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The London Scrap My Car
The London Scrap My Car
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_how-do-i-tell-dvla-i-have-scrapped-my-car.webp "Scrap car kings")
_what-documents-do-i-need-when-scrapping-my-car.webp "Remove My Car")
_traffic-police-officer-is-sacked-for-speeding.webp "A traffic cop who once warned speeding drivers \")
_scrapped-car-check-what-is-it-and-how-can-you-tell-if-your-car-has-been-scrapped.webp "The Auto Experts")
_physically-disabled-artists-speak-about-feeling-ostracised-within-the-art-world.webp "By JOHN DEVLIN and MARTYN McLAUGHLIN<br/><br/>Disabled artists across Scotland have called on venues, curators, and further education bodies involved in the visual arts scene to make widespread improvements around access and representation, with several practitioners warning of a lack of understanding of the barriers facing artists and audiences at cultural spaces.<br/><br/>A new documentary for The Scotsman, filmed and produced by John Devlin, reveals how some physically disabled artists have been unable to attend venues due to a lack of disabled access, and left feeling “unwelcome” due to the restrictions in place. They have questioned whether organisations unable to stage accessible exhibitions should continue to receive public funding, and warned the knock-on effect of a lack of representation could discourage young disabled Scots from pursuing a career in the arts.<br/><br/>The issues around accessibility and representation have flared up ahead of the upcoming Glasgow International festival of contemporary art. The programme for the prestigious biennial event includes an exhibition at the Celine Gallery, located on the the third floor of a tenement building in the city’s southside, accessible only by three flights of stairs. One artist, Penny Anderson, described that decision as “wrong.”<br/><br/>The Glasgow-based artist and sculptor, who has multiple sclerosis, said it was unclear who, if anyone, was responsible for ensuring such exhibitions were accessible, and was left frustrated after raising the issue with Glasgow Life, councillors in the city, and Creative Scotland.<br/><br/>Under the Equality Act 2010, art galleries are required to make “reasonable adjustments,” if asked, to ensure that disabled people can use its services. Ms Anderson said the legislation should be followed by Glasgow International. “They have to make reasonable adjustments to allow inclusion, and I think a reasonable adjustment is only including accessible galleries,” she explained.”<br/><br/>Ms Anderson told The Scotsman the accessibility issues went beyond any one gallery, and said there was a widespread lack of knowledge across the sector about how to include disabled artists and visitors. “They don’t understand the different levels of mobility impairment of physical disability,” she added. “I’ve had people say, ‘But we’ve got a ramp’. Ramps make my life even harder. What I need is stairs and a handrail. Even if you have a ramp, wheelchairs might not be able to use the ramp, and I think people think they know, and just assume they know, but they don’t actually ask disabled people.”<br/><br/>Ruth Mutch, an illustrator, who is autistic and has Hypermobile Ehlers-Danlos syndrome - a condition that affects the joints, causing hypermobility, digestive problems and joint pain as well as extreme fatigue - echoed Ms Anderson’s concerns, recounting her experience at college where she was unable to access materials without assistance.<br/><br/>")
_how-to-make-money-scrapping-cars.webp "BUILT OFFICIAL")
_so-i-guess-i39m-a-car-dealer-now.webp "Modern Heroes")
_we-built-the-world39s-only-bugatti-aerolithe.webp "AFTER vanishing off the face of the Earth in 1936, with no clue as to its whereabouts, the one of a kind Bugatti Aerolithe has been rebuilt. The car originally debuted at the Earl’s Court Motor Show in the UK in 1935, but after its disappearance, all trace it ever existed lay in just a few photos and some blueprints of the brake pedal and radiator grill. These limitations didn’t stop classic car fanatic David Grainger and his team at The Guild of Automotive Restorers, who painstakingly rebuilt the lost car on a modified Bugatti Type 57 chassis. Using the blueprint of the radiator grill, David and his team worked out the exact dimensions, to the millimetre, of the car and then proceeded to sculpt the body using magnesium, as was done on the original. The magnesium sheets make the car extremely light and therefore increase its top speed. However, the sheets are by no means cheap, costing David around $3,000 each, of which the Bugatti Aerolithe needed 15 for its rebirth. Recreating the body wasn’t the only challenge. David needed to rebuild, from scratch, the tyres to replicate the white walled Dunlop’s on the original car, as they are no longer in production. David’s team skillfully produced identical replicas of the wheels and the Bugatti Aerolithe now stands exactly as it did before, complete with fixed windows and manual brakes.")
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