Ash from Iceland’s Grimsvötn volcano could affect Heathrow by the end of the weekThis article titled “Ash cloud moves towards UK airspace” was written by Dan Milmo and Adam Gabbatt, for guardian.co.uk on Monday 23rd May 2011 10.04 UTCAirlines and airports have been warned to expect ash from an erupting Icelandic volcano to arrive in UK airspace by Tuesday, with the possibility that it could affect Heathrow airport by the end of the week.The safety watchdog for British airlines and airports, the Civil Aviation Authority, said today that particles from the Grimsvötn volcano could reach Scotland by midnight tonight and western England by Thursday or Friday, depending on wind direction.If airspace in western England, Ireland and the Atlantic is affected by the smoke plume transatlantic flights in and out of Heathrow could suffer delays later this week as planes are diverted around the most dense parts of the cloud.However, the Civil Aviation Authority said it was confident that a new Europe-wide safety regime introduced after the Eyjafjallajökull eruption last year would reduce disruption significantly and avoid the continental shutdown that stranded millions. Under the new operating procedures, it is understood that the effect of last year’s plume on commercial routes would have been 75% smaller.Nonetheless, some disruption is expected as airplanes divert around the heaviest parts of the cloud. According to the latest forecasts, Inverness and Aberdeen are the most likely airports to suffer disruption tomorrow, although the most accurate estimates can only predict six hours ahead.“Our number one priority is to ensure the safety of people both on board aircraft and on the ground. We can’t rule out disruption, but the new arrangements that have been put in place since last year’s ash cloud mean the aviation sector is better prepared and will help to reduce any disruption in the event that volcanic ash affects UK airspace,” said Andrew Haines, CAA chief executive.Under previous guidelines, aircraft were summarily grounded if there was any volcanic ash in the air. Now, airlines can fly through ash plumes if they can demonstrate that their fleets can handle medium or high-level densities of ash.The Met Office’s volcanic ash advisory centre will identify the density and location of the cloud, aided by satellite images, weather balloons and a radar specially installed for monitoring purposes in Iceland last year. Once those zones are relayed to airlines, they will need to prove that they can fly through them by producing “safety cases” that will include information from aircraft and engine manufacturers on the airline’s tolerance to volcanic ash.A CAA spokesman said all major UK airlines already had safety preparations for medium-density ash clouds.“We are in a much better position than last time,” he said. “Safety will still be paramount but we will be able to drastically reduce disruption compared to last time, provided there is not a huge amount of high-density ash.” The spokesman said a similar level of ash to the Eyjafjallajökull incident would not result in a mass-grounding. “It will be a different picture.” However, jets will have to divert around high-density clouds, causing delays on some routes, because no UK airline has submitted a safety case for flying through heavy ash plumes.BAA, the owner of Heathrow, Stansted, Edinburgh, Glasgow and Aberdeen airports, has convened a crisis support team to prepare for a reduction in flights, as airlines and airports await a further briefing from Eurocontrol and the UK air traffic controller, Nats. “We are working closely with the CAA and Nats in preparing contingency plans if ash enters UK airspace,” it said.Under the new ash guidelines, cloud densities are split into three levels: low, medium and high. Once the Met Office assigns a particular density of ash to a section of airspace, airlines must prove they have the safety case to fly through it. A low density cloud is 2g of ash per 10 cubic metres of air, with medium being 2g to 4g of ash per 10 cubic metres. Anything above 4g is deemed high density.The Grimsvötn volcano began erupting on Sunday, causing flights to be cancelled at Iceland’s main Keflavik airport after it sent a plume of ash, smoke and steam 12 miles into the air. Experts have said the eruption was unlikely to have the dramatic impact that the Eyjafjallajökull volcano had in April 2010.“At the moment if the volcano continues to erupt to the same level it has been, and is now, the UK could be at risk of seeing volcanic ash later this week,” said Helen Chivers, a Met Office spokeswoman. “Quite when and how much we can’t really define at the moment.”She said the weather situation was likely to be different from last year, with the wind direction set to change continuously. She added: “If it moves in the way that we’re currently looking, with the eruption continuing the way it is, then if the UK is at risk later this week, then France and Spain could be as well.”While the ash has grounded aircraft in Iceland, it is not anticipated that it will have a similar impact in the rest of Europe.Dr Dave McGarvie, volcanologist at the Open University, said the amount of ash reaching the UK was “likely to be less than in the 2010 Eyjafjallajökull eruption”, and the last two times Grimsvötn erupted it had not affected UK air travel.“In addition, the experience gained from the 2010 eruption, especially by the Met Office, the airline industry, and the engine manufacturers, should mean less disruption to travellers,” he said.The eruption of the Eyjafjallajökull volcano in south-east Iceland in April 2010 caused the worst disruption to international air travel since 9/11. Flights across Europe were cancelled for six days, stranding tens of thousands of people, and the eruption was estimated to have cost airlines £130m a day.Eurocontrol said in a statement: “There is currently no impact on European or transatlantic flights and the situation is expected to remain so for the next 24 hours. Aircraft operators are constantly being kept informed of the evolving situation.” guardian.co.uk © Guardian News & Media Limited 2010Published via the Guardian News Feed plugin for WordPress.Thanks for subscribing to Andy Roberts blogAsh cloud moves towards UK airspaceRelated posts:How to pronounce EyjafjallajoekullAsh Grounds Planes, Rest Of World Cut OffTag Cloud
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Ash cloud moves towards UK airspace
http://distributedresearch.net/blog/2011/05/23/ash-cloud-moves-towards-uk-airspace
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May 23 2011, 4:09pm | Comments »
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This week’s new exhibitions
http://distributedresearch.net/blog/2011/04/30/this-weeks-new-exhibitions
Ian Hamilton Finlay | Rob Churm | Young British Art | John Salt | Amanda Ross-Ho | The Count Of Monte Cristo | Norfolk & Norwich Festival | Kit Craig & Andrew Lim
This article titled “This week’s new exhibitions” was written by Robert Clark & Skye Sherwin, for The Guardian on Friday 29th April 2011 23.06 UTC Ian Hamilton Finlay, London Swamped by a tide of fleeting tweets, it feels good to be reminded of the work of Ian Hamilton Finlay, the Scottish artist and poet who made language a thing of concrete beauty. Finlay was obsessed by classical culture and ideals but not in the fusty academic sense. He mined the epics for pressing themes like sex, death and violent revolution. “Zimmerat-haunting wood nymph”, reads one of his works in leafy green neon. To specialists in military history, a zimmerat’s a protective coating used on second world war-era tanks, but for Finlay it becomes a magnet for the hotties of Greek myth. A selection of his sculptures are being offset by “definitions” stencilled on the wall, using his own peculiar dictionary. Victoria Miro, N1, Thu to 1 Jun Skye Sherwin Rob Churm, Glasgow Rob Churm explains the title of this exhibition, The Exhaustion Hook, thus: “The hook looks like a leminscate but it feels like a ball bearing.” Clear? He deals in deliberate graphic bewilderments. A central figure of his etchings and wall drawings in Tipp-Ex and Biro is his alter ego Prame, a character who apparently dates back to Churm’s zine comics The Thirteen Flashbacks Of Prame and My Visions. This would all add up to pseudo-surreal wackiness if it weren’t for the artist’s subtle ability to mix dreamworld doodling with compositions of geometric precision. So Death wields a bladeless scythe amid a congregation of hardly credible angels and dragons as, elsewhere, good old Prame paddles across the River Styx in a toy canoe. Sorcha Dallas, to 27 May Robert Clark Young British Art, London As an artist, Ryan Gander’s known for his love of mystery and chance, peppering his sculptures, films and lectures with personal anecdotes and oddball cultural references. Here he turns curator, bringing together work by 38 young artists whose only point of connection is – in the words of the press release – that they’re “exceptionally talented”, and that every work selected is in black and white. The rest is left to merry happenstance. Look out for work by last year’s Cartier Award winner, Simon Fujiwara, who transformed sections of the Frieze Art Fair into an archaeological dig uncovering a fantasy bisexual, amoral and thoroughly hedonistic ancient city dedicated to art. Then there’s The Hut Project, a collective with a self-deprecating take on artworld conventions, as with their self-organised retrospective at the ICA a few years back, rascally titled Old Kunst. Limoncello, E2, to 4 Jun SS John Salt, Birmingham With this first retrospective, John Salt returns to his city of birth, where he was the first artist to exhibit at the Ikon in 1965. With a typically meticulous airbrush and stencil technique, Salt has painted pictures of American cars, plain and simple. Yet these on-the-road images follow the American capitalist dream as it has stretched from the cars dumped under the approach to the Brooklyn Bridge in the late-60s through to the cars abandoned outside 1990s trailer parks. It’s the deadpan focus of these paintings that affords them a chill air of psychological tension reminiscent of Edward Hopper’s earlier deserted cityscapes. But, unlike Hopper, Salt leaves out the protagonists. Ikon Gallery, Wed to 17 Jul RC Amanda Ross-Ho, London This LA-based artist’s work is a puzzle mixing personal history with 21st-century flotsam. Her sculptural assemblages and photo collages have included such disparate items as chunks of her studio wall, her old shopping bags and cat litter. And while she also uses family photographs, the history isn’t always obvious: coming from a tribe of professional snappers means these have included parental portraits and coolly close-lipped product shots. Here, a needlepoint diagram bearing the words “Time Waits For No One” is the jumping-off point. The Approach, E2, Fri to 5 Jun SS The Count Of Monte Cristo, Manchester Alexandre Dumas’s 19th-century tale of unjust imprisonment, treasure hunting, role playing and revenge provides the subject for present day reflections by five contemporary artists: Annabel Dover, Hayley Lock, Cathy Lomax, Alex Pearl and Memei Thompson. The angle is pretty ironic, as a project is proposed to use Arts Council money to assassinate thousands of artistic rivals (surprise, surprise: the Arts Council declined the funding application). Posters of aristocratic heartbeats are painted with utterly swooning brushstrokes (Lord Wilmore: “As rich as a goldmine and eccentric almost to insanity.”) The formal classicism of French garden design is digitally transformed into spaced-out hallucinations. Elsewhere, reproductions of aristocratic party scenes are defaced with viral rashes, and a spy camera is covertly used to investigate the V&A’s collection of miniature eye jewels.
Rogue Artists’ Studios & Project Space, to 6 May RC Norfolk & Norwich Festival The Norfolk & Norwich Festival has a pedigree that pre-dates Glastonbury. Begun as a music fest back in the 18th century, it now runs the gamut from circus acts to ballet and theatre. Kicking off this week, it ushers in a month of stand-out exhibition openings. Highlights include Marc Camille Chaimowicz’s show dedicated to Jean Genet, the gay French author beloved by the existentialists, with an unexpected connection to Norwich: Genet’s fascination with rebels and petty crims took him to the city for the wedding of his lover’s car-thief stepson. Later there’s a show featuring Hubert Duprat’s exquisite hybrids of precious gems and metals with caddis fly larvae at Nottingham Castle (14 May-29 Aug). A collaboration between man and fly, this work features larvae of just 2–3mm creating protective sheaths for themselves from gold, opals, pearls, rubies and diamonds. Chaimowicz: The Gallery at NUCA, Fri to 21 May SS Kit Craig & Andrew Lim, Manchester A complementary show of sculptural and graphic enigmas. Craig draws diagrams of contraptions seemingly designed for experiments into human perception or the inner machinations of the psyche. They tend to have mystic or mysterious titles such as Hermit’s Lampshade and Holomonic Model. Lim’s sculptures are precariously balanced abstract structures with titles as self-explanatory as Pressed Against One Another or as declamatory as O, OU, OUT. Together they’ve come up with an apt collective exhibition title: On Measuring Uncertainty. Castlefield Gallery, to 29 May RCguardian.co.uk © Guardian News & Media Limited 2010 Published via the Guardian News Feed plugin for WordPress.
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April 30 2011, 6:38am | Comments »
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Scottish critics shouldn’t write off George Galloway
http://distributedresearch.net/blog/2011/04/24/scottish-critics-shouldnt-write-off-george-galloway
If the Respect candidate George Galloway is chosen as a Glasgow list MSP, he will be a force to be reckoned with at Holyrood, the Scottish Parliament.
This article titled “Scottish critics shouldn’t write off George Galloway” was written by Kevin McKenna, for guardian.co.uk on Friday 22nd April 2011 15.30 UTC The sun was out for George Galloway this week as he campaigned vigorously in Buchanan Street, Glasgow’s main shopping thoroughfare. And so too were a few hundred of his fellow citizens. Karen Millen and Hugo Boss could wait for a while, for here they were witnessing a rare thing: a Scottish politician who could speak without notes for 15 minutes, and whom they all recognised. Galloway on a soapbox and with a megaphone in his hand can be irresistible and the handful of curious passers-by had swelled to a throng by the time he had finished a rodomontade which excoriated Labour and the Conservatives for neglecting his city. “The life expectancy of people in parts of this city is 10 years worse than in Kabul,” he bellowed. “The people who purport to represent you have let you down. But if you send me to Holyrood I will make you proud of me.” It was the usual mixture of braggadocio and grandiloquence we have come to expect from a politician who was born on the edge but probably found it too comfortable. Several of the seeming vast army of psephologists and political academics – the only industry that has grown in Scotland since Holyrood came into being – dismiss Galloway. He is an incurable self-publicist, they howl and cannot be taken seriously, especially after his antics in a leotard with Rula Lenska on Big Brother. More people though, still remember what they were doing when they saw Galloway eviscerate a three-man senate sub-committee in Washington in 2005. They had been sent to hang him but suffered their very own TV execution when this chippy Scot destroyed the defence of US foreign policy in Iraq and Afghanistan. Galloway reckons he needs around 12,000 second preference votes on May 5 to make it into Holyrood as a Glasgow list candidate. It would be foolish to write him off or dismiss him as a political force. Few remember now that Galloway was chairman of the Scottish Labour party at 27. A few years later he was taking Hillhead from the redoubtable Roy Jenkins. His victory in Bethnal Green for his new Respect party in 2005 was simply astonishing. His expulsion from the Labour party came after he had condemned Tony Blair for Iraq one too many times. Yet just a few years previously the late John Smith would have made him minister for youth in his first cabinet. But Smith’s death and the accession of Blair meant Galloway’s marriage to the party would soon be over. There are even some, like the Daily Telegraph’s formidable Scottish editor, Alan Cochrane, who, while despising Galloway’s politics, have stated they would welcome his presence in parliament. The Holyrood debating chamber can be a sterile and soulless place when there is business to be discussed. As a succession of civic Scotland’s finest rise to speak, blinking and stuttering their way through a prepared address, you wonder how they ever got elected. Of what few articulate and genuinely bright MSPs there have been in post-devolution Scotland, the SNP has had the vast majority. A characteristic of the last nationalist administration is how easily their cabinet stars lord it over Labour’s hapless and inarticulate front bench. If Galloway gets in they will have to start printing tickets for the occasion that he first takes on Alex Salmond in debate. Each of them was a lion in debate at Westminster and the prospect of them locking horns at Holyrood is a spicy one. If Iain Gray, Labour’s increasingly vulnerable Scottish leader, had even half of Galloway’s recognition factor he would be Scotland’s first minister after May 5. An insistent press photographer is trying to persuade Galloway’s campaign manager to pose beside the statue of Donald Dewar that stands atop Buchanan Street. Wisely, he resists the snapper’s entreaties, for surely that would hint at hubris. George Galloway could have led his party too but no statue of his would ever remain vandal-proof for more than a week.
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April 24 2011, 4:11am | Comments »
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What to see: Lyn Gardner’s theatre tips
http://distributedresearch.net/blog/2011/04/01/what-to-see-lyn-gardners-theatre-tips
Arts Council cuts have hit many of this week’s theatre companies, from Shared Experience to Manchester’s Greenroom. All the more important to go on theatre breaks and see them – now.
This article titled “What to see: Lyn Gardner’s theatre tips” was written by Lyn Gardner, for guardian.co.uk on Friday 1st April 2011 14.06 UTC There’s plenty of great theatre around this week, but the question after this week’s cuts is whether the same will be true in five years’ time – or even a year. The Arts Council is not to blame for the hand it’s been dealt by the government, but has it really done enough to realign the landscape and redirect money away from the haves to the have-nots? Most importantly, has ACE’s strategic thinking been as robust as it needs to be to ensure that theatre continues to thrive and audiences grow both in numbers and diversity? So let’s start What to see this week with fine companies who have been unlucky in the recent funding round. Shared Experience have been excluded from the National Portfolio but who – as their multi-layered production Brontë confirms – can deliver probing and beautiful work. Catch it at Oxford Playhouse until tomorrow, and then at London’s Tricycle Theatre from next Tuesday. Another casualty – and one of several small touring companies who have been cut, including Northumberland Theatre Company and Oxfordshire Theatre Co – is Forest Forge, which is out on the road playing village halls and venues with Peeling (tonight at the Lighthouse, Poole). Then there’s Manchester’s Greenroom, which for 28 years has been supporting artists making performance and live art in a city dominated by the Royal Exchange, and who are this week playing host to Kings of England and Levantes Dance Theatre through their Method Lab, a scheme that previously helped nurture Nic Green’s Trilogy and Drunken Chorus. Remove the venue, and where do the artists find the support they need? Despite an 11% cut for many organisations, regional theatre buildings are going to have to do a great deal more to nurture talent, support companies and present work. Feeling the pinch will be no excuse and it can’t be business as usual. Every bit of theatre is now reliant on collaboration. This week Coventry’s Belgrade theatre, which took almost a 15% hit, has a new version of Uncle Vanya, which will then transfer to London’s Arcola (which, with an 82% rise, was one of the day’s big winners). North in Bolton, the Octagon opens its tale of local hero and steeplejack Fred Dibnah, The Demolition Man, in the same week that its highly acclaimed revival of The Price transfers to the Stephen Joseph, which says goodbye to Paines Plough’s touring show, Love Love Love, which in turns is heading into the West Yorkshire Playhouse. It’s all connected, and my hunch is that it will have to be more so in the years ahead. Staying in the north, Birmingham Rep’s teenage drama of life and death, Notes to Future Self, goes into the Royal Exchange Studio, the excellent Who’s Afraid of Virginia Woolf continues at Sheffield Crucible before heading to Northern Stage, and Alan Bennett’s tale of the woman who took up residence in his garden, Lady in the Van, is revived at Hull Truck. While we’re in Yorkshire, do think about booking for Harrogate’s Two’s Company Festival in May, a mini version of BAC’s brilliant One-on-One Festival, which features Laura Mugridge’s delightful camper van show, Running on Air, a new piece by Analogue, and Tea is an Evening Meal, a collaboration between Northern Stage and Third Angel, (the latter very mysteriously cut by ACE). Two successes in the funding round are Freedom Studios who are behind Mill – City of Dreams in Bradford, and Theatre in the Mill, which this weekend offers the interactive thriller, The Falling Sickness, and follows it with Instant Dissidence’s One on One, When Night Falls, from Tuesday. Let’s head further south to the Royal and Derngate in Northampton, where Rattigan’s In Praise of Love opens next week, and from there into London, where the lively young Colombian circus, Circolombia, which is made up of former street kids, returns to the Roundhouse (another funding winner). Looking ahead, at the Roundhouse you should be booking for The Fat Girl Gets a Haircut and Other Stories, Mark Storor’s participatory show made with teenagers. The Almeida may have suffered a substantial 39% funding cut, but it still gets £704,000, which should be more than enough to ensure that it continues projects such as Crawling in the Dark, a new play for young people inspired by the current main house hit, David Eldridge’s addiction drama, The Knot of the Heart. Soho Theatre – another significant loser but with new artistic director Steve Marmion at the helm – has Bryony Kimmings’ Sex Idiot, a tale of STDs and pubic hair. Ireland’s Abbey Theatre bring Mark O’Rowe’s play about Dublin life Terminus to the Young Vic, which has a small uplift in funding. Cheek by Jowl take their Russian Tempest into the Barbican. Tim Etchells and Ant Hampton collaborate on The Quiet Volume, a unique experience in a library as part of the London Word Festival and check out Chisenhale Art Club, which always happens on the first Wednesday of the month. I rather like the sound of Hotel Confessions, too, which is performed in a Bermondsey hotel. Just outside London, Lee Hall’s terrific The Pitmen Painters sets off from the Theatre Royal in Windsor on a nationwide tour. Derek Jacobi’s King Lear is at the Theatre Royal in Bath. Fevered Sleep’s delightful children’s show And the Rain Falls Down goes into Bristol Old Vic, Comedy of Errors continues at the Tobacco Factory, Journey’s End goes into the Theatre Royal in Brighton and at the Basement choreographer Ivana Muller considers her place on the stage in 60 Minutes of Opportunism. Circus did well in the funding shake-up and its happy birthday to Circomedia in Bristol who are celebrating in style. Marivaux’s A Game of Love and Chance opens at Salisbury Playhouse. In Scotland – which is, of course, unaffected by ACE funding decisions – Liz Lochhead’s Educating Agnes, a version of Molière’s School for Wives, is at the Royal Lyceum in Edinburgh. Elsewhere in the capital, the Jimmy Boyle-inspired The Hard Man is at the King’s, and Catherine Wheels’ new version of Beauty and the Beast, Caged, is at the Traverse today before moving to Aberdeen’s Lemon Tree tomorrow, with more tour dates to follow. Head to The Arches in Glasgow from Tuesday for a double showcase of award-winning work, which includes Me and the Machine’s dislocating love story When We Meet Again, Claire Duffy’s Money… the Game Show, Thickskin’s tale of teenage catastrophe, Blackout, and Gareth Nicholls’ Pause With a Smile, which lingers on everyday coincidences.
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April 1 2011, 3:47pm | Comments »
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Exclusive Radiohead artwork plus The King of Limbs album stream
See artwork exclusively created for the King of Limbs project and listen to the new Radiohead album in full.
This article titled “Exclusive Radiohead artwork plus The King of Limbs album stream” was written by Caspar Llewellyn Smith, for guardian.co.uk on Monday 28th March 2011 09.06 UTC Six weeks after Radiohead issued The King of Limbs as a download – engendering a flurry of excitement – the band are releasing the CD version of the album. At noon on Monday, the record will be launched at three special events in London, Manchester and Glasgow, where a free newspaper created by the band called the Universal Sigh will be handed out to fans. Radiohead are also releasing a “newspaper album” version of the King of Limbs priced at £30 – although this will involve a different newspaper than the one handed out to fans. The London event will take place at the Truman Brewery on Dray Walk, London, E1 6QL, the Manchester event will be outside the Bread and Butter Cafe on Tibs St in the Northern Quarter and the Glasgow event will take place on Dundas Street. There are another 59 similar events worldwide – and fans in New Zealand have already got their hands on the paper. You can listen to a stream of The King of Limbs above, and below are two exclusive examples of artwork created for the project, credited to “Zachariah Wildwood & Donald Twain”. The Universal Sigh features writing from authors Robert MacFarlane (whose books include Mountains of the Mind and The Wild Places) and Jay Griffiths (winner of the Discover award for the best new non-fiction for Pip Pip: A Sideways Look at Time). The Guardian will be bringing you our own view of Radiohead’s newspaper, plus our own special response to it later today. . .
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March 28 2011, 3:49pm | Comments »
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