driving. A committee of ministers is to decide upon how to implement this decree, and provide recommendations within a month. A majority of the country’s religious advisory Council of Senior Scholars had agreed with the amendments. Though women would be issued driving licenses, their permission to drive would have to be in accordance with the Shari’a law, the scholars said. Also, Saudi Arabia has a law about guardianship, which mandates women seek permission from male guardians before leaving home. The committee would make recommendations about scenarios like this.

Last year, prince Alwaleed bin Talal issued a statement in support of eradicating this ban. The prince said, “Preventing a woman from driving a car is today an issue of rights similar to the one that forbade her from receiving an education or having an independent identity”. He added, “They are all unjust acts by a traditional society, far more restrictive than what is lawfully allowed by the precepts of religion.” The prince also cited economic concerns. In his statement, he said families had to rely on drivers when a female member had to travel, which could be avoided if women were allowed to drive. He said, “Having women drive has become an urgent social demand predicated upon current economic circumstances”.

Manal al-Sharif, who was punished for driving in Saudi Arabia, and who advocated rights for women to drive, tweeted, “Today, the last country on earth to allow women to drive #Women2Drive#Daring2Drive we did it”, after the announcement was made. Women who protested against the unequal rights in 1990 and 2011 were punished, in various cases jailed and banned from travel for years.

Friday, November 3, 2006

On November 13, Torontonians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Scarborough-Agincourt (Ward 39). Two candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Wayne Cook, Mike Del Grande (incumbent), Samuel Kung, Lushan Lu, Sunshine Smith, and John Wong.

For more information on the election, read Toronto municipal election, 2006.

Thursday, July 3, 2014

Ian Narev, the CEO of the Commonwealth Bank of Australia, this morning “unreservedly” apologised to clients who lost money in a scandal involving the bank’s financial planning services arm.

Last week, a Senate enquiry found financial advisers from the Commonwealth Bank had made high-risk investments of clients’ money without the clients’ permission, resulting in hundreds of millions of dollars lost. The Senate enquiry called for a Royal Commission into the bank, and the Australian Securities and Investments Commission (ASIC).

Mr Narev stated the bank’s performance in providing financial advice was “unacceptable”, and the bank was launching a scheme to compensate clients who lost money due to the planners’ actions.

In a statement Mr Narev said, “Poor advice provided by some of our advisers between 2003 and 2012 caused financial loss and distress and I am truly sorry for that. […] There have been changes in management, structure and culture. We have also invested in new systems, implemented new processes, enhanced adviser supervision and improved training.”

An investigation by Fairfax Media instigated the Senate inquiry into the Commonwealth Bank’s financial planning division and ASIC.

Whistleblower Jeff Morris, who reported the misconduct of the bank to ASIC six years ago, said in an article for The Sydney Morning Herald that neither the bank nor ASIC should be in control of the compensation program.

Monday, September 20, 2010

One of London’s most well known murals could be restored after years of neglect if plans by a group of community activists gain public support. The Fitzrovia Mural at Whitfield Gardens on London’s Tottenham Court Road was created by two mural artists and commissioned by Camden Council in 1980, but the mural has since decayed and been vandalised.

Plans will be presented at a public meeting this Tuesday, to include details of the restoration and promote local public space in contrast to potential commercial developments and the focus of the London 2012 Olympics. If enough funds are raised from charitable trusts and public donations the mural could be restored during the summer of 2011.

Plans to be put forward by the Fitzrovia Neighbourhood Association, and the London Mural Preservation Society, will present ways to fund not only the restoration work but also projects to raise awareness of conservation, heritage, and the residential and working community. The heritage and mural project hopes to involve many local people who could learn new conservation skills. Also planned are workshops with local children to involve them in their heritage, an exhibition by local artists, guided tours and a celebratory event at the end of the restoration project. In addition to this, a booklet would be produced containing collected oral histories of the people involved and a preservation trust to protect the mural in future years.

The playful painting was created on a Camden Council-owned building in 1980 by artists Mick Jones, (son of the late Jack Jones, trade union leader) and Simon Barber and is a mash up of scenes depicting problems faced by the neighbourhood over the preceding decade.

There is also a caricature of poet Dylan Thomas, who lived in Fitzrovia, and a mocking portrayal of then leader of the Greater London Council, Conservative politician Horace Cutler, who is pictured as a bat-like creature. Other characters include an anonymous greedy developer and a property speculator counting piles of cash.

Peter Whyatt of the neighbourhood association is jointly leading the project to restore the mural. Yesterday he told Wikinews he had a number of concerns about the possible success of the project.

“There are a great number of problems with getting this project off the ground and we also need to act pretty quickly for a number of reasons,” said Mr Whyatt.

“Firstly the mural is in a terrible state and deteriorating quickly. There is more graffiti being daubed on the site every month because one bit of graffiti attracts another bit. We really need to start the work in the next 12 months because going through another winter with the condition of the wall will causes more problems and inevitably more expense. We want to keep as much original artwork on the site as possible to keep the costs down. This is a big mural and it will be expensive to restore,” he continued.

“And that brings me to my second concern: cost. If we don’t get other community organisations on board to bid for money for this with us and to involve their beneficiaries and volunteers, it will be very difficult to secure the money needed. Money is very tight at the moment because to the current financial climate. We need to get support at this meeting on Tuesday and some firm commitments from people and organisations to get involved.

“Lastly there is a danger of a commercial development on the site. A public-private partnership to create a new art feature. Because of the existing mural’s subject matter – it mocks property speculators, and land developers, etc – a commercial scheme probably backed by a property developer would not want to restore the mural’s original message. They’d want some “good news” scheme, some greenwash idea that paints them in a positive light.

“However, despite these problems, Camden Council have offered to do a condition survey on the mural. This will save us a lot of money. But having said that there are five council departments to deal with to get permission for this restoration work, and they don’t always talk to each other.

“But if the public and local voluntary organisations show their support, we can make it happen,” Mr Whyatt concluded.

The mural restoration will be just one part of a year long project of heritage and conservation awareness-raising. “The project is not just about the mural but also wider plans to promote awareness of heritage and conservation in an area of London under threat from commercial development. In fact the bulk of the project is about the heritage and conservation and the mural is just one part of it, and the most visible because of its situation,” Mr Whyatt later added.

There will be a public meeting about the heritage and mural project at 7.30 pm tomorrow (Tuesday), at the Neighbourhood Centre, 39 Tottenham Street. The public can also comment about the proposals on the Fitzrovia Heritage and Mural website.

Sunday, February 5, 2017

On Thursday, former English midfielder Frank Lampard announced retirement from football via Instagram, finishing a 21-year professional football career.

Lampard said, “After 21 incredible years, I have decided that now is the right time to finish my career as a professional footballer. […] at 38 I feel now is the time to begin the next chapter in my life.”

The 38-year-old midfielder made his debut in the mid-1990s and played for West Ham United and Swansea City before he joined London-based football club Chelsea F.C. in 2001 for £11million. Spending thirteen seasons with The Blues, Lampard scored 211 goals in all competitions for Chelsea, a club record, in nearly 650 appearances for the club. Lampard won three Premier League titles, four FA Cups, two Football League Cups, and one each of UEFA Champions League and UEFA Europa League.

Lampard spent one season with Manchester City F.C. before moving to Major League Soccer club New York City Football Club. Lampard played 29 matches with the New York club scoring fifteen goals. Lampard has scored goals against 39 different Premier League clubs.

Lampard won 106 international caps for England, scoring 29 goals and featuring in three FIFA World Cups — 2006, 2010 and 2014 — before retiring from the national team in 2014. He made his international debut in 1999 against Belgium.

Lampard said he is to study for coaching qualifications. Lampard wore a blue coloured jersey for most of his career.

Sunday, October 9, 2005

Canada’s federal government has announced a new program that plans to share unexpected budget surpluses with ordinary citizens. It should be introduced in Ottawa as early as Friday.

The Surplus Allocation Act would share any surplus equally between tax cuts, new spending and debt relief. It would not replace Canada’s $3 billion emergency fund. Under existing law any surplus is funneled completely into debt relief.

The benefit would come as an amount added on to the income tax returns of that year. It would then be added on to the amount a person can earn tax-free for each subsequent year.

Along with the new home heating oil rebate program are considered to be pre-election maneuvering from the liberals. Paul Martin has promised an election within 30 days of the Gomery Commission Report’s release. The report is expected in February.

Monday, December 24, 2007

The “NBA 2K8 Asia Championship” Taiwan Qualifier, organized by NBA Asia Corp. and sponsored by Microsoft Taiwan, was held on December 22 & 23. According to the organizer, Taiwan was chosen as the first on-site stage tournament because of some of the market share factor on the gaming industry and the gaming population.

In Taiwan’s qualifier, the organizer successively invited models from Catwalk Production House and two Taiwanese bands (Yummy, 2moro) for friendship matches with the public. With the entertainers’ participation, it attracted media and press in the entertainment industry.

On the other hand, to conjunct with sports and gaming, the organizer set the experience area with not only the Xbox 360 gaming console but also a shooting machine.

In this 2-day qualifier, due to some issues on the arrangement of the schedule, some registered gamers offered to quit the championship, but it didn’t take effect on the results of the single day champion, the 2-day champion, and overall champion. Finally, Yu-cheng Lin won the overall champion to participate in the Grand Final of the championship in South Korea on January 12, 2008.

According to the organizer, the Hong Kong qualifier will start on January 5 & 6, 2008 at Plaza Hollywood in Diamond Hill, Hong Kong.

Wednesday, December 27, 2017

On Sunday, vice-president of World Chess Federation (FIDE) Israel Gelfer told Reuters that visas for seven Israeli chess players “will not be issued” for a chess tournament in the Kingdom of Saudi Arabia (KSA). The 2017 King Salman Rapid and Blitz World Championships from December 26 to December 30 in Riyadh is to go ahead without any changes, the vice-president said.

Spokesperson of the Saudi Arabian embassy in the US Fatimah Baeshen tweeted, “Related to the purported politicization of the International Chess Tournament hosted by Riyadh: the Kingdom has allowed the participation of all citizens.The exception is whereby KSA has historically not had diplomatic ties with a specific country-thus has maintained its policy.”

Saudi Arabia does not recognise Israel. Despite their diplomatic tensions with Iran, Israel, and Qatar, FIDE tweeted they had “secured” visas for Qatari and Iranian chess players on Monday. In November, FIDE’s deputy president Georgios Makropoulos told Reuters they were “making a huge effort to ensure that all players get their visas”.

Speaking to Reuters, Israeli Chess Federation’s spokesperson Lior Aizenberg said, “The event is not a world championship if they prevent chess players from several countries from taking part […] Every chess player should have the right to participate in an event on the basis of professional criteria, regardless of their passports, their place of issue or the stamps they bear.”

Moshe Shalev of the Israel Chess Federation said they were “thinking about suing the World Chess Federation”.

About 180 chess players were to participate in the event. The total prize money of the tournament is US$2 million, with largest individual prize money about US$750 thousand.

In November, chess Grand Master Hikaru Nakamura tweeted, “To organize a chess tournament in a country where basic human rights aren’t valued is horrible. Chess is a game where all different sorts of people can come together, not a game in which people are divided because of their religion or country of origin.”

This is not the first time Israeli players have faced problems while playing in the Middle East nations. In October, Israeli judokas were not permitted to wear the Israeli flag or symbols, or bear the country’s name on their judo uniform for a judo grand slam in the United Arab Emirates. Israeli judokas had to compete without their national flag and the anthem of the International Judo Federation was played at the medal ceremony when Israeli athlete Tal Flicker won a gold medal.

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”.

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.