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Wednesday, June 13, 2007

The US-based Cessna Aircraft Company, a subsidiary of Textron Inc., is expected to statically display seven of its aircraft and a mock-up of its latest business jet large cabin concept at the 47th International Paris Air Show, dubbed the LCC.

The seven aircraft expected to be on display are the Citation CJ2+, Citation Encore+, Citation XLS, and Citation Sovereign business jets, a Grand Caravan, a 206 Stationair, and a 172 Skyhawk single engine piston aircraft.

Cessna Chairman, President and CEO Jack Pelton said of the exhibit, “There is so much synergy now with other companies under the Textron corporate banner – companies like Bell Helicopter and Textron Systems – that we felt it made sense for us to return as an exhibitor to the Paris Air Show… We are particularly excited to have our large cabin mockup as the highlight of our exhibit.”

Cessna originally announced plans for a new large model of business jet for the Citation range at last year’s annual National Business Aviation Association meeting, and the idea has been in development since, culminating in the new large cabin concept design. The mock-up at the Paris Air Show includes a large galley, seating for nine passengers, a toilet and a dummy flight deck.

Cessna claim the new design, which outsizes their previous large cabin and long-range business jets, would “set a new standard for performance, cabin comfort, passenger amenities and environmental friendliness,” if launched.

Cessna refuse to release details such as exact internal design specifications and manufacturers of avionics and engines unless the new model actually enters production. Cessna Senior Vice President of Sales & Marketing Roger Whyte told reporters that preliminary wind tunnel testing had “fully met… expectations” and that they had “received extremely positive reaction to the performance parameters as well the cabin design of the proposed aircraft from our customer base”, although he warned that there are still a number of processes to be completed before Cessna actually decide whether or not to launch the new model.

Sunday, May 18, 2008

John Key is the leader of the New Zealand National Party and with the New Zealand General Election this year, Wikinews’ Gabriel Pollard spoke to John Key via email.

Wednesday, June 12, 2013

In May, periodical cicadas with 17 years life cycle emerged on the East Coast of the USA after underground development as juveniles since 1996. Researchers and scientists worked to map and study the rare wave, and the locals prepared for the noisy event. First recorded in 1666, the Magicicada septendecim species recently emerged in 1979, 1996, this year, with a next wave due in 2030.

This week, Wikinews interviewed Chris Simon, an ecology and evolutionary biologist at University of Connecticut, about the cicadas.

((Wikinews)) What caused your initial interest in periodical cicadas?

Chris Simon: As an undergraduate student, I was interested in the formation of species so when I went to graduate school I looked for a study organism that was likely to be in the process of forming new species. I chose periodical cicadas because they are broken up into reproductively isolated broods (or year classes). Reproductive isolation leads to speciation so I planned to study biochemical differences among the broods.

((WN)) You study the emergence of the periodical cicadas. What do you study? What observations are you making?

CS: We record exactly where each cicada population emerges (using GPS automated mapping and crowd sourcing). We record the presence or absence of each of the three morphologically distinct species groups of periodical cicadas (Decim group, Cassini group, and Decula group). We collect specimens for DNA analysis. We look for cicadas coming up one and four years early and late. We dig up cicada nymphs and monitor their growth rates.

((WN)) What equipment do you use?

CS: Nets, shovels, automated GPS recorders, cameras, laptop computers, automated DNA sequencers.

((WN)) Do you study the periodical cicadas with anyone else? What is their role?

CS: Yes, there are a large number of people studying periodical cicadas in my lab and in other labs. My lab is made up of Research Scientists, Postdoctoral Researchers, a technician, graduate students, and undergraduates. Research Scientist John Cooley is the leader of the GPS mapping project; he invented the automated GPS recorder; he built our crowd-sourcing website, and he is instrumental in public outreach. Postdoctoral research David Marshall also participates in the mapping project and leads the part of the research related to the mapping of stragglers. John and Dave and Technician Kathy Hill all study periodical cicada mating behavior and conduct mating and hybridization experiments. One of my graduate students Beth Wade has participated in the nymph collections and will soon start genetic work involving genome wide association mapping designed to locate genes related to life cycle. My graduate student Russ Meister is studying the genes of the bacterial endosymbionts of cicadas. My current undergraduate honors student Erin Dwyer is also studying the development of Magicicada nymphs and is helping to design a lab exercise for college students around the eastern US to do the same. Many of my past undergraduate students have studied the biochemical genetics and development of periodical cicadas. See the Simon Lab website.

CS: We are collaborating with Teiji Sota at the University Kyoto and Jin Yoshimura at Shizuoka University in Japan. They are studying the phylogeography of Magicicada. We are collaborating with John McCutcheon of the University of Montana who is studying the endosymbiont genomes.

CS: We are also collaborating with ecologists Rick Karban and Louie Yang, both professors at UC Davis who have an interest in cicada population dynamics and nutrient cycling in the ecosystem.

((WN)) You studied the periodical cicadas in 1979 and 1996 too. What changes with time?

CS: I have studied periodical cicadas since I was a student back in 1974. What changes with time is increased human development constantly shrinking the patch size of cicada populations.

((WN)) What are your thoughts on the long life span of the periodical cicadas? Why could it be so? What advantages and what disadvantages does it have?

CS: Most or all cicadas have long life cycles compared to your typical annual insect. Examples have been found of two-year to 9-year cycles in different species. Periodical cicadas evolved an even-longer life cycle and I think that part of this relates to the evolution of their synchronized life cycles and peculiar safety-in-numbers strategy for survival. To become synchronized, periodical cicadas had to evolve an exact length life cycle and all adults would have to appear in the same year. Because the nymphs grow at different rates underground, a longer life cycle and a way of counting years must have evolved so that the individuals that get to the last nymphal (underground juvenile) stage first would wait long enough for all other individuals in the population to become ready to emerge.

((WN)) News reports mention this is ‘Brood II’ of the periodical cicadas. What are the distinctive features of this specific species and what is its full scientific name?

CS: The same species exist in multiple broods. No species is restricted to Brood II. The three species present in Brood II are: Magicicada septendecim, M. cassini, and M. septendecula. These same three species are found in every 17-year brood (except the farthest north which only has M. septendecim).

((WN)) At what depth do the cicadas juveniles live underground?

CS: Most live within the top foot of soil but some have been found deeper. We do not know if they go deeper in winter. We need to do much more digging to understand the nymphs.

((WN)) How do people prepare for the cicada emergence?

CS: Of course various people prepare in different ways. Ideally, everyone prepares by studying information available on the web (especially on our websites Magicicada Central and Magicicada.org).

((WN)) Do cicadas affect transport in the local area?

CS: No, not really. Occasionally individuals can be seeing flying across highways and sometimes they smash into cars.

((WN)) Do cicadas usually stay outside or do they also invade houses too?

CS: They stay outside. One might accidentally fly in through an open window but that would be rare.

((WN)) What do the cicadas eat?

CS: Cicadas suck xylem fluid (the watery fluid coming up from the roots of plants) in deciduous forest trees and herbs. Essential amino acids in the cicada diet are supplied by their bacterial endosymbionts. There are two species of endosymbionts. One makes 8 essential amino acids and one makes two essential amino acids.

((WN)) Do cicadas damage crops or city vegetation? What damage?

CS: Cicadas do not chew leave so they do not damage crops like other insects. They can inflict some damage by their egg laying. Cicadas lay eggs in pencil-sized tree branches. If there are not enough branches available, too many female cicadas may lay eggs in a single branch weakening it and making it susceptible to breakage by wind. This can sometimes cause damage in fruit orchards. If the branches break, the eggs die so this behavior is selected against by natural selection.

((WN)) Thank you.

CS: You’re welcome. I am happy to have this opportunity to communicate with your readers!

Wednesday, February 22, 2006

The Bathurst Regional Council has begun preparing the Mount Panorama motor racing circuit for the inaugural Bathurst International Motorsport Festival (BIMF) to be held between April 13 and 16, 2006. The Mount Panorama motor racing circuit is considered to be the home of motorsport in Australia.

Council’s staff have been busy cleaning the facilities, erecting signage, checking pedestrian bridges and inspecting the track surface for the past few days.

The BIMF will be the first event to be held at the 6.2 kilometre circuit over Easter since 2000. In 2000, Event Management Specialists held the first motorcycle racing event since 1990, but due to EMS going bankrupt a short time after their 2000 event was ran and the inability of the then Bathurst City Council to find another promoter, the Easter event was canned.

The BIMF is inspired by the Festival of Speed and Goodwood Revival in the United Kingdom. The Bathurst Regional Council and event promoter Global Entertainment Team promise that the event “will cater for all motoring enthusiasts, collectors and historians”.

According to the BIMF website, the on-track program consists of:

• Manufacturers showcasing their vehicles and track times
• Historic touring car races
• Aussie racing car races
• Australian GT sports car
• Parade laps by car clubs
• Parade laps and races by “Legends of Motorsport”
• Stunt car and bike events
• Rally cars
• Displays of cars from all eras of Mount Panorama’s history
• The chance for patrons to purchase a ride around the circuit in a race car.

Off the track, the organisers have promised manufacturer displays, merchandise stands, music, joyflights, Off-road demonstrations and joyrides, autograph sessions and interviews with influential people in the Australian motor industry.

Sunday, August 21, 2005

A robotic system at Stanford Medical Center was used to perform a laparoscopic gastric bypass surgery successfully with a theoretically similar rate of complications to that seen in standard operations. However, as there were only 10 people in the experimental group (and another 10 in the control group), this is not a statistically significant sample.

If this surgical procedure is as successful in large-scale studies, it may lead the way for the use of robotic surgery in even more delicate procedures, such as heart surgery. Note that this is not a fully automated system, as a human doctor controls the operation via remote control. Laparoscopic gastric bypass surgery is a treatment for obesity.

There were concerns that doctors, in the future, might only be trained in the remote control procedure. Ronald G. Latimer, M.D., of Santa Barbara, CA, warned “The fact that surgeons may have to open the patient or might actually need to revert to standard laparoscopic techniques demands that this basic training be a requirement before a robot is purchased. Robots do malfunction, so a backup system is imperative. We should not be seduced to buy this instrument to train surgeons if they are not able to do the primary operations themselves.”

There are precedents for just such a problem occurring. A previous “new technology”, the electrocardiogram (ECG), has lead to a lack of basic education on the older technology, the stethoscope. As a result, many heart conditions now go undiagnosed, especially in children and others who rarely undergo an ECG procedure.

Monday, March 28, 2005

Commander Leroy Chiao (U.S.A.) and Flight Engineer Salizhan Sharipov (Russia), suited in Russian Orlan spacesuits, left the International Space Station on a 4.5 hour long spacewalk to install antennas for the European Automated Transfer Vehicle (ATV), inspect and photograph other exterior equipment and launched the Nanosatellite mini-satellite. This is the last scheduled walk for the Expedition 10 crew.

At 06:25 UTC, the two astronauts left the station from the Pirs DC1 docking compartment/airlock and proceeded to install the last three of six space-to-space communication antennas for the ATV’s rendezvous and docking with the ISS next year.

Sharipov next deployed the foot long, 11 pound Russian Nanosatellite, tossing it into space by hand. The object of the experiment is to develop small satellite control techniques, monitor satellite operations and develop new attitude system sensors. Russian ground crews reported good signal reception from the satellite two hours after its release.

The two astronauts next proceeded to the aft end of the Zvezda service module. A Global Positioning System (GPS) antenna and necessary cabling for the ATV was installed and the men worked their way back to the airlock.

The station maintained its attitude, despite the loss of a gyroscope earlier in the space station mission, until the end of the spacewalk. Chiao and Sharipov reported being a safe distance from the attitude adjustment thrusters. Russian ground control activated the jets and normal attitude ofthe station was regained.

They returned to the airlock at 1055 UTC, completing the mission an hour earlier than scheduled.

Chiao and Sharipov arrived on the station October 16, 2004. They are scheduled to return to Earth on April 25, 2005. This marks Sharipov’s second walk in space and Chiao’s sixth.

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.