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.

Monday, January 1, 2007

A crowd of approximately 1 million has welcomed the new year in Sydney overnight. Many of the crowd had camped out since 6 AM AEDT (7PM UTC) to ensure they had the best vantage point for the fireworks displays at 9 PM and 12 AM. Earlier predictions of rain failed to dampen enthusiastic revellers and fortunately did not eventuate.

According to police, vantage points were Circular Quay and Sydney Opera House closed around 7 PM.

This year’s theme was “A diamond night in Emerald City” and celebrated the Sydney Harbour Bridge’s diamond anniversary of 75 years which will fall in March.

As usual, the bridge became the centre piece of Sydney’s celebrations with a question mark turning into a coat hanger during the 9 PM fireworks show before a diamond appeared at 11 PM.

Entertainment was held in the city throughout the day, culminating in a spectacular fireworks display at midnight. Revellers counted down the final seconds of 2006 with numbers on the side of the Sydney Harbour Bridge.

The festivities are estimated to have cost AUD $4 million and organisers claim their fireworks display is “the largest in the world”. Sydney’s celebrations were broadcast on television live around the world as other countries prepared their New Year’s Eve celebrations.

Despite the large crowd, police made only 58 arrests for offences including offensive conduct, stealing, assaulting police, goods in custody, assault, drink driving and affray.

Ambulance officers were called to 1,139 incidents in Sydney with another 900 in country areas.

Tuesday, May 17, 2005

Following accusations issued by the United States Senate Permanent Subcommittee on Investigations (PSI), British Member of Parliament George Galloway and Senator Charles Pasqua of France have vehemently denied any wrongdoing.

George Galloway declared:

I’ve now had a chance to read the report which was compiled without this Senate committee asking me a single question about these absurd allegations. I repeat once more. I have never traded or benefited from any oil deals with Iraq.

One of the companies named, with ostensible links to me– Aredio Petroleum– I have never heard of until today and I have certainly had no dealings with. The other company, Middle East Advanced Semiconductors, was owned by Fawaz Zureikat, who was the chairman of the Mariam Appeal. It is well-known that Mr Zureikat traded with Iraq but he did not do so on my behalf. I have not received a penny piece or any oil voucher from Iraq, directly or indirectly.

You would have thought that natural justice would have demanded that these allegations would have– must have been!– put to me, but they haven’t been. Senator Joseph McCarthy would have been proud of this committee.

On May 17, Galloway appeared before the U.S. senatorial panel and vehemently denied any wrongdoing in a tone seldom used in a senatorial hearing. He accused the U.S. administration of creating a “smoke screen” to divert attention away from the situation in Iraq. He also declared, “The biggest sanctions busters were not me or Russian politicians or French politicians. The real sanctions busters were your own companies with the connivance of your own government.”

Galloway denied receiving any money out of the scheme. Galloway demanded, “What counts is, where’s the money, senator? Who paid me hundreds of thousands of dollars? The answer to that is nobody,” while glaring toward U.S. senator Norm Coleman (Republican from Minnesota), according to a New York Times report.

Galloway also accused the US senators, especially senator Coleman, of shoddy standards of justice. He claimed they have already ruled him guilty, and that they rely on dubious evidence and wrongful or coerced testimonies.

Galloway declared:

You have my name on lists provided to you… by the convicted bank robber and fraudster and con man Ahmed Chalabi, who many people, to their credit, in your country now realize played a decisive role in leading your country into the disaster in Iraq.

In these circumstances, knowing what the world knows about how you treat prisoners in Abu Ghraib prison¹, in Bagram Air Base [Afghanistan], in Guantanamo Bay — including, if I may say, British citizens being held in those places — I’m not sure how much credibility anyone would put on anything you manage to get from a prisoner in those circumstances.

1. Alluding to the acknowledged Abu Ghraib torture and prisoner abuse.

Charles Pasqua also denies any personal wrongdoing in the case. Pasqua indicated that he was “serene” and that he hoped the investigations by the U.S. Senate would probe the matter to the bottom.

Pasqua judged the situation detrimental to relationships between the United States and France. For this reason, Pasqua declared that he had asked the president of the French Senate for the creation of an investigation commission, wishing that the French and U.S. senatorial commissions should collaborate.

Pasqua declared himself convinced that misconduct took place in the oil-for-food program, and that it was probable that some French people were involved. He then wished that they should be sought and prosecuted. “If one wants to find the origin of the financial streams, one can do so.” Pasqua mentioned the Swiss company Genmar, which the U.S. report claims to have served as Pasqua’s intermediary.

Pasqua denied information presented as facts in the report. For instance, he denied having met Tariq Aziz, former Deputy Prime Minister of Iraq.

Pasqua pointed out that nothing in the senatorial evidence indicates that he had benefited from vouchers, only that one of his former advisers, Bernard Guillet, had received oil allocations in his name. From December 2000 onwards, allocations meant for Pasqua ceased and were replaced by allocations to Bernard Guillet.

Guillet was arrested by French authorities in April in connection with abuses under the oil-for-food program. Mr Guillet has been put under formal investigation for allegedly participating in a system of occult kickbacks and fees between 1996 and 2001 involving major French companies, including Total. He is suspected of having received amounts of money without good explanation from an intermediary specialized in the resale of Iraqi oil.

Monday, September 11, 2006

Due to a failure to secure appropriate sponsorship, the Global Challenge Round the World Yacht Race will not be being held next time it’s due in 2008.

The unusual race features ordinary people competing as opposed to major yachting sportspeople. For a final twist, the race is the “wrong way”, namely against the prevailing winds. This leads the UK’s newspaper, The Guardian to describe it as “the world’s toughest yacht race”.

Thursday, July 21, 2005

The Entertainment Software Ratings Board (ESRB) changed its content rating of the controversial Grand Theft Auto: San Andreas video game from “Mature” to “Adults Only” on Wednesday. The ESRB change came after a investigation proved that sexual content in the game could be unlocked by anyone with the Windows version or with a modified console.

Graphic sex scenes in the game can be revealed if a user downloads a patch from the internet of the “Hot Coffee modification” or enters codes into a 3rd party modifier such as the game shark. This opens up a locked mini-game that depicts characters as having sex. The secret code as well as the patch is widely available on the Internet such as gamer sites, MoFunZone.com and Gamespot.

In response to this, Rockstar Games and its parent company Take-Two Interactive stopped making the version of the game with the sexual content and plan to release a “Mature”-rated title in the fall with the “Hot Coffee” content removed.

Game maker Take-Two says the ‘game mod’ is third-party software that violates the end-user license agreement of the company’s intellectual property rights. Citing what the company calls standard industry practice to create content that never makes it into the final version of a game, the sex scenes included in the software, “were never intended to be found.”

After the rating change, stores such as Wal-Mart and Target pulled the game off their shelves under their policies not to sell “Adults Only”-rated games.

This controversy has lead to major debate between execs and politicians whether the video game industry should continue to judge itself or not. Many of the watchdog groups were unaware that content like this is usually “locked away” instead of being deleted.

Friday, November 6, 2009

A 1965 Volkswagen minibus that was stolen in 1974 has been recovered by customs agents in Los Angeles. The vintage minibus was in pristine condition, valued at $25,000, and was found during a routine inspection of a shipping container scheduled for departure to The Netherlands. A routine computer database search on its vehicle identification number flagged it as having been stolen from a vehicle upholstery shop in Spokane, Washington on July 12, 1974. A custom restoration business in Arizona was attempting to deliver it to overseas clients last month when authorities intercepted the vehicle.

The theft appeared on the National Insurance Crime Bureau database, which is used by border authorities and contains all stolen vehicle records. Most police databases remove unsolved vehicle thefts after five years.

The California Highway Patrol does not suspect the restorer of wrongdoing, according to investigating officer Mike Maleta. Possession of the vehicle apparently changed several times. Police in Spokane have not yet located the rightful owner, whose identity has not been released to the press. Maleta hopes that a trail of registration documents and interviews will uncover the thief.

The Allstate insurance company paid $2500 shortly after the theft occurred and wants to take possession of the vintage minibus. Allstate spokeswoman Megan Brunet expects that after the necessary paperwork is processed the firm will sell it at auction.

Sunday, August 1, 2010

Antelope Valley, California —The Crown Fire that has burned through 13,980 acres in the High Desert of Southern California since 2:32 pm (2232 UTC) Thursday was at 82% containment Saturday evening, according to the Los Angeles County Fire Department.

On Friday high winds caused the fire to jump the California Aqueduct and spread into the city of Palmdale. Over 2,000 residents of Leona Valley, Ana Verde, and Rancho Vista were given mandatory evacuation orders. The sky was blanketed with thick orange pyrocumulus clouds and falling ash, making the air hard to breathe.

State Governor Arnold Schwarzenegger arrived in Palmdale on Friday to survey the burned areas. “We were very fortunate to not have fires for quite some time because the air temperature was cool and we didn’t have the experiencing of dry weather and all the winds and so on, but all of a sudden the fire season kicked in as if, ‘Here we are,'” Schwarzenegger said during a press conference. “But we are ready and we have luckily distributed resources all over the state of California, so we are ready at any given time.”

The fire has so far destroyed one house and three mobile homes, damaging the roof of another and burning car garages, horse stables, and other outbuildings. Most of the more seriously threatened homes were constructed recently from fire-proof materials, with walls coated in stucco, and fire-resistant plants in the yards. Although some roads are still closed to all traffic, all existing evacuation orders were lifted late Friday night and 500 residents of Rancho Vista were told to “shelter in place” until further notice. Despite the absence of mandatory evacuation orders, over 2,000 houses, 60 commercial buildings, and 100 outbuildings are still under threat.

Throughout the night, fire crews have been battling the wildfire, assisted by cooler temperatures and lighter-than-expected winds which have enabled them to establish containment lines. “Crews went out [Friday] night and did some great work trying to complete more lines and also trying to take care of what we call ‘cat eyes’ which are embers within the perimeter of the fire, so there will be much more work being done there today,” said LACFD Captain Roland Sprewell. “But of course we’re not going to rest on our laurels today…we’re going to be vigilantly watching the winds, especially in the ridge and down in the valleys.”

At the height of the fire, 1,700 firefighters from all over California were battling the flames, although as of 12:00 pm Saturday afternoon, it has been reduced to around 1,350 personnel. 16 fire camp crew have also assisted. 250 fire engines and four bulldozers have been used. In the air, 4 Boeing 747 supertankers, 1 McDonnell Douglas DC-10 tanker, and 6 modified Sikorsky UH-60 Black Hawk helicopters known as “Firehawks” have been dropping water and red Phos-Chek slurry. The Los Angeles Sheriffs Department also increased its presence in the Antelope Valley by bringing in response teams from stations outside the AV. This afternoon, the deployment has been scaled back to three teams as the fire stabilizes and further evacuation orders become unlikely.

Three firefighters have been injured battling the fire, although all injuries are minor. One sheriff deputy was also hospitalized for smoke inhalation but has since been released.