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The main two elements of article review are a theoretical and objective discussion. How do their ways of treating and interacting with patients differ from physicians? Take notes on what the purpose of the article is, and whether the information presented is relevant. Are those methods transferable to physician training, and if so, has there been progress in incorporating those changes into medical schools? You can do this by searching your school library for journals in the area of psychology that interests you most. It is true that you will use your own ideas, theories and research. When you read the first time, just read for the big picture — that is, look for the overall argument and point the article is making.
Make changes according to their feedback. Abstracts are usually included in most academic journals and are generally no more than 100-200 words. Then read the article in its entirety. A conceptual article review plays with logical and persuasive reasoning; an empirical information deals with the to support the evidence. How do you write an article review? Consider alternative explanations for the results from those provided by the authors of the article.
Upon further examination, it becomes clear that the author is arguing that new research suggests the best cure for diabetes is the surgical solution of a gastric bypass. To summarize the article there must be a good template and the templates given here are the best for it. Fill in the blanks and assumptions, helping to clarify the research and summarize it briefly. Theorists, such as Erikson 1963 and Lidz 1976 , attempt to include the termination of life as a psychological developmental stage. Within the sample, 118 0. Evaluate the article's contribution to the field and the importance to the field.
The steps below explain the process of editing and revision. At this point in the preparation process, you should read the article again. This, in conjunction with the lack of support for many of the assertions made, undermines the potential benefit of Lieff's 1982 presentation of the issues. Using transition words which link your ideas will help your writing to be clearer as well as less choppy. You may call this part of the content Findings or Discussion. He notes that the statistics from sales and scientific evidence of how Nike shoes are better for the feet support his claim.
In a summary, you want to identify the main idea of the article and put this information into your own words. This shows a high level of understanding. You will always discuss the main issues of the article, but you can sometimes also focus on certain aspects. Use non-technical and straightforward language. I have several articles to help you write better sentences.
Check whether it sounds eye-catching. It starts from the basic details like Name, Date and Title of the article and also contains the key points and major ideas of the article. If no one sentence tells the main concept, then write a summary of the main point in the margin. Identify the main argument or position of the article. You need not to worry. This is most likely the thesis, or main idea, of the article. Explain why the article or specific academic journal is credible.
The Journal of Practical Nursing, 48 1 , 10-14. I finish up with a short summary of Davidhizer's summary, in my own words offering a short version of what he says. I cab offer my materials free to students and teachers because I make a small amount of money from advertising when people view my website. This template is both the guide and the format for summarization of a article. If you are doing a longer summary, or a response and a summary, you might want to start with an introduction that gives your own experiences or background on the topic before you began to read the article.
Write down a brief description of the research. Jane Smith Readings in Latin American History Article Review, Feb. An excellent article review suggests that the writer reads the article several times to develop a complete understanding of the content and its main points. Acknowledging his comments as opinions or personal observations and then explaining his reasoning could have provided an opportunity to persuade a skeptical reader to agreement. It is not enough to make up a summary of the article. Next, read the article carefully, highlighting portions, identifying key vocabulary, and taking notes as you go.
Your abstract of the article should start with a sentence telling the main point of the article. When writing an article review, you will summarize the main ideas, arguments, positions, and findings, and then critique the article's contributions to the field and overall effectiveness. Due Class time, Wednesday, September 7 Sample Summary In the sample essay below I've attempted to illustrate what the essay might look like and I've described what I've done in each section of the essay. Respond only to the author's research; do not provide any new research. You might want to see my article on How to Write a Reading Response paper. | http://burgessconsult.com.s3-us-west-2.amazonaws.com/journal-article-summary.html |
In this dissertation I review the history and the development of the concept of the consumer's surplus. My purpose is to give focus to the role of this concept in equilibrium determination for consumer demand and production theory and thus to point up the welfare significance of certain consumer and producer decisions. My method is basically illustrative. I draw my principal conclusion--that consumer's surplus is an analytical tool of great utility and therefore merits its recent rehabilitation--from an examination of the meaning of consumer equilibrium. This I do by, first, defining surplus, and attempting a classification of it. Then I proceed to a consideration of the connection between major surplus concepts and of the unique role of the consumer's surplus. Having done this, I look into the development of consumer demand theory to see how consumer's surplus plays its role there. My next step is the outlining of the welfare systems of major economists as these systems involve a consumer's surplus. Lastly, after a consideration of two problems of ideal out put in production theory, I give attention to the criticisms of the consumer's surplus and summarize my conclusions regarding the use of the concept. | https://open.bu.edu/handle/2144/5014 |
At this point in the course you have completed the first three phases of your Financial Analysis of McDonald’s Corporation, which are the Company Overview, the Financial Overview, and the Financial Ratio Analysis. The Company Overview allowed you to become familiar with the company, its history, main products and services, and so on, the Financial Overview gave you a basic look at the company?s financial status as revealed by its financial statements, and the ratio analysis allowed you to take a more in-depth look at the company?s financial status in terms of its liquidity, asset management, debt management, profitability, and market value ratios. This completes the research phases of your report. Now it is time to review your results, summarize your findings, and draw conclusions about the financial status and outlook for the company.
Outline
Use this outline for the Summary and Conclusions portion of your report:
?Summarize your analysis. Review your comments in the financial analysis section and provide your assessment of the overall status of the firm. Include any recommendations you think are appropriate. | https://www.ukbestessays.com/journal/mcdonalds-case-study/ |
Few ideas in the history of the world have had the impact of the theory of evolution through natural selection. In Simply Darwin, author Michael Ruse explores this revolutionary concept and the life of the man who will be forever associated with changing the way we see ourselves and our world, Charles Robert Darwin. In addition to providing a deep understanding of Darwin and his theory, Simply Darwin brings the story into the present, highlighting the contemporary relevance of evolutionary thought and illuminating its role in the current controversies over science and religion.
Michael Ruse is the Lucyle T. Werkmeister Professor of Philosophy and Director of the Program in the History and Philosophy of Science at Florida State University. He is the author or editor of more than fifty books, including The Gaia Hypothesis: Science on a Pagan Planet, The Cambridge Encyclopedia of Darwin and Evolutionary Thought and Atheism: What Everyone Needs to Know. | https://www.pubmatch.com/book/144364.html |
As you are preparing your manuscript for submission, please review the aim and scope of the journal and the resources provided here on our website for formatting, manuscript types, etc.
JOLE does not accept submissions published previously or under review by another journal. By submitting their manuscript authors agree that the work has not been published and is not under review by any other journal. Prior presentation at a conference or concurrent consideration for presentation does not necessarily disqualify a manuscript from submission to JOLE.
To provide an evidence-based environment for discussion and promotion of new and best practices, all JOLE manuscripts are grounded in Leadership Theory. The journal serves as a forum to share Leadership Education teaching and learning advancements, research innovations, and applications.
Leadership Education research submissions will include a clear statement of research purpose, review and synthesis of related literature, clear explanation of methodology, discussion of findings and conclusions, and appropriate recommendations.
Proposing a new theory to address a gap in Leadership Education scholarship.
Discussing a current theory and its ties to Leadership Education.
All theory submissions will include substantive review and synthesis of related literature including supporting theories, comprehensive discussion, and implications to the field of Leadership Education and practice.
Leadership Education application submissions will discuss a project, program, practice or tool that has been implemented. Application manuscripts will include a clear issue statement, review of related literature, description of the application, discussion of outcomes and implications, and recommendations.
Leadership Education popular media submissions will discuss how to use aspects of popular culture to teach about leadership. Popular media manuscripts will be topical (i.e., focused on context) and expand all the ways that individuals can implicitly or explicitly learn about leadership from the world that surrounds them.
Once an author completes a manuscript submission, they will receive email confirmation. The editor will review the submission for suitability for the journal and specific category. If suitable, the manuscript will be sent to reviewers. Authors should know the disposition of their manuscript normally within 60 days of receipt. Reviewer response may delay this timeline.
The Journal of Leadership Education employs a double-blind peer review process. What this means is that peer reviewers will not know the identity of the manuscript authors. Similarly, the authors will not know the identity of the peer reviewers (before, during or after the review). This is to provide an environment where unbiased reviews are possible.
While each manuscript is unique, quality articles that are published in the Journal of Leadership Education possess several characteristics that are shared among them. As an author potentially interested in submitting to the Journal, we suggest you attend to these characteristics prior to finalizing your submission in advance of its blind review.
In addition, we are interested in manuscripts that are informed by and founded upon the larger field of leadership education. We suggest you explain early in your manuscript how your research, theory, application, or idea is connected to previous scholarship, both seminal and emerging. If your manuscript is focused on educator self-identity as a tool for leadership education effectiveness, for example, we suggest including a literature review that comprehensively treats each of the areas of scholarship relevant for understanding how your own contribution fits within and builds upon our common knowledge base.
If you are planning on a research-based submission, we suggest you clearly and succinctly describe how you have collected data that informs your manuscript. For example, if you have collected data from an academic course, we suggest you fully describe the course and its learning outcomes, its duration, the most relevant population in which its participants hail, and if you as a researcher have a role within the class.
What was the context in which participants provided data? What opt-out procedures did you include? How did you account for missing data or under-represented participants?
What instrumentation did you use, which may include quantitative surveys or qualitative protocols?
How were these instruments either developed for your research or implemented in the past and validated?
If you are planning a theory-, application, or idea-based submission, we suggest you comprehensively describe the process you used to include your chosen theoretical foundations within your manuscript.
What is its history related to areas of scholarship relevant to your submission?
How does this theoretical foundation fit within the advancement of knowledge related to leadership education that you plan to make?
Your collection of data and/or literature should then lead to a rigorous analysis from which conclusions are drawn. If your submission is based on contributing a theory, application, or idea, we suggest you describe how your included literature informs your analysis. If you plan a research-based manuscript, we suggest you comprehensively describe how the data you have collected were analyzed to provide a foundation for rigorous conclusions.
For quantitative research articles, we suggest you describe not only your analytic techniques, but also how those techniques are justified. For example, a simple comparison of absolute mean values across sub-samples does not justify any findings of difference across these groups.
For qualitative research articles, we suggest you illustrate your coding and triangulation schemes, as well as how you reduced potential researcher bias through rigorous techniques. For example, for a thematic analysis, we suggest including representative examples of how responses were coded and how codes were grouped to create the themes.
Once you have appropriately included relevant analysis (and if you are contributing a research-focused manuscript, any data-driven findings that stem from them), conclusions and applications should follow logically and explicitly from your analysis.
Are your conclusions explicitly connected to the data and literature that you have presented earlier in your manuscript?
How are your conclusions focused on the process or outcomes of leadership teaching and learning?
What are the limitation of your conclusions, based on the limitations inherent within the context and boundaries of your own individual context?
Have been reviewed for clarity and parsimony. Have you used active language to advance a narrative that is logical and justified without including extraneous information?
Have been cleansed of grammatical and typographical errors. Have you (or a trusted colleague) edited the manuscript to cleanse it of language-based inaccuracies and potential bias?
Authors who attend to these five principles are not guaranteed the acceptance of their manuscript to the JOLE, but they do significantly increase its chances for acceptance. | https://journalofleadershiped.org/authors/ |
Lab reports and humanities papers follow the same basic pattern in the conclusion.
A great research paper deserves a great conclusion, but writing a conclusion presents the challenge of connecting a thread through every major element of the paper. Since a research paper can be a lot of different things, from a summary of literature to a report on a new experience, there's no single best method for ending a paper. A few tips, however, apply regardless of the kind of research paper you're writing.
A good technique for is to follow a pre-made script. Gallaudet University has identified several common conclusions for research papers students can use as models. For example, the "closing with a recommendation" script allows the writer to summarize points raised in the paper as part of a suggestion to the reader. A paper on global warming, for example, might end with a recommendation to reduce carbon emissions. Alternatively, you could follow the "closing with a rhetorical question" model, finishing your essay by identifying questions unanswered by existing literature.
The conclusion of research paper should indicate its significance without claiming too much territory, according to Northeastern Seminary. Your conclusion should point out the value of the paper, whether you are reporting an new scientific finding or just reviewing old academic literature on a subject. However, you must be careful to identify potential weaknesses and shortcomings in your paper. For example, you might mention that your analysis of the mating cycles of frogs could be wrong due to questionable temperature controls potentially damaging the frogs' eggs, or that your review of ancient Greek philosophical texts was hampered because you had to use translations of the original material instead of reading the original Greek versions. Making these points helps other scholars follow your work and adds to your credibility.
The goal of a research paper is to summarize existing knowledge on a subject and, if possible, advance it. Many papers, however, become bogged down in specific facts and examples and forget their connection to the broader knowledge base. In your conclusion, tie your findings in with the theoretical understanding of the subject. In an essay about the history of World War II, for example, you might use the conclusion to compare how your research relates to realism, the theoretical model of international relations that views conflict as almost inevitable. Your research paper on a favorite author might tie in the conclusion with literary theorist Roland Barthes' idea of the "death" of the author. In this theory, the writer and text are unrelated, and the writer's original intention is unimportant to understanding a work.
A final element of a good research paper conclusion is suggestions for future research. As you wrote your paper, you probably noticed some surprising gaps in scholarship on the subject. These gaps make excellent suggestions for future research, as do any new questions raised by your findings. These technique can also help you justify any weaknesses in your paper. In the frog example discussed previously, a conclusion might suggest that researchers examine the effects of temperature on frog eggs more carefully. Providing these suggestions provides readers and future researchers a clear idea of what questions need to be answered and also serves to highlight your paper's contribution to the field.
Robinson, Nick. "How to End a Research Paper." Synonym, https://classroom.synonym.com/end-research-paper-7681787.html. Accessed 21 April 2019. | https://classroom.synonym.com/end-research-paper-7681787.html |
AbstractPurpose of the article: In the current dynamic market environment, companies are vulnerable to many problems of different character, which could result into a real business crisis. The submitted study summarizes possible approaches to leading through crisis situation. Therefore proposal of solutions which tools leader could use during crisis was made. Purpose of this study is to create theoretical background for the future research, in the field of application right leadership concept during crisis. Methodology/methods: For the purpose of the illustration possible threats which can lead to a business crisis was chosen the Ishikawa diagram. Next up review of scientific publication focused on leadership during crisis was made. With emphasis especially on research studies published in last 10 years in the Leadership Quarterly Journal. These results was precisely analyzed and then the most useful informations synthesized into proposed solutions. Scientific aim: The aim of this study, is to identify possible threats which could be a source of corporate crises. Subsequently propose solutions within the competence of corporate leader, how to prevent those threats or lower the intensity of crisis which already occur Findings: Proposed solutions was found in the field of HR leadership, crisis communication, leader´s behavior connected with leadership style used during crisis and increasing effectivity of leading crisis team. The application of mentioned approaches, contribute to preparedness on the possible negative future development and reduce the intensity of crisis, which has already af-fected the corporation. Conclusions: The contribution of this study is creation of synoptic overview of corporate threats and proposal of corresponding solutions of those. The implication is to summarize results from previous empirical studies to create enough theoretic foundation for the future research. | https://trends.fbm.vutbr.cz/index.php/trends/article/view/325 |
While doing research, you have to collect and analyze data, determine the methodology, and describe results. However, if you think that these are the only key pillars of your paper, you leave out of account the importance of the discussion section. This is the central and one of the most essential parts of your research. In the discussion section, you have to address certain questions, interpret the results, and underline the theoretical and practical significance of your findings. In other words, your research paper is never done till you complete the discussion section.
The discussion section of a research paper should refer to your lit review, sum up the main results, and lead to a conclusion. You should also relate this chapter to the research question providing a clear answer and room for interpretation of your findings. The discussion usually intersects with the methodology and results sections. However, you have to avoid repetitions of what you have already covered. Instead, you’d better focus on interpreting findings, addressing the research question, and discussing the practical application of the results. On the other hand, mentioning limitations, approaches, and theoretical relevance is no less important. Before writing a discussion section you need to find out its structure and observe the requirements as the guidelines for different institutions may vary. If you doubt the design of this chapter, it is necessary to contact your professor as it is so easy to make an unfortunate slip.
Anyway, if you think about the proper way to present your results in this part of your research paper, the rest of your work is done. So, it is time to figure out how to write the discussion section and make it sound solid and professional!
The discussion section can power up your research paper or ruin it. That all depends on the way you organize it. This chapter is significant as well as specific. Thus, writing takes time and sufficient effort. While the discussion section intersects with the methodology and results chapters, it should not be a retelling of your previous statements and observations.
Overall, the discussion section has several goals:
Keep in mind that it is important to use facts and validated data. Apart from that, you need to avoid doubtful discourse. In the end, if you want your research paper to sound professional, all statements should be substantiated.
According to the University of Nebraska observations, the chaotic structure is one of the main mistakes students make while writing a research paper. It means that though you can mention the methodology and key findings in the discussion section, you should not focus on them. There are specific chapters to address these issues. In the discussion section, you should emphasize the interpretation and explanation of your results.
Writing a discussion part is a responsible task. It shapes the true value of your paper, and the way it will be evaluated by your audience depends on the discussion. Thus, while producing it you have to follow explicit rules. They may slightly differ depending on the institution, but overall they are quite similar. For example, you can check these guidelines developed by the Sacred Heart University. They are more or less universally applicable.
In general, to produce a good discussion you have to address the following questions:
Besides, the discussion section should be concise and consistent. So, let’s break down the nuances!
The cornerstone of this stage is the direct answer to the research question. What is the right way to start it? You can refer to the research problem, express your opinion and present any relevant data to support it. It is also necessary to paraphrase the research question to avoid repetitions. While you have presented your findings in the Results section, you can do with their brief resume to provide your audience with a complex overview. You may wonder, “I have already described my results, so, what’s the point?” The point is that the Results section provides a detailed description of what you have discovered. On the other hand, the Discussion section helps your readers to digest and conceptualize your key findings. In this case, a concise summary remains crucial.
Do not overdo with details and facts as this stage takes no more than one paragraph.
Quick tips:
Mention the research problem;
Paraphrase the research question;
Express your opinion (the answer to the research question);
Provide facts and relevant findings to support it.
Do not make your audience guess what the results of your research mean. Of course, they might seem to be pretty obvious but there is always room for interpretation. Thus, it is important to tie facts and hypotheses together. It will help your readers to figure out which of them have been confirmed and which should be rejected.
Emphasize the correlation and any specific relationships between subjects and variables. Are there any interesting observations that can catch attention? Do not hesitate to present them. Overall, you can build the discussion section around a definite theory or a scientific concept. However, if you have developed your own theory, you need to reflect if your findings support or disprove it. Remember, the negative result is also good as you can make a comprehensive conclusion.
Questions to be addressed at this stage:
Do your findings answer the research question?
Do they meet your expectations?
Do the results confirm your hypothesis?
Are there other ways to interpret them?
While working on the previous sections of your research paper you probably paid attention to the issues reflected in the existing theories. Even if you explore a comparatively new phenomenon, there should be relevant sources you can rely on. Thus, it should not be very surprising for you if you have found some correlations between your findings and previously made observations. The discussion section is the part where you need to describe them and put your audience into the discourse.
When you composed the lit review, you probably selected some theories to rely on. In the discussion, you should answer the question of whether the results of the research support them. Apart from that, you need to specify the way your work contributes to the area of study.
Questions to be addressed:
Do your findings differ from previous observations?
What does your research contribute to the field?
What new interpretations can you make based on your research?
Can the results contribute to the theory or practice?
Every research has specificities and particular limitations. It is impossible to cover all aspects of the field. Even if it is quite narrow, there should be one specific object, issue, or phenomenon you explore. Thus, at this stage, you need to demonstrate where the limits of your research lie. It will help you to prevent data manipulation. Thus, you need to clearly communicate what your study excludes.
Here you can mention data-gathering issues and any obstacles you had during searching for relevant information. Especially if you think it might influence your research and the outcomes. It is also essential to show how these outcomes can and cannot be interpreted. Remember, even if your work has particular limitations the results are still valid. Providing you did not make any mistakes in the methodology, there is no reason to doubt the relevance of the outcomes.
Questions to be addressed:
What does your work exclude?
Which variables turned out to be irrelevant?
What obstacles did you face while collecting data for your research?
Do they influence your objectives and to what extent?
Doing research is barely possible without any unexpected findings. When you explore something, you do not know exactly what you can discover. This is basically the sense of research. On the one hand, these unexpected outcomes can seem to be insignificant for you. But on the other hand, bringing them to the light might help you gain credibility. Besides, some of your readers can find these results valuable for reflection.
Any unexpected findings can offer the challenge for further studies in the field and reveal gaps to cover in the future. They can fall outside the scope of your concept and that is alright. This is how the ideas for research papers are born.
On the other hand, these unexpected results can be fit with your research design and change your overall concluding observations. If you have developed your own theory, it is pretty obvious that most of your findings can be unexpected. And this is good news because such studies are as valuable as gold.
Questions to be addressed:
Were there any unexpected findings?
What conclusions can you draw from them?
Do they fall under the concept of your research?
What valuable insights can you provide based on these results?
This stage brings you to the end of the discussion section. Here you need to indicate gaps that can be covered in future works. Maybe there is something in your paper you want to observe in more detail. This can be a valuable insight for your further articles. Or it can help other students define a research problem.
Aforementioned, the prospects can derive from your unexpected findings. But on the other hand, issues being beyond your research concept may be omitted. And it is also normal. Thus, you can provide recommendations on how the results of your research can be implemented in practice or integrated into the existing theory. Apart from that, you need to identify the significance of your contribution from an academic perspective.
Questions to be addressed:
What valuable insights derived from your research?
Are there any gaps to cover in further research?
How can your findings be integrated into the theory?
What practical recommendations can you provide?
Visuals are not always necessary but as a rule, they are never out of place. Why are they so useful? Visualized data can help your audience to absorb the information you have presented in your work. Overall, this tool is equally effective in the discussion section.
Quite often, scientific data is difficult to perceive but easy to visualize. Visuals are meant to improve the validity of your findings and arguments in the eyes of your readers.
What visuals can be helpful?
Graphs;
Comparison charts;
Bullet charts;
Three-dimensional models;
Diagrams;
Bar charts, etc.
Writing a discussion section of a research paper might seem embarrassing for many students as long as they do not know what to include. We hope these guidelines will help you avoid confusion. However, if you do not have enough time to produce a brilliant paper you can check this article about writing services – Why Students Should Use Help of a Writing Service.
In wrapping up, there are some additional tips for writing a discussion section: | https://writemyessays.me/how-to-write-the-discussion-section-of-a-research-paper/ |
What am I required to do in this assignment?
Assessment description
The work of each student is assessed through applying a continuous and progressive assessment approach.
The purpose of the individual project is to write a research document on a topic of your choice in the field of Management or Finance. This project should be reported in a written report intended for an academic or professional audience. Your report should contain sections such as:
• •
• •
•
• • •
Abstract – includes aim/question, basic design and main findings/conclusions
Introduction – clear research question, objectives and hypothesis, background and relevance
Literature Review- critical review with references to relevant sources
Data description – of the variables/data sets that are required to analyse the research question
Methodology – description of the methodology, practical procedure and the plan for the work
Analysis and Findings – accuracy of results interpretation
Conclusions and Recommendations
References
This is
will be
at 23:59pm. The Excel data file and Excel output files related to the material presented on the assignment will also be submitted on blackboard by the deadline.
an individual assignment and there is maximum word limit of 2500 words. The assignment submitted as a word or pdf document on blackboard by 2021 (week 11)
The following tasks have be to completed every 2 weeks and will be graded as continuous work:
• Week 1-2: Describe a research topic and find several references related to it. Write a first draft of a Literature review about the chosen topic (summary of 5 references)
• Week 3-4: Define a research question and complete the literature review based on the research question. Propose several relevant datasets, a methodology and a research strategy.
• Week 5-6: Write a research proposal
A research proposal with a maximum word limit of 800 words will be submitted on we
• Objectives (100 words);
• Literature review (400 words);• Research question (100 words);
• Methodology and research strategy (100 words);
• Intended outcomes (100 words) :
• References (not included in word count)
• Week 7-8: Choose a final dataset related to the research question and describe the methodology that would be used
• Week 9-10: Apply the methodology to the dataset and summarize the results
• Week 11: An individual research document is summited
the topic is :Digital asset pricing, trading, mechanism design, and smart contracts
What am I required to do in this assignment? Assessment description The work of
What am I required to do in this assignment? | https://researchpapers.vip/2021/12/16/what-am-i-required-to-do-in-this-assignmentassessment-descriptionthe-work-of/ |
What was Lazzaro Spallanzani known for?
Lazzaro Spallanzani, (born Jan. 12, 1729, Modena, Duchy of Modena—died 1799, Pavia, Cisalpine Republic), Italian physiologist who made important contributions to the experimental study of bodily functions and animal reproduction.
What did Lazzaro Spallanzani do for spontaneous generation?
Interested in questions about generation, Spallanzani performed the first artificial insemination of a viviparous animal, a spaniel dog, a feat he recognized as one of his greatest accomplishments. These results further convinced him of the ovist preformationist doctrine.
Which of the following is the most interesting discovery of Lazzaro Spallanzani?
Lazzaro Spallanzani (1729–1799) found that boiling broth would sterilize it and kill any microorganisms in it. He also found that new microorganisms could settle only in a broth if the broth was exposed to the air.
How do you describe the Spallanzani’s experiment?
Spallanzani designed an experiment in which broth was boiled for 45 minutes in a flask that was under a slight vacuum and then fused the top of the flask to seal out both air and germs. Although no microbes grew, other scientists argued that microbes may only spontaneously generate if there is air present in the broth.
What were the possible conclusions reached from Spallanzani’s experiment?
Spallanzani concluded that while one hour of boiling would sterilize the soup, only a few minutes of boiling was not enough to kill any bacteria initially present, and the microorganisms in the flasks of spoiled soup had entered from the air.
Why was disproving spontaneous generation important for the advancement of microbiology as a field?
Why was the theory of spontaneous generation a hindrance to the development of the field of micrbiology? Spontaneous generation, proposed by Aristotle, was believed for 2000 years. Although his experiment showed no spontaneous generation it was said that his sealed vials did not allow air for organisms to thrive.
Who disproved the theory of spontaneous generation?
Spallanzani found significant errors in the experiments conducted by Needham and, after trying several variations on them, disproved the theory of spontaneous generation.
Why was Spallanzani’s experiment results criticized?
Spallanzani’s results contradicted the findings of Needham: Heated but sealed flasks remained clear, without any signs of spontaneous growth, unless the flasks were subsequently opened to the air. This suggested that microbes were introduced into these flasks from the air.
What did Spallanzani do to improve upon Redi’s?
What did Spallanzani do to improve upon Redi’s and Needham’s work? He showed that microorganisms will not grow in boiled and sealed gravy but will grow in boiled gravy that is left open to the air.
Did Lazzaro Spallanzani believe spontaneous generation?
Where was Lazzaro Spallanzani born?
Scandiano, ItalyLazzaro Spallanzani / Place of birth
What is your conclusion of this experiment?
Your conclusions summarize how your results support or contradict your original hypothesis: Summarize your science fair project results in a few sentences and use this summary to support your conclusion. Include key facts from your background research to help explain your results as needed.
Who is Lazzaro Spallanzani?
Lazzaro Spallanzani ( Italian pronunciation: [ˈladdzaro spallanˈtsani]; 12 January 1729 – 11 February 1799) was an Italian Catholic priest (for which he was nicknamed Abbé Spallanzani), biologist and physiologist who made important contributions to the experimental study of bodily functions, animal reproduction, and animal echolocation.
What experiments did Lazzaro Spallanzani do?
Lazzaro Spallanzani. In 1773 he investigated the circulation of the blood through the lungs and other organs and did an important series of experiments on digestion, in which he obtained evidence that digestive juice contains special chemicals that are suited to particular foods. At the request of his friend Charles Bonnet,…
When did Spallanzani become a professor?
He took orders in 1755 and is therefore often referred to as the Abbé Spallanzani. That year he began to teach logic, metaphysics, and classics at Reggio. In 1757 he was appointed to the chair of mathematics and physics at the university there; later he taught at the University of Modena.
What can we learn from Spallanzani?
natural history, experimental biology, physiology. Among the many dedicated natural philosophers of the eighteenth century, Spallanzani stands preeminent for applying bold and imaginative experimental methods to an extraordinary range of hypotheses and phenomena. | https://tracks-movie.com/what-was-lazzaro-spallanzani-known-for/ |
Although traditional and conjoint forms of concept testing play an important role in the new product development process, they largely ignore data quality issues, as evidenced by the traditional reliance on the percent Top-2-Box scores heuristic. The purpose of this research is to reconsider the design of concept testing from a measurement theory (generalizability theory) perspective and to use it to suggest some ways to improve the psychometric quality of concept testing. Generalizability theory is employed because it can account for the multiple facets of variation in concept testing, and it enables a concept test to be designed to provide a required level of accuracy for decision making in the most effective way, whether the purpose of measurement is to scale concepts or something else, such as to scale respondents. The paper identifies four types of sources—concept-related factors, response task factors, situational factors, and respondent factors—that can contribute to the observed variation in concept testing and develops six research propositions that summarize what is known or assumed about their contribution to observed score variance. Four secondary data sets from different concept testing contexts are then used to test the propositions. The results provide new insights into the design of concept tests and the psychometric quality of the concept testing data: (1) the concepts facet is not a major contributor to response variation; (2) of the response task factors, concept formulations are a trivial source of variance, but items are not always a trivial source of variance; (3) the situational factors that are investigated are trivial sources of variance; (4) respondents are always a major contributor to the total variation; (5) concepts by respondents are not always a major contributor and the other interactions are often not trivial; and (6) residual error is always a major source of variance. Additionally, the analyses of the secondary data sets enable some useful managerial conclusions to be drawn about the design of concept testing. First, the sample size needed to reliably scale concepts depends on the types of concepts being tested. Second, averaging over items provides considerably more reliable information than relying on a single item. Third, which specific item performs best is inconsistent and very context specific. The popular purchase intention item is never the best single item to use. Fourth, not much is gained by sampling levels of the response task factors. Finally, concept testing should be designed to meet the needs of specific managerial tasks.
DOI
10.1111/j.1540-5885.2010.00712.x
Print ISSN
07376782
E-ISSN
15405885
Publisher Statement
Copyright © 2010 Product Development & Management Association
Access to external full text or publisher's version may require subscription. | https://commons.ln.edu.hk/sw_master/3780/ |
This unit brings together the theoretical concepts of landscape ecology with spatial analysis techniques from remote sensing and GIS to address landscape scale applications of relevance to natural resource management.
Landscape ecology is concerned with spatial patterns, in particular spatial heterogeneity across landscapes, the spatial and temporal arrangement of features, and the implications of this patterning for ecosystems. This unit takes a practical approach to look at how landscape analysis can be used to quantify pattern to generate land cover and habitat maps. The focus is on using digital image processing techniques and spatial pattern analysis using local environmental challenges.
Important issues such as scale, data integration errors and natural variability in landscapes are addressed in terms of classifying landscape features and identifying temporal changes.
Note: Intensive week attendance is not compulsory for external students.
Required readings
Fundamental landscape ecology
- Turner, M. G. 1989. Landscape Ecology: The Effect of Pattern on Process. Annual Review of Ecology and Systematics 20:171–197.
- Pickett, S. T. A., and M. L. Cadenasso. 1995. Landscape Ecology: Spatial Heterogeneity in Ecological Systems. Science 269:331–334.
- Levin, S. A. 1992. The Problem of Pattern and Scale in Ecology:The Robert H. MacArthur Award Lecture. Ecology 73:1943.
- Wu, J., and O. L. Loucks. 1995. From balance of nature to hierarchical patch dynamics: a paradigm shift in ecology. Quarterly review of biology 70:439–466.
- Wu, J., and R. Hobbs. 2002. Key issues and research priorities in landscape ecology: an idiosyncratic synthesis. Landscape Ecology 17:355–365.
- Scholes, R. J. 2017. Taking the Mumbo Out of the Jumbo: Progress Towards a Robust Basis for Ecological Scaling. Ecosystems 20:4–13.
Remote sensing for ecosystem monitoring
- Newton, A. C., R. A. Hill, C. Echeverría, D. Golicher, J. M. Rey Benayas, L. Cayuela, and S. A. Hinsley. 2009. Remote sensing and the future of landscape ecology. Progress in Physical Geography 33:528–546.
- Willis, K. S. 2015. Remote sensing change detection for ecological monitoring in United States protected areas. Biological Conservation 182:233–242.
- Corbane, C., S. Lang, K. Pipkins, S. Alleaume, M. Deshayes, V. E. García Millán, T. Strasser, J. Vanden Borre, S. Toon, and F. Michael. 2015. Remote sensing for mapping natural habitats and their conservation status – New opportunities and challenges. International Journal of Applied Earth Observation and Geoinformation 37:7–16.
- Lawley, V., M. Lewis, K. Clarke, and B. Ostendorf. 2016. Site-based and remote sensing methods for monitoring indicators of vegetation condition: An Australian review. Ecological Indicators 60:1273–1283.
The new era of cloud-based processing
- Joshi, A. R., E. Dinerstein, E. Wikramanayake, M. L. Anderson, D. Olson, B. S. Jones, J. Seidensticker, S. Lumpkin, M. C. Hansen, N. C. Sizer, C. L. Davis, S. Palminteri, and N. R. Hahn. 2016. Tracking changes and preventing loss in critical tiger habitat. Science Advances, vol 2, no 4.
- Pekel, J.-F., A. Cottam, N. Gorelick, and A. S. Belward. 2016. High-resolution mapping of global surface water and its long-term changes. Nature 540:418–422.
- Hansen, M. C., P. V Potapov, R. Moore, M. Hancher, S. A. Turubanova, A. Tyukavina, D. Thau, S. V Stehman, S. J. Goetz, T. R. Loveland, A. Kommareddy, A. Egorov, L. Chini, C. O. Justice, and J. R. G. Townshend. 2013. High-Resolution Global Maps of 21st-Century Forest Cover Change. Science 342:850-853.
Assessment Items
Assessment 1
Due Date: 6 Oct 2019
Contribution to unit grade: 20%
Length: short answer as required
While you are reading the designated articles, complete the following questions. These questions are designed to stimulate you to think about the unit content and demonstrate the knowledge and understanding you have acquired on key topics related to the theory of environmental monitoring and modelling.
- It has been 25 years since Simon Levin discussed the problem of pattern and scale in ecology in his seminal paper published in Ecology in 1992. Are these challenges still relevant today? Robert Scholes reflects further on scale issues in Ecosystems in 2017.
After reading these papers (and the other papers in the fundamental section), discuss the implications of scale for monitoring environmental change (500 words).
- Evaluate the role that remote sensing can play in the analysis of landscape structure and dynamics. How is it currently used, what are the limitations, and where is the potential for growth? (500 words)
Assessment 2
Due Date: 27 Oct 2019
Contribution to unit grade: 10%
Length: 500-1000 words
Three application papers utilising Google Earth Engine processing have been provided in your reading list. After reading all three publications, select your favourite and write a critical summary of its findings. Your task in the critical summary is to identify and summarize the main scientific findings and supportive evidence in the text. These fall into four categories:
- What is the question? What questions are the authors seeking to answer? What specific ideas are being tested in the scientific study?
- What was done? How did the authors answer the questions posed? What methods were used?
- What are the results? What observations and data are presented? What are the conclusions? What is the evidence for the conclusions?
- Why is it important? Why is the answer to the scientific question meaningful? How general are the findings?
Assessment 3
Due Date: 10 Nov 2019
Contribution to unit grade: 30%
Length: 1000-1500 words
Each of the practicals presented in this unit will contain questions relating to the theory and application of remote sensing and GIS for landscape analysis. A practical exercise will be provided during the Intensive Practical week, and students are required to submit their report at the end of the week following completion of the intensive practical component of the unit.
Electronic copies of the exercises will be available under the 'practicals' link. The report should be submitted as a single PDF document.
Assessment 4
Due Date: 24 Nov 2019
Contribution to unit grade: 40%
Length: 3000 words (ENV306) or 5000 words (ENV506)
Complete the image processing and spatio-temporal analysis required to address the monitoring challenge that you have been tasked with, and construct a scientific report to communicate your findings.
Students will be required to complete this work outside of the hours that have been allocated for the intensive mode practical delivery, but we will dedicate one afternoon to starting the assignment.
Your final report should be formatted as a submission to the scientific journal Remote Sensing using this Word template or this LaTeX template. If you have not used LaTex before, use the Word template and chat to me if you interested in learning LaTeX.
- Abstract - 250 word summary
- Introduction – include a brief literature review on the problem at hand, the aims and objectives
- Methods - include descriptions of datasets, processing steps and analysis applied
- Results - include appropriate maps, tables and charts to illustrate your findings
- Discussion - discuss your findings (linking back to the objectives) including any limitations of the study and suggestions for improvement
- Conclusion - succinct summary of main findings
- References
Students should also refer closely to the grading criteria (ENV306 and ENV506) when writing this report.
Intensive practical week
Exploring trends in ecosystem condition over time
We will be using the Google Earth Engine cloud-based processing environment for our practical labs. | https://www.geospatialecology.com/env306/ |
The purpose of this paper is to provide a contribution on the role of European R&D projects (ERDPs) on small and medium enterprises’ (SMEs) resource development.
Design/methodology/approach
This paper adopts a qualitative methodology based on a longitudinal case study. The case analysis concerns Gamma, a small high-tech firm based in Italy, active in nanotechnologies since 2005 as a research spin-off and since its establishment active in ERDPs. The analysis is developed along three main phases of development where the company participated to different ERDPs.
Findings
The empirical analysis highlights that since its establishment, Gamma has been able to increasingly exploit participation in ERDPs, in order to gain access to financial and technological resources. Such active and continuous participation fostered the development of both advanced technological and organizational resources, which then allowed the company to survive and play a growing role as a well-known technology partner in the nanotechnology field in Italy and Europe.
Originality/value
Adopting an IMP perspective, the paper provides a contribution on the managerial dimension of SMEs’ participation in ERDPs – which represents a neglected topic in the existing literature – on two distinct grounds: resource development process and networking processes. With respect to resource development processes in ERDPs, this case study underscores the relevance of ERDPs for developing both technological and organizational resources, highlighting the relevance of project management-related knowledge. In terms of networking processes, this paper highlights the need to fully understand the interplay of ERDP networks and business networks.
Keywords
Citation
Ciarmatori, F., Bocconcelli, R. and Pagano, A. (2018), "The role of European R&D projects for SMEs’ resource development: an IMP perspective", IMP Journal, Vol. 12 No. 2, pp. 346-367. https://doi.org/10.1108/IMP-05-2017-0025Download as .RIS
Publisher: | https://www.emerald.com/insight/content/doi/10.1108/IMP-05-2017-0025/full/html |
Investigaciones Andina is a biannual publication, of the Fundación Universitaria del Área Andina. It has been published since April 2000. This journal is aimed at professionals, students and researchers in health sciences. The journal arises as part of the process of research groups that seek with their scientific evidence derived from their original works or / and systematic reviews of literature, contribute to the decision making process of the public and private sector in the health areas, as well as in the scientific training of undergraduate and graduate students.
The abbreviation of its title is Investig. Andina, which should be used in bibliographies, footnotes, legends and bibliographic references.
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In the selection of peers, the Journal, through the Editorial Committee and the Editor, ensures that the evaluation activity is developed by people with knowledge in the issues related to the journal, and that they have a broad research path as a way to guarantee their evaluative judgments, guided by criteria such as: originality, relevance, structure and articulation, syntax, conceptual development, generation of new knowledge and referential support.
The journal will submit all articles for review on the platforms for the detection of plagiarism and anti-plagiarism. The text that the Turnitin system throws as a result more than 15% of coincidence or plagiarism, will be returned to the authors to review, if the error persists when resubmitting it on the platform, the article will be rejected.It is understood that the contents submitted for the consideration of the Journal are the responsibility of its authors and, in no way, commit the Journal or the Institution.
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This journal provides immediate open access to its content, based on the principle that offering the public free access to research helps in a greater global exchange of knowledge.
The journal receives only research works of scientific quality type A defined by the National Bibliographic Index Publindex. It is considered that the published documents that correspond to the following typology:
1. Scientific and technological research article: Document that presents, in a detailed manner, the original results of completed research projects. The structure used contains the following sections:
Types of articles that can be published in the journal must have the following structure:
• Introduction
• Materials and methods
• Results
• Discussion of results
• Bibliographic references
2. Reflection articles: this is a publication that presents research results completed from an analytical, interpretative or critical perspective of the author on a specific topic using original sources.
3. Review article: this publication is the result of a completed research where results of published or unpublished research on a specific field of science or technology are analyzed, systematized and integrated, in order to account for the advances and trends of developing. It is characterized by presenting a careful bibliographic review of at least 50 references.
TITLE
This is the summary of the summary, it must be in Spanish, English and Portuguese.
AUTHOR (S)
The order of mention must reflect the magnitude and importance of the contribution of each individual.
INSTITUTION (S) AND POSTAL ADDRESS
You should go to the bottom of the first page.
Abstract
The abstract should be structured as follows: Introduction, Methods, Results and Conclusion.The abstract must be a maximum of 150 words. The verbs used are conjugated in the past tense.
KEYWORDS
They facilitate the entries (descriptors) in the indexing and information retrieval systems. Please lean on the thesauri or on www.bireme.br where you can consult the descriptor DeC / MeSH and from there you will be guided for the definition of the keywords and will also identify the translation of the search terms. The abstract and the keywords must be presented in Spanish, English and Portuguese. The journal supports the authors in the preparation of abstracts in English and Portuguese.
INTRODUCTION
In its preparation it is suggested to briefly mention the following aspects: 1. The problem or objective, indicating its origin, background and importance according to the dimensions of magnitude, priority and vulnerability. Existing knowledge on the subject, summarizing the results of previous research and its bibliographic reference. 3. Type of design used, with a brief support on your choice. 4. Definition of the main variables, terms and abbreviations. 5. Express time in the present. One mistake is the absence of bibliographic support.
MATERIALS AND METHODS
It details the way in which the results were obtained in terms of the design, techniques and materials used, so that the research can be replicated.
IN THE MATERIALS DO NOT FORGET TO INCLUDE
1. Technical specifications and exact quantities.
2. Generic, chemical and commercial name.
3. Origin, name of the manufacturer.
4. Preparation techniques.
5. In case of working with animals, plants and microorganisms, identify gender, species and strain; special characteristics of age, sex, genetic and physiological condition.
6. In the case of humans, identify the main characteristics of the population and the sample.
IN THE PROCURE METHODS
1. Express the type of design used.
2. Type of sampling used.
3. Mention statistical techniques and information collection instruments; report indicators of internal and external validity of the tests used without resorting to demonstrations; in case of relevance, express the bibliographic reference.
4. Mention important aspects of field work.
5. Use the verbs in past tense.
FOR THE STUDY DESIGN
It is important to clarify how was the selection of subjects or objects and the assignment of subjects or objects to study groups (experimental, control, intervention treatment). You must be specific about the measurement of the effect and the exposure. The methods of analysis must be supported and consistent with the objectives of the study.
RESULTS
This part of the article aims to present the true contribution of the study carried out. In this section, information pertinent to the objectives of the study is presented in a coherent manner, as well as the statistical tests applied to the information collected. Do not forget that you must mention all the relevant findings, even those contrary to the hypothesis, you must also include sufficient details to justify the conclusions.
PRESENTATION OF RESULTS
Here the authors can: 1. Use tables when necessary, summarize the information. 2. In the case of one or a few data, describe them in the text. 3. The statistical figures, sketches and diagrams help to clarify the results. 4. You should not repeat with words the information contained in the tables and figures, only express the conclusions drawn from them. 5. The statistical data found with tests of significance must be expressed with clear, simple and concrete interpretations and conclusions. 6. The verbs in this section are recommended to be conjugated in the past tense. REQUIREMENTS FOR TABLES AND FIGURES The titles of the pictures are on the top and those of the figures are written on the bottom of them. 1. They must be self-explanatory, simple and easy to understand. 2. Indicate the place, date and source of the information. 3. You must include units of relative measures (ratios, percentages, rates, indices). DISCUSSION Its purpose is to show the interpretations, generalizations, relationships, conclusions and recommendations that the results indicate and the discrepancies with other findings found in the research cited in the Background and the Theoretical Framework.
SUGGESTIONS
1. State the principles, relationships and generalizations that the results indicate.
2. Point out the exceptions, the lack of correlation and delimit the unresolved aspects.
3. Show how your results and interpretations agree (or not) with the previously published works.
4. Formulate the conclusions as clearly as possible.
5. Summarize the evidence that supports each conclusion.
6. Past time for your conclusions and present for bibliographic references. The conclusions are part of the discussion of results and allow to infer or deduce a truth from others that are admitted, demonstrated or presupposed.
THANKS
This section recognizes the cooperation of people and institutions that materially assisted the author in his research.
REFERENCES
The references allow to identify the original sources; They give solidity to the facts and opinions expressed by the author. They also guide the reader so that he can inform himself in greater length. For more information, you are encouraged to consult the Vancouver Rules.
REFERENCES FOR A JOURNAL
1. Author (s) last names.
2. Title of the article.
3. Name of the magazine.
4. Year of publication.
5. Volume number.
6. Page (first and last).
REFERENCES FOR A BOOK
1. Author (s) or Editor (s).
2. Title.
3. Edition (if not the first).
4. City, headquarters of the publisher.
5. Editorial.
6. Year of publication.
APPENDICES OR ANNEXES
To complete or illustrate the development of the topic, information must be included that by its extension or configuration does not fit well within the body of the article.
CHECKLIST FOR PREPARATION OF SHIPMENTS
As part of the submission process, the authors are obliged to verify that their submission meets all the elements shown below. Authors who do not comply with these guidelines will be returned to the authors.
1. The submission has not been previously published nor has it been submitted for consideration by any other journal (or an explanation has been provided in the Editor's Comments).
2. The shipping file is in OpenOffice, Microsoft Word, RTF or WordPerfect format.
3. Wherever possible, URLs are provided for references.
4. The text is single spaced; 12 points of font size; italics are used instead of underlining (except in URLs); and all the illustrations, figures and tables are placed in the appropriate places of the text, instead of at the end.
5. The text adheres to the stylistic and biliographic requirements outlined in the Author's Guidelines, which appear in About the journal.
6. If submitted to a peer-reviewed section of the journal, the instructions in Ensuring an anonymous evaluation should be followed.
COPYRIGHT NOTICE
The authors must declare the non existence of conflicts of interest either for reasons of financing of the project from which the article results; as well as for intellectual, academic, moral and investigative reasons.
The Journal of Andean Research meets the ethical standards for publications issued by the COPE: http://publicationethics.org/resources/code-conduct.
PRIVACY STATEMENT
The names and email addresses entered in this journal will be used exclusively for the purposes established in it and will not be provided to third parties or for their use for other purposes.
The authors must declare the non existence of conflicts of interest either for reasons of financing of the project from which the article results; as well as for intellectual, academic, moral and investigative reasons. | https://revia.areandina.edu.co/index.php/IA/about |
Background: Despite the acknowledged value of an EU health information system (EU-HISys) and the many achievements in this field, the landscape is still heavily fragmented and incomplete. Through a systematic analysis of the opinions and valuations of public health stakeholders, this study aims to conceptualize key features of an EU-HISys. Methods: Public health professionals and policymakers were invited to participate in a concept mapping procedure. First, participants (N = 34) formulated statements that reflected their vision of an EU-HISys. Second, participants (N = 28) rated the relative importance of each statement and grouped conceptually similar ones. Principal Component and cluster analyses were used to condense these results to EU-HISys key features in a concept map. The number of key features and the labelling of the concept map were determined by expert consensus. Results: The concept map contains 10 key features that summarize 93 statements. The map consists of a horizontal axis that represents the relevance of an 'organizational strategy', which deals with the 'efforts' to design and develop an EU-HISys and the 'achievements' gained by a functioning EU-HISys. The vertical axis represents the 'professional orientation' of the EU-HISys, ranging from the 'scientific' through to the 'policy' perspective. The top ranking statement expressed the need to establish a system that is permanent and sustainable. The top ranking key feature focuses on data and information quality. Conclusions: This study provides insights into key features of an EU-HISys. The results can be used to guide future planning and to support the development of a health information system for Europe. | https://manipal.pure.elsevier.com/en/publications/key-features-of-an-eu-health-information-system-a-concept-mapping |
The Government of Canada and the Government of the French Republic, hereinafter referred to collectively as the “Signatories”:
Reaffirm the sovereign right of States to adopt policies and measures to protect and promote the diversity of cultural expressions in the digital space, in accordance with the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions;
Recall that the protection and promotion of cultural diversity are inseparable from respect for human rights and fundamental freedoms such as freedom of expression, information and communication, and the possibility for individuals to freely choose their cultural expressions;
Confirm their support for the principle of neutrality and universality of the Internet and for multistakeholder governance of the Internet;
Emphasize their common will to support the promotion and dissemination of French-language cultural content in the digital space;
Decide that States, digital platforms and civil society are all in charge of:
- Supporting the creation, dissemination and accessibility of diverse local content;
- Contributing to the economic sustainability of content creators and to respect for copyright;
- Facilitating the availability and dissemination of digital cultural content so as to enhance its accessibility and accelerate its creation and reuse;
- Promoting the quality and transparency of information, in particular for large digital platforms and content sponsored on line, so as to counter disinformation;
- Promoting transparency in the implementation of algorithm treatments and their impact on the availability and discoverability of digital cultural content, notably with respect to ranking, recommendations and access to local content.
Express their support for the Open Government Partnership, which will be co-chaired by Canada in 2018-2019 and which promotes the transparency of open data, the participation of citizens in developing public policy, and the use of new technologies in favour of openness and accountability. The principles of participation, inclusion, and impact will guide the actions of both countries in this field during Canada’s chairing of the Open Government Partnership.
The Signatories have decided to:
- Pursue collaboration between Canada and France on implementing the operational guidelines on the implementation of the UNESCO Convention on the Protection and the Promotion of the Diversity Of Cultural Expressions in the digital environment;
- Promote direct and open dialogue between partner States, the private sector, notably digital platforms, and civil society, on their responsibilities in connection with the protection and promotion of cultural diversity in the digital space. | https://pm.gc.ca/en/news/backgrounders/2018/04/16/joint-declaration-cultural-diversity-and-digital-space?platform=hootsuite |
The following is a guest post by Jefferson Bailey, Strategic Initiatives Manager at Metropolitan New York Library Council, National Digital Stewardship Alliance Innovation Working Group co-chair and a former Fellow in the Library of Congress’s Office of Strategic Initiatives.
The National Digital Stewardship Alliance Innovation Working Group awards team is excited to announce the 2013 winners of the NDSA Innovation Awards. In this, the second year of the NDSA Innovation Awards, four outstanding individuals and projects have been recognized for their contributions to innovation in digital stewardship. Last year’s winners can be seen on a previous post on The Signal.
Selected from a large pool of nominations, this year’s Innovation Award winners represent the creativity, collaboration and willingness to explore novel approaches to complex challenges that define innovation in the preservation and accessibility of digital content. The four winners also represent the diversity of institutions, projects, individuals, and communities working to provide stewardship to digital materials of value.
The awards will be handed out at the upcoming Digital Preservation 2013 conference, July 23-25 in Washington D.C., where the winners will also give brief presentations on their projects. As with last year’s Innovation Award recipients, we hope to feature full interview with each of the winners here on The Signal.
Please join us in congratulating the 2013 Innovation Award winners:
Future Steward: Martin Gengenbach, Gates Archive. Martin is recognized for his work documenting digital forensics tools and workflows, especially his paper, “The Way We Do it Here: Mapping Digital Forensics Workflows in Collecting Institutions” and his work cataloging the DFXML schema.
Individual: Kim Schroeder, Wayne State University. Kim is recognized for her work as a mentor to future digital stewards in her role as a lecturer in Digital Preservation at Wayne State University, where she helped establish the first NDSA Student Group, supported the student-lead colloquium on digital preservation, and worked to facilitate collaboration between students in digital stewardship and local cultural heritage organizations.
Project: DataUp, California Digital Library. DataUp is recognized for creating an open-source tool uniquely built to assist individuals aiming to preserve research datasets by guiding them through the digital stewardship workflow process from dataset creation and description to the deposit of their datasets into public repositories.
Organization: Archive Team. The Archive Team , a self-described “loose collective of rogue archivists, programmers, writers and loudmouths dedicated to saving our digital heritage,” is recognized for both for its aggressive, vital work in preserving websites and digital content slated for deletion and for its work advocating for the preservation of digital culture within the technology and computing sectors.
Congrats again to this year’s Innovation Award winners! We thank everyone that submitted a nomination and also thank the entire community working to advance digital stewardship.
Updated 6/11/13: Corrected Martin Gengenbach’s current employer (Gates Archive). Marty previously worked for the Kansas State Historical Society until March 2013.
Updated 6/12/13: Corrected spelling of Kim Schroeder‘s name. | https://blogs.loc.gov/thesignal/2013/06/and-the-winner-is-announcing-the-2013-ndsa-innovation-award-winners/?loclr=blogsig |
Recently Released: European Commission’s Report on Digitisation, Online Accessibility and Digital Preservation of Cultural Material
From the European Commission:
The Report on Digitisation, Online Accessibility and Digital Preservation of Cultural Material shows that there has been an increase of digitisation plans and overviews of digitised material, more cross-border collaboration and public-private partnerships as well as pooling of digitisation efforts through competence centres or specific aggregators.
Web visibility of cultural content has increased through reduction of watermarking or visual protection measures and wider use of open formats or social media. However, digitisation remains a challenge, with only a fraction of Europe’s collections digitised so far (around 12% on average for libraries and less than 3% for films).
The report is based on a set of national reports submitted late 2013, early 2014 on the implementation of the Recommendation.
All reports received (25 reports) are available online.
Good examples include:
- the Polish National Audiovisual Institute operates a multimedia portal for sharing cultural resources and producing new content from them.
- the Finnish National Gallery offers and app-developer support tool
- in the Netherlands, free reuse of digital books in Koninklijke Bibliotheek’s and University Library’s database is permitted including for commercial purposes;
- the Sound Collection partnership between the French BNF, Believe Digital and Memnon Archiving Services offers 200.000 records in the Médiathèque Numérique;
- innovative sharing and reuse models for digital heritage, such as the Monuments of Poland app;
- Digisam coordinates the digitization of the many heritage institutions in Sweden.
Direct to Full Text Report (67 pages; PDF)
Filed under: Academic Libraries, Digital Preservation, Libraries, News, Preservation, Reports
About Gary Price
Gary Price ([email protected]) is a librarian, writer, consultant, and frequent conference speaker based in the Washington D.C. metro area. He earned his MLIS degree from Wayne State University in Detroit. Price has won several awards including the SLA Innovations in Technology Award and Alumnus of the Year from the Wayne St. University Library and Information Science Program. From 2006-2009 he was Director of Online Information Services at Ask.com. Gary is also the co-founder of infoDJ an innovation research consultancy supporting corporate product and business model teams with just-in-time fact and insight finding. | https://www.infodocket.com/2014/10/09/recently-released-european-commissions-report-on-digitisation-online-accessibility-and-digital-preservation-of-cultural-material/ |
As part of the Departments of Excellence initiative, The Italian National Agency for the Evaluation of Universities and Research Institutes (ANVUR) has awarded a 6-million-euro grant to the Department of Foreign Languages and Literatures at UNIVR for the realization of an interdisciplinary development project, which will allow the Department to become a center of excellence and a laboratory for experimentation, both for research and for teaching, at national and international level, in the field of digital humanities applied to foreign languages and literatures.
The project focuses on the conservation and dissemination of cultural heritage in its historical and archival dimensions as well as in its linguistic manifestations, thus innovatively enhancing digital methodologies in such a way as to broaden and better implement the research fields in the philological-literary and linguistic fields.
The development of the project, which is unique at national level, will also allow the Department to better respond, on the one hand, to the needs of the territory and to the growing demand for the implementation of wide-ranging digital skills, on the other.
Linguistic-cultural Heritage & Digital Humanities
The Linguistic-cultural Heritage & Digital Humanities project will focus on the analysis of linguistic data using computer software to:
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identify phenomena of linguistic cultural contact, with specific reference to the relationships between modern European and oriental languages;
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to analyze specialized discourses (e.g. journalistic, legal, political, economic and tourism ones) to prepare dictionaries, glossaries and terminological guides necessary for teaching and for industry experts in the various reference languages, as well as for the common user;
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study linguistic minorities, safeguard them and enhance their heritage.
Literary-philological Heritage & Digital Humanities
The literary-philological area will focus on the conservation, enhancement and accessibility of European cultural heritage, through the digitization of documents, including ancient ones, along with the identification of an author’s style through automated systems.
This will allow for digital knowledge dissemination in favor of social innovation, in the awareness that the cooperation between the academy and the so-called GLAM institutions (i.e. Galleries, Libraries, Archives, Museums) plays a key role in enhancing the cultural heritage of the whole society.
Digital Spaces and Platforms
The “Spaces and Digital Platforms” project is responsible for creating the IT platforms and technologically equipped classrooms to support the teaching and research activities of the Department of Foreign Languages and Literatures in the Digital Humanities field.
Didactics & Digital Humanities
Didactics will become one of the main research areas of our Excellence Project. In particular, the “Didactics & Digital Humanities” Unit will analyse how digital resources may be employed in teaching Foreign Languages and Foreign Literatures and Cultures to create new and innovative courses in Teacher Education (for the secondary school) and Languages for Specific Purposes (with reference to the domain-specific vocabulary and skills for the business world). Particular attention will be devoted to blended learning (which integrates the pedagogical experience in frontal teaching with flexible distance teaching and social networking) within an Accessible Learning Environment. | https://dh.dlls.univr.it/en/ |
This chapter deals with two phenomena that have become buzzwords in last decades, and we have witnessed increasing interest of their economic and social importance. These phenomena are digitalization and culture and creative industries. Scholars, policy makers and practitioners seem to be more and more aware of economic contribution of cultural and creative industries on local, national, and international levels. Unfortunately, especially policy makers tend to focus only on the economic perspective of the issue. Social aspects deserve the equal attention, since intrinsic value of cultural sector is not economic profit, but mainly its impact on society. Digitalization, process that has impacted all aspects of our lives, has caught similar attention as cultural and creative industries and of course has strongly influenced the way actors in cultural and creative industries operate and interact. The aim of this chapter is to provide an overview and understanding of the social and economic impact of digital transformation on culture, creative industries as well as change in the way cultural products are distributed and consumed.
Digitalization affects our everyday reality and also brings many expectations. Katz (2017) explains that digitalization refers to the transformation triggered by the massive adoption of digital technologies that generate, process, share and transfer information. Digitalization is based on the evolution of multiple technologies: telecommunications network, computer technologies, software engineering and the spill-over effects resulting from their use.
Digitalization is not one-time action, it is an ongoing process that happens in waves that are influenced by technological progress and diffusion of innovations. Digitalization should be considered as two processes happening simultaneously, these processes are evolution of technology through innovation and technology adoption in companies, governments and consumers. The first process, technology evolution is ahead of the second process, therefore there might be a lag between product availability and impact (Katz, 2017).
Undoubtedly, digital technologies have played a crucial role in the innovation of cultural sector (Rizzo, 2016), it has significantly pushed organizations to rethink and innovate their business models. Digitalization has brought many changes in to the field of culture, it has modified the relationship between artists, agents, consumers, it has changed the way culture is mediated to the audience as well as the way culture is consumed and perceived. Advancement in digital technologies might decrease the importance of intermediaries in the art sector, since artists can rise fund via crowdfunding campaigns, they can show their work on their websites or other platforms, they can publish their work online, and they can easily communicate with their audience, clients and consumers. Almost everyone can record a song or video and put it on YouTube and reach thousands of viewers. Digitalization in culture has had a strong impact on the production of cultural content and products. Due to the advancement of communication technologies, people form different part of the world can cooperate and create content and products together. It has changed also the way cultural workers and artists can promote their work, it is much easier to reach wider audience with the growth of social media. The change has not appeared on both side, demand and supply. Thanks to the digitalization, audience and consumers have become more involved in the content creation, mainly because digital devices such as smartphones, tablets, laptops, etc. have adapted to be able to create content and not only passively consume. Many challenges for cultural sector comes together with digitalization, one of them is the issue of copyright, piracy and many others, therefore new models of copyright such as creative commons have appeared. But copyright is still a big challenge and rises many questions like, what is the fair usage of cultural product. Is it fair to share e-book, CD or DVD with few of my friends, is it fair to share this content on the internet with thousands of people?
The definitions and concepts of cultural and creative industries vary in different countries and have evolved over the years. In the following section, several concepts and approaches are presented. | https://www.igi-global.com/chapter/digitalization-of-cultural-and-creative-industries-and-its-economic-and-social-impact/250057 |
This webinar is the second in a four part series focused on exploring strategies and digital preservation techniques used by business and corporate archives as they adapt to meet the challenges of digital transformation and evolving electronic record keeping practices and systems.
The role of the Corporate Archive in protecting the long-term value of digital brand & marketing assets, with guest speaker: Michel Koch, ex-CMO Time Inc.
Ensuring digital assets are easy to access and re-useable over the long-term has become an essential part of modern brand asset management. It’s enabling CMOs and marketing teams to maximize asset ROI, drive brand and product innovation, maintain brand continuity and protect IPR.
This webinar explores how forward-thinking corporate and business archivists are gaining the support of the CMO for establishing a digital preservation system that ensures accessibility and re-use of digital brand assets over successive technology cycles and custodians.
Michel also discusses how to elevate and position the role of the corporate archive in order to appeal to the modern digital brand and marketing function.
Speakers
Michel Koch, ex-CMO Time Inc. | https://preservica.com/events/webinars/31/01/2018/making-the-case-getting-the-support-of-the-cmo-for-a-digital-corporate-archive |
Media and the Cultural and Creative Industries are underrepresented in policies and actions aimed at promoting research and innovation in the EU. Luciano Morganti and Heritiana Ranaivoson present their reflections and recommendations for the future of these sectors.
Prof. Luciano Morganti and Dr. Heritiana Ranaivoson are senior researchers at the research centre imec-SMIT-VUB. They lead the Policy Hub of the EU-funded MediaRoad Project.
Cultural and Creative Industries play a crucial role in our society. They are a key factor of the EU integration process as they are instrumental in promoting European values, in contributing to education and awareness of global challenges, and in assuring community cohesion and civic engagement. They are also an important source of economic growth and jobs, contributing 4.5% of EU GDP and employing, directly or indirectly, more than 7 million Europeans. Not to be forgotten, media are today a key factor in fighting the spread of disinformation and fake news.
Acknowledging the strategic importance of the media industries, the EU has developed a strong tradition of multifaceted investments in media research and innovation. However, in today’s European programmes, these investments are scattered and dispersed, and the technological aspects of innovation are predominant in comparison to those related to content creation.
This unbalance is reflected in the mismatch between the two main investment programmes: Horizon 2020, addressing mainly technological innovation, and Creative Europe, addressing mainly content and innovation in content. With the new Multi-annual Financial Framework to arrive in 2021, it is now time to propose an integrated vision of European policies, investments and actions for a truly coherent, sustainable, innovative and successful European media ecosystem.
We need dedicated and specific investments in media innovation. It is important that the increase in funding dedicated to media research and innovation – discussed for the new Horizon Europe programme – does not happen at the cost of a decrease in the funding for the Creative Europe programme. At the time of writing, the Cultural and Creative Industries are still – regrettably – not present in the broader Horizon Europe scheme and synergies between the different funding schemes are yet to be envisaged to better support research and innovation in the media sector. Unless the EU is able to come up with a programme that bridges innovations in technology and in content creation, the European media sectors will not be able to face the important challenges on the horizon. These are: 1) Guaranteeing diversity of content and competition in a context in which investment in technological innovation in Europe is dwarfed by dominant global players acting – often – in an non-transparent market; 2) Rethinking business models for established and new media to be able to adapt them to the emergence of disruptive technologies, and 3) Ensuring media accessibility for impaired users and improving skills for the professionals in media.
How to foster innovation in the European Media and Cultural and Creative Industries?
To address these important challenges, we strongly encourage an EU-Specific integration of policies and actions for the Media sector and the Cultural and Creative Industries. This is possible through the combination of financial support and sector-specific policy and legal frameworks. This integrated approach should also promote high-quality media and journalism with ad-hoc policies to deal with information disorder and a clear framework that guarantees transparency and accountability for online platforms. It is also important that this approach should take place, depending on the specific challenges faced, at the appropriate level, be this local, national, European or even global.
The EU needs to work on mechanisms to enhance collaboration amongst stakeholders. To be more specific, cooperation amongst networks, media hubs and creative media clusters is key for the future of the sector. We also believe that Media should be explicitly referenced in clusters like Horizon Europe’s Open Innovation, the Digital Innovation Hubs or the Digital Europe Programme. The EU needs to ensure that specific support is to be provided to specific categories of actors depending on the specific policy objectives. Concretely, access to the markets could be enhanced for European SMEs and start-ups, and implementation of programmes and actions could be differentiated with more time to comply for small and new players and national and European players. Furthermore, a clear policy and legal framework is needed to ensure the transparency and accountability of dominant platforms. These are for us key ideas to fully create a level playing field for the media sector.
Accessibility, inclusion and media literacy are also paramount to the success of the European Media and Cultural and Creative sectors. If the European principles of solidarity and equality are to be respected, the EU must promote accessibility and inclusion of media services regardless of age and disability. Also, minorities should be included not only with access but also with participation and integration in the production of content.
To conclude, the EU must work on enhancing media literacy and strengthening skills. In this respect, not only users of media need to become more media literate but also the skills of professionals in the field need to be adapted to face current and future challenges. | https://www.euractiv.com/section/media4eu/opinion/a-new-horizon-for-europes-media-cultural-and-creative-industries/ |
Various keynotes on ‘the magic of digital in transmedia storytelling’, ‘the magic of digital in publishing creation’, ‘the creative industry challenges in Europe’, ‘the digital era, a new age of humanity’, ‘the magic of immersivity and interactivity’, and more.
Günther H. Oettinger is Member of the European Commission responsible for Digital Economy and Society since November 2014. From 2010 to 2014, he was Member of the European Commission for Energy. For 5 years (2015-2010) he was Minister-President of Baden-Wurttemberg (Germany). And he was appointed chairman of the CDU Baden-Wurttemberg parliamentary group in the State Parliament from January 1991 to April 2005. Günther Oettinger was member of the Governing Board and Federal Executive Committee of the CDU from 2005 to 2014 and chairman of the federal media policy committee of the CDU from 2006 to 2010.
Gilles Babinet is a French multi-entrepreneur, born in 1967 in Paris. Since 1989, he created 9 companies in various areas of activity, such as mobile music (Musiwave), co-creation (Eyeka) or Big Data marketing (CaptainDash).
He was appointed Digital Champion in 2012 by Fleur Pellerin, French minister of digital technologies, and works with Neelie Kroes, European Commissioner in charge of digital technologies. This function is the right follow up of his former position as president of the French National Digital Council (CNN).
Gilles Babinet published his first book in January 2014, "l'Ère numérique, un nouvel âge de l'humanité", where he discusses the impact of new technologies on our societies, our lives and our institutions. Throughout his book, he identifies five areas such as Education, Healthcare, the State, Knowledge and Production, that are deeply challenged in the context of the ongoing digital revolution. His new book, “ ig Data : penser l'homme et le monde autrement", came out in February 2015 and deals with economic and social issues linked to the eruption of the data.
Jacques is in charge of IDATE Business Unit dedicated to media and digital content and Head of the Video Distribution Practice . During its 15 years experience in the Media sector, Jacques has become an expert of the media economics and of the impact of Internet on content. His assignments involve strategic and sector-specific examination of the television/video and its distribution modes, from broadcast to telecoms/IP. Jacques’s previous experience includes analyst for the Eurostaf / Les Echos group, market analyst for Ericsson. Jacques holds a post-graduate research degree (DEA) in International Economics (Université Paris X) and a Master in Strategic Management of Innovation (Toulouse Graduate School of Management).
Michael Bhaskar is Co-founder and Publishing Director of Canelo, a new digital publisher. Previously he was Digital Publishing Director at Profile Books and Serpent's Tail and has worked at Pan Macmillan, a literary agency, an economics consultancy and a newspaper amongst others. He writes widely on media, society and technology and is author of The Content Machine, a book exploring the past present and future of publishing. His new book Curation will be published by Little, Brown next year.
Nina is a historian (M.A.), a journalist and a business professional (MBA, thesis on new business models in publishing). Nina worked as a print and radio journalist in Germany for over ten years before moving to Poland in 2002. There she worked as a radio journalist and as director of the Warsaw Book Information Centre (2004-2007). She joined the Frankfurt Book Fair team in 2008 as director of press and public relations. Since 2012 Nina has been an independent communications & business development consultant in Brussels and Frankfurt, with a focus on digital publishing and online services.
Albert Gauthier works at the European Commission in Luxembourg, at Directorate General Connect. The 'Creativity' unit covers a range of activities from funding leading-edge ICT research to innovation and policy support. Research under the ICT programme will explore the potential of information and communication technologies to enhance creative processes in general and in cultural and educational contexts in particular; it will also enhance user experiences with digital cultural resources, including keeping those resources useable at long-term (digital preservation); innovation activities aim at stimulating the up-take of research results in the creative industry; policy support activities - follow-up of the Commission's recommendations on digitisation and digital preservation; promoting Europeana the European Digital Library.
Specializing in b-to-b market research and business consulting in convergent media and IT markets, Hadmut anticipates new content & services related business models in emerging (digital) markets and intervenes where innovation comes to the market. Her company (www.holkenconsultants.com) is involved in social innovation through the coordination of the French public private partnership Media4D, which focuses on accessibility and media (www.socialmedia4d.com). The company is also partner for dissemination in the European co-funded HBB4ALL project on connected TV and accessibility (www.hbb4all.eu). Within the European funded MOSAIC project (www.mosaic-med.eu), which aims to set-up technology platforms in the Maghreb and Mashrek regions, her role is to contribute to the SRIA (Strategic Research and Innovation Agenda). Her company is part of the NEM Steering Board, and Hadmut is in charge of international cooperation for NEM.
Steffen Meier born 1965, is head of product innovation and marketing at readbox publishing, a leading technological company of the german publishing industry, dedicated to support publishers in creating and distributing eBooks and other digital products by providing them with services and software-tools. He furthermore was spokesman of the AKEP (Arbeitskreis Elektronisches Publizieren, i.e. Working Group for Electronic Publishing). The AKEP was founded in 1992 within the Publishers‘ Committee of the German Publishers and Booksellers Association (Börsenverein des Deutschen Buchhandels e.V.) to promote EP competence in all areas of the publishing industries. In addition Steffen Meier joins the digital commission within the Deutsche Fachpresse (German Association of Business Media / Newspapers), is an active media blogger and consultant at different advanced education institutions. Before joining readbox, he was for long years head of the online department at Verlag Eugen Ulmer, a german publishing house. Steffen Meier held various management positions in newspaper companies, publishing houses and IT companies.
Jean-Dominique Meunier joined Thomson/Technicolor in 1989 as a specialist in strategic sourcing and later worked in a variety of fields that included business development (in partnership with Japanese and Korean companies) and sites general management. A recognized expert in international cooperative R&D, Meunier co-founded a joint public/private regional cluster (150 members) focused on media and networks (pôle de compétitivité mondial Images & Réseaux) in northwestern France in 2005. He was named Director of Thomson Cooperative Programs in 2007 and became Executive Director of the Networked & Electronic Media (NEM), an European Technology Platform (650 members). He holds degrees in engineering and in business management.
Richard Nash is a strategist and serial entrepreneur in digital media. He led partnerships and content at the culture discovery start-up Small Demons and the story app/aggregator Byliner. Previously he ran the iconic indie Soft Skull Press for where has was Independent Publisher of the Year in 2005. He left in 2009 to found Cursor, now an open-source community publishing project. In 2010 the Utne Reader named him one of Fifty Visionaries Changing Your World and in 2013 the UK’s Bookseller magazine picked him as one of the Five Most Inspiring People in Digital Publishing. He advises numerous start-ups and corporations on digital strategy.
Graduate of HEC Paris, François Pernot joined the Média-Participations Group in 1995 after several assignments in France and in Madagascar in the food and garment industry. Média-Participations is the European leader in comics through their publishing companies (Dargaud, Dupuis, Le Lombard, Urban and Kana) and European established producer and distributor of TV animation series with their studios (Ellipsanime, Storimages, Belvision, Dargaud Media, Cartooners) and their dedicated subsidiaries (Mediatoon and Citel). He was appointed as International and Marketing Manager before being promoted to CEO of Dargaud-Lombard in 1997. Since 2009, François Pernot is the CEO of the Comics and Animation Division of the Media-Participations Group.
Frank Salliau has a master degree in electronics engineering but has mostly worked in software development. In the late 90's he became involved in development of web applications and e-learning. He has been working in the book profession since 2009, as e-Manager for the Flemish book federation organisation Boek.be. In this position he was involved in several ICT projects within the book profession, such as the development of the books-in-print database DANTE (Meta4Books) and Knooppunt, the distribution platform for digital educational content. In September 2014 he started working as senior researcher with iMinds/MMLab at the University of Ghent where he is involved in several publishing related projects, such as FREME, Publisher of the Future, Edutab and TISP.
Chris Sizemore is Executive Editor of BBC iWonder and Head of Product BBC Knowledge & Learning, the online home of the BBC's educational and factual content. Chris's background is in content strategy at AOL Time Warner in the States, and he has been with the BBC now for 8 years. Chris has contributed as a content strategist to the BBC iPlayer and programme support projects, and was the executive producer of the BBC's Food website.
Holger Volland is Vice President of the Frankfurt Book Fair and member of the executive board. He is responsible for international business development, heads the book fair's office in Beijing and the division for events. Holger Volland comes to the Book Fair from the German Booksellers and Publishers Association, where he served as head of marketing and communications. From 2005 to 2009, Holger Volland ran the communications departments at Agentur MetaDesign as part of the management team. Holger Volland studied information science. Following stints as creative director of digital pioneer Pixelpark in Berlin and New York and as a visiting lecturer in design at the Hochschule Wismar, Volland led the New Economy Business School of Scholz & Friends. As founder and managing communications agency Leipziger & Partner from 1999 to 2005, he worked with clients from the fields of politics, business and culture and organised large-scale cultural festivals in Germany and Argentina.
Rolf Dyrnes Svendsen is Chairman of the Advisory Board of the Global Alliance for Media Innovation (GAMI) founded in January 2015 by WAN-IFRA, the World Association of Newspaper and News Publishers. He is Editor of Adresseavisen, Norway's fifth largest news- and advertising mediahouse. With ten additonal local newspapers situated in the mid-Norway, Adresseavisen is by far the largest compamy and the digital powerhouse of Polaris Media Group. Rolf is also Editor/director at the Polaris Media Lab. The Medialab, located in Trondheim, is supporting more than 30 newspapers in the Polaris Media Group, providing software development and maintainence for editorial and commercial purposes. The Medialab works closely with Schibsted's digital development units with co-location of development teams at Schibsted Tech Polska's Krakow operations. Rolf is also Chairman of the board of NxtMedia since 2011. Nxtmedia is an innovation cluster for the media industry in Middle Norway including newspapers, broadcast and web industry, universities and media software industry aiming to promote innovation and future media technology. Leading companies member of NxtMedia include Polaris Media, Norwegian University of Science and Technology, MKTMedia in swedish Stampen Group, Norwegian Media Businesses' Association (MBL) and New Media Network.
Graduated from Ecole Nationale Supérieure d’Arts et Métier, Cyril has worked in interactive entertainment industry for more than 10 years, he started as a R&D software developer and began quickly to lead teams up to 10 peoples. After having work for one of the biggest French video game publisher in Montreal and after being hired by the world leading publisher company Electronic Arts in San Francisco, he went back to France and created his own company, which released more than 30 games and had partners like Sony, Microsoft, Nintendo and Electronic arts. During this experience he became chairman of the board of Cap Digital video game comittee. The interactive development experience led Cyril to a new role in the cap digital cluster, in which he is involved in the newly created European Digital Reading Lab. His role is to promote the only open, accessible and interoperable format EPUB3.
Stay tuned to discover more speakers, or have a look at the programme. | https://nem-initiative.org/nem-summit-speakers-2015/ |
The Role of Technology in Digital Humanities Education
UCD Digital Cultures Research Strand will host a Round Table event: 30 November 2021, 11.00 am.
Join Zoom Meeting
https://us02web.zoom.us/j/82788124112?pwd=Lzd5T3huSEc0cXNBM3R5b2o5VEptQT09
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Passcode: 2gQgiD
Participants:
Dr Marta Bustillo,
UCD Library
Title: UCD Library's "Exploring Your Digital Identity" Online Course
Abstract: In this talk I will introduce the new Digital Learning Librarian role at UCD Library, together with the first project for the role: a fully online Explore module on Brightspace aimed at helping UCD students take control of their digital identities.
Bio: I am the Liaison Librarian for the Social Sciences at UCD. I teach students across all Social Sciences programmes how to find, critically evaluate and manage the information resources they need for their assignments and research projects. Prior to joining UCD in March 2017 I worked as Metadata Cataloguer in the Digital Resources and Imaging Services unit at the Library of Trinity College Dublin. Before that I was Visual Resources Librarian at the National College of Art & Design in Dublin and at the Rhode Island School of Design in Providence, Rhode Island. I have a Ph.D. in Art History from Trinity College Dublin (2004), and an M.A. in Information and Library Management from Northumbria University (2012). I am working with the UCD EDTL project in my new role as Digital learning Librarian. I created a document summarising what I am hoping to do in this role, initially with the Colleges of Engineering & Architecture and Science, and later across the university.
Dr Tupur Chattopadhyay,
School of English Film and Drama
Title: Cultures of Entertainment in Digital India
Abstract: India’s entertainment industries are undergoing an immense digital transformation. Along with global giants like Netflix and Amazon aggressively pursuing the Indian market, all major broadcasters like Sony, Star, and Balaji Telefilms have launched successful content streaming platforms like Hotstar, Voot, Zee 5, and Alt-Balaji, among many others. My research aims to study the ongoing reconfiguration of entertainment cultures in India across production, circulation, and consumption. It will map the ways in which an established and powerful media capital like Bombay is negotiating the infrastructural, economic, and socio-cultural turn to the digital, particularly focusing on i) the role of data in generating new knowledge about digital audiences and ii) stylistic experimentations with form and genre.
Bio: Dr. Tupur Chatterjee is an Assistant Professor in Global Film and Media in the Department of English, Drama, and Film at University College Dublin. She was a Postdoctoral Research Fellow in the Global Media Studies Initiative in the Department of Communication and Media at the University of Michigan Ann Arbor. She earned a Ph.D. from the Department of Radio-TV-Film at the University of Texas at Austin. She is currently working on her first monograph, titled, Ladies First: Architecture, Anxiety, and Moviegoing in India. Her work has been published in the International Journal of Cultural Studies, Feminist Media Studies, South Asian Popular Culture, Porn Studies, and Synoptique.
Dr Anna Kadzik- Bartoszewska,
School of English Film and Drama
Title: Accessibility, Visibility and Innovation
Abstract: Over the last number of years there has been a huge shift to digitisation and gamification of learning and consummation of media. The Covid-19 pandemic has resulted in the adoption of digital learning on an unprecedented scale. However, this adoption has created many questions about certain digital tools efficiencies and focus such as: How do digital tools affect learning and understanding? Does using cutting edge technology enhance learning for students? How innovative methods and digital tools in the classrooms and beyond can advance the process of change? What is the role of stakeholders in accessibility to digitized contents?
Bio: Anna holds a PhD in Art History from University College Dublin. For several years she has taught in UCD at the School of Art History and Cultural Policy and worked at the Chester Beatty Library as the Acting Head of Operations. She also coordinates the Education and Outreach Department activities at The Gaiety School of Acting, the National Theatre School of Ireland. In recent years Anna has successfully overseen several EU funded projects in STEM education, Human Rights and Intercultural Education. She has developed national STEAM projects under the umbrella of the Science Foundation Ireland and was collaborating on the Cemec project co-funded by EU as the postdoctoral researcher. In 2021 she has joined the teaching team at the School of English, Drama and Film.
Dr Claas Kirchelle,
School of History
Title: Digital humanities and the multi award-winning Typhoidland exhibition
Abstract: My talk will focus on the digital humanities work underpinning the multi award-winning Typhoidland exhibition and the new AHRC/IRC-funded Typhoid, Cockles, and Terrorism project. I will discuss how historians can use digital humanities methodology to critically analyse analogue quantitative historical mortality and morbidity data and answer important questions about the impact of historical sanitary interventions in different hydrological, geographic, and cultural contexts. I will also highlight the possibilities of using resulting research data to engage the public in creative ways about the importance of collective action and solidarity in Global Health.
Bio: Claas is historian of the biomedical sciences. Based at University College Dublin, he researches the history of microbes, infectious disease, and the development, marketing, and regulation of antibiotics and vaccines. Since completing his DPhil in 2015, he has authored three books on the history of antibiotics in food production (Pyrrhic Progress, 2020), animal welfare, science, and activism (Bearing Witness, 2021), and typhoid control (Typhoid, 2022). Public Engagement is an important part of Claas' work. Over the past five years, he has co-curated two multi award-winning exhibitions on the history of penicillin (Back from the Dead) and typhoid (Typhoidland) and advised on radio and theatre plays. His work has been featured in numerous international print and broadcasting outlets. Claas holds honorary fellowships at the Oxford Vaccine Group and Oxford Martin School.
Dr Sean Leatherbury,
School of Art History and Cultural Policy
Title: Premodern Digital Cultural Heritage Network: A Case Study in Collaboration
Abstract: The Premodern Digital Cultural Heritage Network (2020-2021), a network organised between UCD and the University of Oxford and funded by an AHRC-IRC Digital Humanities Networking Award, aimed at connecting existing open-access digital projects focused on ancient and medieval architecture and archaeology (i.e. built heritage). This short talk will summarise the network's activities and explore the network as a case study in the challenges and opportunities of collaboration between digital projects that cover similar content areas but with very different missions.
Bio: Dr. Sean Leatherbury, Assistant Professor and Ad Astra Fellow School of Art History and Cultural Policy, University College Dublin. Sean V. Leatherbury is an historian of Roman, late antique, and Byzantine art and architecture. After graduating from Yale, he completed his masters and doctorate at the University of Oxford. His research has been supported by residential fellowships at the Getty Villa in Los Angeles (2014-15), the Bard Graduate Center in New York (2013-14), and the Council for British Research in the Levant (2013-14), and by grants from the Oxford Centre for Byzantine Research, Corpus Christi College, Oxford, and the Association for the Study and Preservation of Roman Mosaics (ASPROM). Most recently, he was Assistant Professor of Art History at Bowling Green State University in Ohio (2015-2019) and Research Associate of the Monumental Art of the Christian and Early Islamic East project at Oxford (https://www.classics.ox.ac.uk/monumental-art-of-the-christian-and-early-islamic-east).
Dr Conor Linne,
School of English Film and Drama
Title: Patrick Kavanagh: A Life in Literary Magazines, Digital Exhibition and Archive
Abstract: Patrick Kavanagh: A Life in Literary Magazines, Digital Exhibition and Archive is an inter-institutional collaboration between UCD Library Special Collections and the Museum of Literature Ireland (MoLI). The project brings together the archival and digital expertise of UCD Special Collections and MoLI to visualise the world of the literary magazine and its role in shaping the career of one of Ireland’s most renowned poets. The project will digitise a range of material from the Patrick Kavanagh Archive at UCD Special Collections, creating an open-access online exhibition platform that will function as both a public cultural resource and a teaching and learning tool. It will offer a multimedia and multilingual experience, presented in both English and Irish, and creating a compelling narrative through a sequence of digitised images, film and audio recordings.
Bio: Dr Conor Linnie is a Government of Ireland Postdoctoral Fellow at the School of English, Drama, and Film. His research explores the periodical networks that connected literary and artistic activity in the mid-twentieth century. An experienced digital humanities curator, he curated the 2019 digital exhibition The Poetics of Print: The Private Press Tradition and Irish Poetry with the Library of Trinity College Dublin. He is also co-editor with Dr Maria Johnston of the recently published collection of essays Irish Women Poets Rediscovered: Readings in poetry from the eighteenth to the twentieth century (Cork University Press). | https://www.ucd.ie/artshumanities/newsandevents/researchstrategynewsandevents/roleoftechnologyindhe/ |
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Celebrate Broward's 2019 Pioneers at the 45th Annual Pioneer Day on Saturday, May 11th at the Pompano Beach Cultural Center. This free event includes music, entertainment and refreshments beginning at noon followed by the recognition ceremony at 1PM. Presented by the Broward County Historic Preservation Board and
Broward Cultural Division in partnership with the City of Pompano Beach, the event recognizes Broward residents who have been selected by local historical societies and municipalities for their role in creating the diverse and vibrant community that has helped define the Broward County of today. These Pioneers join a distinguished group who have been honored since the beginning of the program in 1972.
Pioneer Day 2019
Saturday, May 11, 12-2PM
Pompano Beach Cultural Center
Municipalities or organizations nominated the following 2019 pioneers to be honored:
Additionally, four awards will be presented: | https://www.broward.org/History/PioneerDay/Pages/PioneerDay2019.aspx |
The COVID-19 pandemic is accompanied by an Infodemic, a spread of disinformation and misinformation making it difficult for people to find accurate information. To contribute to tackling this issue, UNESCO, in partnership with the Innovation for Policy Foundation (i4Policy), is launching an online campaign to crowdsource local openly licensed content to inform communities across Africa about COVID-19.
“This crisis tells us the importance of the flow of quality, reliable information at a time when misinformation and rumors are flourishing,” said UNESCO Director General Audrey Azoulay.
The campaign will address the urgent need to ensure access to culturally relevant and openly licensed information in local African languages in order to facilitate awareness-raising about how to mitigate the spread of COVID-19 on the Continent.
For the launch of the campaign, Ugandan musician and member of parliament, Bobi Wine, announced that he is openly licensing his latest hit song “Corona Virus Alert,” encouraging other artists to do the same, and inviting fellow artists and creatives all over the world to join the #DontGoViral campaign. More than 40 artists have requested to translate, remix, and adapt the song to ensure maximum dissemination.
The COVID-19 pandemic is heightening solidarity across Africa. Entrepreneurs and innovation communities from Ethiopia to Rwanda to Senegal have been directly supporting national authorities to develop critical health-related information technology. UNESCO’s partner in this campaign, i4Policy, has initiated a movement with more than 170 innovation community hubs across 45 countries. The Africa Innovation Policy Task Force, a 21-member community, drafted an open letter to governments emphasizing that “the values of an open society are more important than ever” and have called on governments to activate their local innovators and creators to stop the spread of COVID-19.
The voice and influence of innovators and artists and the role of the cultural and creative industries in information and awareness-raising cannot be over-estimated. Artists can share and amplify crucial information among fans and followers, reaching an immense audience by using their talent and diverse forms of cultural expressions to engage with people in response to the crisis.
UNESCO’s 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions recognizes the important role that artists working in the digital sphere play in ensuring inclusive social transformations. The #DontGoViral campaign harnesses the vibrant cultural diversity of the African Continent and its innovators and content creators to ensure locally pertinent responses to fight disinformation and COVID-19. i4Policy’s Art Director, Marius Kamugisha, underlined that “crises like this show the importance of culture.” The first video produced as part of this campaign, #SeparateAndTogether, was translated into more than a dozen languages in the first 48 hours after it was released.
The #DontGoViral campaign is designed to activate artists and cultural entrepreneurs across Africa. Participants of the campaign will be requested to ensure that all themes and guidelines expressed conform with their official health agency and recommendations from the World Health Organization (WHO). UNESCO is supporting the development of openly licensed content, crowdsourcing of translations into local African languages, and dissemination through all mediums, including radio and TV, across the Continent to reach communities offline and most at risk.
Through UNESCO’s Offices in the African continent and the i4Policy community across Africa, this campaign will reach community spaces in at least 45 African countries to virtually host, mobilize, and develop information campaigns to support national and global health agencies to reach the most at-risk communities and to combat the spread of disinformation. Furthermore, this campaign is mobilizing collectives from around the world, including record labels like RM Societe, building on their experience such as “We are the World 25 to Haiti” and joint venture with Sony ATV to give major African producers and writers an opportunity to spread the sounds and voices of the continent globally.
UNESCO is actively engaged in supporting Information Sharing and Countering Disinformation, including through access to information in local languages, to fight the COVID-19 pandemic. The Organization is dedicated to ensuring open access to scientific information, harnessing the power of the diversity of creative content and creators on the Continent, and combatting disinformation around the pandemic through collective innovation and continental partnerships.
Want to Participate? Start creating! And, please #ShareInformation and #DontGoViral! | https://ethicalmarketingnews.com/dontgoviral-unesco-and-i4policy-launch-a-campaign-to-crowdsource-local-content-to-combat-the-infodemic-in-africa |
The people of Jamaica and the greater Caribbean region have long been buffeted by manmade and natural disasters that have left them in a state of economic, social, and environmental crisis. Each country has its own story, but their histories follow a pattern of boom and bust cycles tied to global commodities and international banking agreements that lock them into poorly planned and unsustainable agricultural practices, global price and market competition, and uneconomic local market supply chains. Jamaica is a classic example of this pattern and her people are vulnerable due to national dependency on unaffordable, less healthy, imported food, lost skill sets needed to produce certain crops without expensive chemical inputs, and natural disasters that wipe out farmers crops with regularity.
The Parish of St. Thomas and the other eastern parish of Portland have systemically been the most forgotten and underdeveloped parishes in Jamaica for over a century. Because of the Morant Bay Rebellion in 1865, St. Thomas was labeled as a “troublemaker parish” by government and has suffered from little to no effective representation by both the past and present governments of Jamaica. This neglect has resulted in poorly maintained roads, lack of functional infrastructure, high unemployment, poor living conditions, and a great sense of hopelessness amongst the youth. St. Thomas is a farming parish however, since the liberalization of the banana industry by the European Union and NAFTA all the banana plantations have closed leaving few agricultural avenues for profitable employment in the parish. Many of the people of St. Thomas still rely on small cash crops and seasonal tree crop production for their livelihood, but are only marginally compensated for their crops, with most of the profits going to middlemen and retailers in Kingston and local markets.
These challenges are magnified by the rising cost, economically and environmentally, of conventional agricultural inputs, the environmental damage caused by poor farming practices on hillsides, and agricultural trade policies that are unfavorable to small farmers. There are two primary ways to solve these problems:
- Focus on local sustainable production to increase food security
- Develop high value internal and export markets to increase agricultural profitability.
Permaculture and organic (POF) systems provide solid foundations for these solutions. Permaculture provides a sustainable land and farm ecosystem design focus and organic agriculture practices and markets provide the economic, social, and environmental benefits.
The Jamaican agriculture industry is faced with the challenge and opportunity arising from a growing demand for organic healthy produce. Currently a limited number of farmers are growing organically. While the demand for organic crops has expanded rapidly over the past 20 years in developed nations, Jamaica is just beginning to see significant on-island demand. There is a long history of support for clean food and organic agriculture in Jamaica and farmers are thirsty for new effective methods of improving production and distribution. Marketing structures are in their infancy and need direct technical assistance to support their success.
The Source Farm Foundation (SFF), our partner in Jamaica, has been working for the past two years to provide training in Permaculture, organic farming, farm economics, and market development for young and beginning farmers. Ten individuals have completed the first round of trainings (One One Coco program) and have begun working together to fill the gap in organic production. Jamaica’s first “Organic” market, Ujima Natural Farmers Market was launched by the SFF in February 2014 in Kingston to provide an economic outlet for these early producers. Demand is already outstripping supply at that market. SFF has developed strong linkages with the Jamaica Organic Agriculture Movement (JOAM), the Ministry of Agriculture, and the Rural Agricultural Development Authority (the Government of Jamaica’s extension service), as well as practicing small organic farmers around the country and parish.
The Jamaican Sustainable Farm Enterprise (JSFE) builds on this foundation by linking Southeastern U.S. organic farmers and permaculturists with their Jamaican counterparts with the intention of enhancing the development and adoption of Permaculture and organic farming systems and the business models that are necessary for small Jamaican farmers to succeed financially, socially, and environmentally.
Objectives
The goal of this project is to help build local, ecologically based, disaster resistant organic food systems in Jamaica through technology transfer and management expertise that links farmers to markets. The JSFE will develop market driven organic production, certification, and distribution systems for agricultural products that will sustainably reduce food insecurity and poverty. Small landholder farmers and existing organic producers will increase their food production and farm management skills while enhancing the natural resource base and building disaster resistant agricultural environments by adopting Permaculture and Organic Farming (POF) systems.
The program will place 70 volunteers over 3.5 years for training some 2,500 individuals in total. Key Performance Indicators for program impacts and outcomes include:
- Increase the Value of Annual Gross Sales (Revenue) to 1.3 million USD.
- Increase farmer Annual Net Income to 1 million USD.
- Establish or improve six host business plans or organization policies and procedures.
- Provide training and technical assistance to enable 18 hosts to cultivate using Certifiable Organic Methods
- Train 150 new, start-up, or existing farmers cultivating .4 to 1 hector organic production.
- Establish a sustainable affordable distribution network for organic produce
- Establish 550 hectares under improved production technology
- Bring 150 new or existing farmers to the point of selling organic products at market.
The program will implement an innovative approach to sourcing volunteers by tapping into the highly successful organic and Permaculture communities in the southeastern U.S. which share similar climatic conditions during the growing season with the Caribbean. There are many direct market links to be explored and developed between the Southeast U.S. and Jamaica and the program will foster stronger cultural and economic links between these two regions. The program will seek to utilize the collective experience and knowledge of these communities in building sustainable food systems, businesses, institutions, and organizations in Jamaica.
Proposed Activities
Sustainable food systems are generally defined as meeting three criteria; ecologically sound, socially just, and economically viable. An organic production, certification, and distribution system has the potential to embody these principles in the form of a functional and profitable organization. The development of an organic production, certification, and distribution system is challenging in that it is comprised of many activities that need to happen in a synchronized fashion. The activities fall into four core areas:
- Develop capacity to promote POF systems
- Develop, demonstrate, and document profitable POF production systems
- Establish organic certification system suited to serve small holders effectively
- Establish efficient market system for POF production
Develop capacity to promote POF systems
Volunteers will provide technical support to:
- Evaluate the Source Farm Foundation’s current capacities for education and promotion and develop a plan for improvement and growth.
- Assist existing and emerging organic grower groups in developing their organizational structures and management strategies.
- Provide workshops on POF at the College of Agriculture, Science, and Education (CASE), SFF, and other locations across Jamaica.
Develop, demonstrate, and document profitable POF production systems
Volunteers will provide technical support to:
- Train farmers in Permaculture design principles so they can develop site plans and maps for their farms.
- Guide the farmers through a process of developing enterprise budgets and production plans for each crop, which will be merged with their farm plan into an individualized whole farm budget.
- Assist the farmers and grower groups in developing tools for analyzing profitability
- Assist SFF and CASE in developing POF educational and research resource centers
- Assist SFF in developing systems for collecting data that document the financial impacts of the project.
Support the development of an organic certification system suited to serve small holders effectively
Volunteers will provide technical support to:
- Evaluate the current organic certification system in Jamaica
- Explore the best examples of group certification systems in other countries
- Develop a plan for establishing a group certification system
- Assist SFF in developing proposals for funding the establishment of a group organic certification system
Establish efficient, fair, and transparent marketing and distribution systems for POF production
Volunteers will provide technical support to:
- Evaluate the current Ujima Farmer’s market and develop plans for improved organizational structure, management, and expansion.
- Explore the best examples of efficient, fair, and transparent marketing and distribution systems in other countries
- Develop a plan for establishing an efficient, fair, and transparent marketing and distribution systems
- Assist SFF in developing proposals for funding the establishment of an efficient, fair, and transparent marketing and distribution systems
Partner Organizations
The program is supported through funding provided by the U. S. Agency of International Development (USAID) John Ogonowski and Doug Bereuter Farmer-to-Farmer Program and is administered by Volunteers for Economic Growth Alliance (VEGA).
Florida Association for Volunteer Action in the Caribbean and the Americas (FAVACA) manages the JSFE project. FAVACA’s mission is to improve social and economic conditions in the Caribbean and the Americas through volunteer service. www.favaca.org.
The Source Farm Foundation (SFF) manages the project in Jamaica and is a non- profit community economic development incubator that seeks to build collaborative partnerships to develop innovative and sustainable solutions for the parish of St. Thomas and beyond. SFF works with local and international farmers to create exchanges around sustainable land practices, organic farming and appropriate technology.
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Chuck Marsh is joint Program Coordinator for the program and has been active in the alternative and ecological agriculture movements since the mid 70’s and has been a leader in the international Permaculture movement since 1981. Chuck co-founded and designed Earthaven Ecovillage near Black Mountain, NC and has been the village designer, land planner, and Permaculture consultant for Source Farm Ecovillage in Jamaica since 2007. www.livingsystemsdesign.net
Tony Kleese is also a joint Program Coordinator for this program. He has been active in the development of local and organic food systems in the Carolinas as a farmer and a new agrarian activist since 1989. www.earthwiseorganics.com,
Jimmy Buffett’s Singing for Change Foundation has provided funding to support activities in the project that can’t be funded by the USAID funds. A micro-loan program has been established to help the farmers purchase the equipment and seeds they need for their organic operations. | http://thesourcefarm.com/jamaica-sustainable-farm-enterprise-program/ |
A sustainable agriculture research center at the University of Wisconsin. Details of research, local involvement.
- Agriculture - Sustainable Agriculture
Promotes earth-regenerating and socially just mini-farming, with news, articles and resources for the micro eco-farming community.
Aims for poverty alleviation through the promotion of agro-ecological approaches. Includes a collection of links, book reviews, and other information.
Organization that works with small and marginal farmers in India. Provides details of projects, sustainable technologies and major areas of ...
The CSDI is a non-governmental organisation dealing with sustainable natural resource development in the drylands of Kenya, concentrating on the ...
A research project that uses participatory videos to promote sustainable agricultural practices in small and marginal farming communities.
Mission is to increase understanding of plant biology; apply new knowledge to help sustain productivity in agriculture, forestry and allied ...
A demonstration site for sustainable agriculture. Details of the site, courses in permaculture, location.
Blog by a farmer in Tennessee about his experiences of sustainable agriculture and taking care of the land.
Project for volunteers to participate in developing sustainable farming methods in Tanzania.
Coordination of European transnational research in organic food and farming.
Information and advice on production, growing, marketing and certification of vegetables, grains, livestock, greenhouses and seeds.
Grows and packages a line of organic salads and other produce. Includes information about organic farming. Central California.
Inspection and certification agency for organic, fair trade and good agricultural practices (GAP) standards. Provides information on certification, standards, news ...
The project and its partners are introduced, subscription of a newsletter is possible and the national action plans are described. | https://www.efita.org/Agriculture/Sustainable-Agriculture/records-131-6.html |
f elected on September 20th, the Green Party of Canada says it would restructure the next Ag Policy Framework to shift program dollars from supporting corporate-controlled industrial agriculture to supporting agriculture that is based on ecological and animal welfare principles.
This would include organic and regenerative practices, permaculture, localized food systems, higher welfare farming systems and short value chains.
Dr. Maria Rodriguez is the Green Party's agriculture critic.
"We want to shift program dollars. We know that the federal government has realized, for example, that we need to farm in ways that sequester more carbon in the soil, prevent the decline of organic matter in the soil," she said.
According to the party's agriculture platform, the Green Party would also:
- Recognize and act on the enormous potential of carbon sequestration in soil. Implement policies and programs that provide incentives for sustainably increasing organic matter (carbon capture) in the soil through regenerative practices while ensuring that these incentives are equitable, inclusive, and do not disadvantage small farmers.
- Restructure business risk management programs to make them more equitable, inclusive, and responsive in helping farmers cope with climate risk.
- Reallocate research and development priorities, as well as investments in infrastructure to further strengthen support for local and regional value chains by the National Food Policy. | https://discoverestevan.com/articles/green-partys-election-priorities-include-shifting-ag-program-dollars |
The onset of the green revolution revolutionized the entire agricultural sector of our country by giving a boost to conventional farming. It introduced modern agricultural practices such as the use of chemical fertilizers, pesticides, high-yielding variety seeds, and irrigation facilities. After the green revolution, India became surplus in foodgrains as it led to a three-fold increase in the production of foodgrains within a decade. But this came with a huge number of serious downsides.
The perils of conventional farming
Chemical fertilizers and pesticides are one of the major components of conventional farming. Although they play a gigantic role in increasing crop yields, their indiscriminate use causes a detrimental impact on the environment.
These nitrogen and phosphorus-rich fertilizers find their way to water bodies where their accumulation leads to a condition of excessive nutrients called eutrophication. Eutrophication is responsible for the unrestricted growth of algae also referred to as algal blooms and the creation of dead water zones.
Nitrogen-based fertilizers also form and emit nitrous oxide into the atmosphere, which is one of the most harmful greenhouse gases.
Also Read:- Latest news about Ramesh Chaurasia
The overuse of fertilizers degrades the soil by altering its pH level and reducing the organic matter of the soil.
There are several negative effects of irrigation activities as well. These include:
Waterlogging due to inadequate drainage and over-irrigation. Soil becomes saturated with water and this reduces the availability of oxygen to the roots of the crops significantly.
Salinization of the soil occurs as a result of the use of groundwater or surface water containing minerals. When the water evaporates, it leaves behind enormous quantities of salt which is harmful for the crops.
The environmental friendly alternatives
The burning environmental concerns associated with conventional agricultural practices can be solved with sustainable methods. Let us have a look at some of them:-
1) Organic Farming
Organic farming is a great sustainable agricultural practice that does not use synthetic fertilizers and pesticides but instead focuses on the use of biological fertilizers obtained from the wastes of animals and plants. It promotes the use of the following sustainable practices:
Crop rotation is the practice of growing two or more crops in the same field according to the seasons. This does not only increases the overall yield but also replenishses the soil’s nutrients.
Mixed cropping in which two crops are grown in a field at the same time.
2) Permaculture
Permaculture is a holistic approach for growing crops. It is constructed around three works on the following principles:
Observe and Interact- By observing and engaging with the environment, we can devise strategies that are best suited for them.
Catch and store energy- We should develop ways to collect resources when they are available in abundance so that they can be used at the time of their scarcity. Rainwater harvesting is one of the practices that is based on this principle.
Obtain a yield- Ensuring that you are getting enough yield for the efforts you are putting in.
Apply self regulation and accept feedback- This will prevent you from engaging in any inappropriate or unsustainable practice.
Also Read:- Circular Economy and the four R's to promote Environmental Sustainability
Use and value renewable resources- The biggest advantage of permaculture is that it asks people to make a gradual shift from non renewable resources to renewable ones.
Produce no waste- Utilizing all the available resources efficiently such that no waste is produced.
Design from pattern to details- This principle asks us to use the patterns of the nature in our favour instead of going against them. For instance, if someone is practising agriculture on arid or semi-arid land then they should grow dry crops instead of water-intensive ones.
Integrate rather than segregate- Permaculture focus on integrating various things so that they work together and support each other. Agroforestry can be a brilliant example for this.
Use small and slow solutions- Laying small steps slowly will help us analyse their effects and make corrections.
Use and value diversity- Instead of monocropping, permaculture encourages growing diverse crops as a diverse system is less vulnerable to threats.
Use edges and value the marginal- Here edge refers to the place where two ecosystems meet. Making use of the edge while valuing the marginal is the key. Marginal includes the people at the edge.
Creatively use and respond to change- This involves making your system resilient to predictable changes as well as addressing unpredictable changes in a creative manner when they arrive.
In the end
It is time that we put a halt to the degradation of environment caused by the agriculture sector. I feel that for this there is an urgent need to work towards practices and devise strategies such that the focus is on environmental preservation while at the same time on producing sufficient foodgrains to meet the demands of the rapidly growing population and profiting the farmers.
Also Read:- Latest news about Ramesh Chaurasia
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Author-Ramesh Chaurasia
A superior and highly experienced entrepreneur in the field of business for quite a long time now. Also, a philanthropist, author and public speaker who believes in working towards the overall well being and betterment of the society as a whole. | https://www.rameshchaurasia.com/post/moving-beyond-conventional-farming-to-protect-the-environment |
This program concentrates on assisting in gardening on this diverse land by utilizing: food forests, distinct gardens, orchards, and our main market garden. We aim to participate in the process of growing, maintaining, and harvesting crops, using sustainable practices, to provide nourishing food for our farm to table meals. This program is hopeful to make a positive impact by working on a director-facilitated project throughout the semester as well as work-trade scenarios and by engaging in local restoration projects on the Big Island.
Alongside the hands-on farming experience, classes and workshops will be taught to broaden the understanding of essential agricultural concepts that will be able to be enacted and monitored, then adjusted in accordance to the environment. Lesson topics include: permaculture, tropical horticulture, plant identification, herbalism, arboriculture, soil building, landscape design, Polynesian agriculture, plant physiology and pathology.
- Implement modern design with the mindfulness of ancient holistic growing methods.
- Producing valuable resources for, and utilizing the unique talents of, the community in a comprehensive dependency cycle.
- A large, enclosed structure will be the frame for an entire hydroponic greenhouse; and eventually switched to aquaponics, gathering our plant nutrients from an intern village koi pond.
- Collection, propagation, design, and transplant of ornamental species will be an essential part of the organic agriculture program's project list. | https://www.gooverseas.com/internships-abroad/united-states-america/program/254815 |
What types of farming operations are of interest to you?
- Hay/Forage
- Large Animal (eg cattle or sheep)
- Small Animal (eg pigs or poultry)
- Grain
- Dairy
- Vegetable
- Fruit/Orchard
- Other
What farming practices do you plan on using?
- Organic
- Not Applicable
- Other
Please elaborate on the type(s) of agricultural operation you plan on running:
Sepp Holzer/ Mark Shepard-style permaculture; traditional Indigenous agriculture/ dry-farming; diverse; biodynamic/ beyond organic/ quantum etc.; medicinal herbs and perennial systems; climate battery greenhouse/ aquaculture
More Info
What is your farming/ranching experience?
- 5 years or less farm management
- On-farm apprenticeship
- Other experience/license/agricultural training
Tell us more about your agricultural experiences:
- Bryan currently teaches high school sustainable/ ecological agriculture in New Mexico, which he studied at college in Olympia, WA. He owned and operated an independent "green" landscaping business in Spokane, WA and has written several business plans, for grass-fed beef, diversified vegetables, and value-added fruit and vegetable enterprises, with assistance from the Small Business Development Centers and Northwest Ag Business Center. Our family has practiced small-scale permaculture design and implementation for several years. We are currently most passionate about "restoration agriculture", more specifically medicinal herbs, livestock, and youth education. We envision ourselves in an active role in a small agricultural community, aiding food sovereignty and community sufficiency.
How many acres are you currently farming/ranching? 0
Please briefly describe what you grow or raise currently: We have not been on land for a couple years now. | https://idahofarmlink.org/seekers/krueger-family/ |
This course "is a comprehensive introduction to aquaponics" and includes "information on the design and construction of an aquaponics system." The course consists of 14 weekly modules.
NC
Interdisciplinary program in the Crop and Soil Sciences and the Horticultural Science departments offers three concentrations: Agroecology Research and Production; Community Food Systems; or Urban Horticulture.
Students in this program "gain an understanding of sustainable agricultural systems and obtain skills in analyzing ag systems from a multi-disciplinary and integreated approach." The minor is open to all students.
The Farm's "mission is to promote agroecology and sustainable food systems by providing a diversity of experiential learning opportunities for NC State and the broader community."
The on-campus, certified organic farm operates year-round and "serves as a 'living laboratory' where students can implement what they have learned in the classroom and enhance technical skills needed for successful farm operations.
"Land in the Organic Research Unit is available to all researchers at North Carolina State University and North Carolina A&T State University to conduct short-term research projects." "CEFS faculty, in their work to support sustainable agriculture and local food systems, conduct research and provide demonstrations of organic production practices at the Organic Research Unit, the Small Farm Unit, and the long-term Farming Systems Research Unit. One hundred and six acres of the 2,000-acre research station are currently certified organic." Offers a Sustainable Agriculture Research Apprenticeship Program and internships.
Students use the Teaching and Research Farm and Agroecology Laboratory to enhance their classroom lessons about agroecology, agroforestry, and sustainable farming practices. The farm is approximately 35 acres of pasture with 130 acres woodlot and woodlands. It includes a large greenhouse, late-nineteenth century barn, and a student residence where students work on the sustainable production of vegetables, fruit crops, poultry and livestock.
The Sustainable Agriculture Program awards an Associate in Applied Science and three certificates in sustainable agriculture. The program includes instruction by local farmers, research in sustainable agriculture, hands-on classes, and field trips to local farms and businesses.
The Sustainable Food Systems degree includes "work-study on the Guilford College Farm, internships, and study-abroad opportunities."
The Warren Wilson Farm is a 300-acre working farm with diversified "mixed crop and livestock" dedicated to sustainable farming practices.
North Carolina A&T State University's 492-acre University Farm hosts "research on sustainable agriculture and natural resources conservation, including swine waste research and soil conservation." | https://www.nal.usda.gov/afsic/edtr/state/nc |
The amazing biological & ethnical diversity of the mexican State of Oaxaca is threatened. We can contribute to regenerate the social and natural fabric in the Central Valleys through the example of El Pedregal education and demonstration center. From it, 100 community families around Oaxaca City can start regeneration and sustainable production projects. We search for social synergies to protect water sources and biodiversity, enhance peoples living conditions and take climate action measures.
The ecological and social importance of the watershed is widely recognized, but several processes affect its natural integrity and the livelihood of its inhabitants. Current government policies do not adequately address these problems. Inappropriate agricultural practices, particularly in the foothills that supply the city's water, combined with deforestation and rapid population growth, have led to fast water that takes away soils, affects microclimate and causes floods downstream.
In order to regenerate nature, we set examples of land use practices that transform fast water to slow: revegetation, soil conservation, stream restoration, permaculture,ecological forestry. In order to strengthen training and disemination activities, we established El Pedregal, Regeneration and Permaculture Center. Here we carry out several workshops on soil conservation, fuel-saving stoves, water storage, irrigation, organic farming, dry ecological toilettes, and house eco-building.
Securing water sources and promoting slow water practices mean new opportunities for small scale production and diversified income. It reduces migration and increases working force. In the level of small communities around the city, efforts will be focusing on improving the economy of small steep-slope producers. In this sector, we promote food self-sufficiency and productive diversification. At the same time we secure water sources, protect the environment and apply local community proposals.
This project has provided additional documentation in a PDF file (projdoc.pdf). | https://www.globalgiving.org/projects/eco-social-regeneration-oaxaca/ |
CHALLENGES IN DEVELOPING PESTICIDE-FREE AND ORGANIC VEGETABLE MARKETS AND FARMING SYSTEMS FOR SMALLHOLDER FARMERS IN NORTH THAILAND
The area of organically managed land in Thailand is estimated to be 14,000 hectares. The main driving force for organic conversion comes from local farmers and NGOs collectively creating a new social movement for the transformation from chemically-based farming practices to more sustainable and natural resource management. Despite many cases of success for pesticide-free and organic farming practices, the integrated development of production and marketing systems for smallholder farmers is less progressive. This paper presents development pathways for pesticide-free and organic vegetable farming in northern Thailand. This analysis is supported by case studies from the Multiple Cropping Centers experience with peri-urban farmers in Chiang Mai province. Recent Government policy on sustainable agriculture and organic agriculture favours the promotion and expansion of organic agriculture in Thailand. A more indirect incentive emanates from the Ministry of Public Health campaign on Health for All. This emphasises the adverse impact on health from the heavy use of agricultural chemicals and the consumption of lower pesticide foods. In northern Thailand, a number of key institutions promote pesticide-free and organic vegetable farming systems. The challenges in transforming chemically-based to pesticide-free vegetable production in the peri-urban areas have highlighted the value of integrative approaches through the participation of various stakeholders. | https://www.ishs.org/ishs-article/699_28 |
Chimanimani, Zimbabwe– In the wake of climate change characterized by erratic, poor rainfall and rising temperatures impacting on food security and livelihoods, concerned stakeholders in Zimbabwe are promoting agroecology to combat climate change.
Non-Government organizations, farmers organizations and farmers in Zimbabwe are intensifying initiatives to promote agroecology as the impacts of climate change become more menacing
One such organization in Zimbabwe which is at the forefront of promoting and capacitating farmers, institutions, individuals and organizations through training on agro-ecological farming practices in the Participatory Ecological land Use Management (PELUM), a network of Civil Society Organizations/ NGOs working with Small-scale farmers in Eastern, Central and Southern Africa.
Since its establishment in 1995 as a country chapter of the PELUM Association, PELUM Zimbabwe has been active in networking, capacity-building.
PELUM Zimbabwe’s mission is to upscale participatory ecological land use management practices for improved nutrition security, livelihoods and environmental sustainability.
PELUM Zimbabwe promotes participatory land use management practices that are ecologically aligned with the laws of nature, economically viable, and socially just.
The organization focuses on seed and nutrition with the goal of strengthening community based seed systems or farmer managed seed systems, land use management with a focus on the correct management of livestock to regenerate landscapes using livestock and indigenous knowledge and wisdom, agroecology marketing with the goal of transforming how marketing is viewed and supported by various stakeholders in Zimbabwe.
PELUM also collaborates with other like-minded organizations to promote its mission.
Recently PELUM held a two day agroecology stakeholder engagement workshop in collaboration with the Participatory Organic Research Extension and Training Trust (PORET) in Chimanimani on 16 and 17 November,2021.
The agroecology practices training workshop was attended by at least 40 participants from various organizations across the country.
PORET is a participatory project trust dedicated to improving the living conditions of the people of Manicaland, Zimbabwe.
Other participants who attended the training workshop were drawn from organizations like Towards Sustainable Use of Resources Organization (TSURO) Trust, Fambidzanai Permaculture Centre and the Agricultural Advisory Services (AGRITEX) in the ministry of Lands, Agriculture, Water, Climate and Rural Resettlement.
An official in the government’s climate change department confirmed that the department was working on initiating capacity building initiatives on agroecology for farmers across the country in collaboration with PELUM.
It is reliably understood that the government under the ministry of lands and agriculture is also working on developing an agroecology policy. national stakeholder outreach initiatives have been conducted throughout the country.
In June 2019 the Alliance for Food Sovereignty in Africa (AFSA) convened a three-day meeting in Senegal to strategise Africa’s Agroecology for Climate Action campaign. The meeting resulted in two levels for the Campaign being identified. The first is a continental level campaign whose goal is to have Agroecology recognized at African Union and United Nations Framework Convention on Climate Change (UNFCCC) policy spaces. The second is national level campaigns seeking to advance Agroecology as a vehicle for the implementation of National Adaptation Plans (NAPs). To enable this, three core outcomes were identified,such as the establishment of an active network advancing Agroecology in NAPs, ensuring public support and action for Agroecology and mobilizing sufficient resources.
In response to the resolution for national level campaigns, PELUM Zimbabwe hosted a one-day National Agroecology for Climate Action campaign stakeholder meeting in Zimbabwe. The meeting was held on 12 February 2020 in Harare. It was attended by 19 participants comprised of civil society and the media. The meeting was a first step in developing a national action plan for an Agroecology for Climate Action Campaign in Zimbabwe.
Stakeholders at the meeting noted that there are good ideas and initiatives being done to address the climate crisis but the initiatives are not connected or linked limiting their outreach. One strategy that was suggested is to start small and promote responsible practices at individual level. This is expected to build the foundation of a grassroots owned campaign.
Stakeholders indicated the need to raise awareness so as to tackle the knowledge gap as well as changing attitudes, beliefs and behaviours.
The need to work hand in hand with government was also stressed.it was highlighted that civil society should not disregard government structures but should feed into the processes that the government is already working on and create a loud voice in those processes.
At the recent meeting held at Chimanimani, TSURO Trust Programmes Officer, Roseline Mukonoweshuro, defined agroecology as a holistic productive agricultural system which is in harmony with nature and optimizes interactions between plants, animals, humans and the environment. She also said that agroecology encompasses sets of agricultural approaches and practices which are holistic and focusing on sustainability such as conservation agriculture, organic agriculture, agroforestry, permaculture, integrated farming and integrated pest management.
Mukonoweshuro also said that farmers should embrace agroecology because it addresses the root causes and problems associated with industrial agriculture, such as high external inputs, resources intensiveness, massive deforestation, water scarcities, biodiversity loss, soil depletion and high levels of green house gas emissions.
She said that despite conventional agriculture being practiced, hunger and extreme poverty continue to persist as critical global challenges.
At the meeting, participants who mostly included farmers benefitted from training on farmers managed seed systems, land and livestock management, agroforestry field trips including learning from water harvesting techniques which are being implemented by Participatory Organic research Extension and Training (PORET) in Manicaland province of Zimbabwe. | https://panafricanvisions.com/2021/11/zimbabwean-organizations-promote-agroecology-to-combat-climate-change/ |
Natalie is a future living coach who has developed a thriving permaculture based lifestyle property in Upper Hutt. In this video she gives us a tour of her property and discusses the process used to transform her property into a more enriched and productive landscape.
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Dr Ozan Nadir Alakavuklar and business principles
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An organisational scholar at Massey University, who draws arguments and theory from a wide range of critical social science traditions, which aim to challenge the dominant assumptions in the field of management and organisation.
In this interview we discuss the dynamics of developing principles within an organisation and how these processes can be used to move towards better solutions.
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Alastair Cole and Sustainable Farming
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Alastair Cole from New Zealand Landcare Trust has worked with local farmers for many years, on strategic ways to improve sustainable farming practices.
In this interview he discusses some of the challenges associated with adopting sustainable farming practices in New Zealand and what the future might look like.
New Zealand has many advantages in being an educated and innovative community of small scale and diverse agricultural producers.
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Murray and Melinda Jones - Biodynamic Farming
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Murray and Melinda Jones run a 150 acre organic farm on the banks of the Whanganui river using biodynamic principles.
Within this interview Melinda discusses the background of biodynamic farming, the use of preparations and creation of composts. Murray also demonstrates stirring preparations.
Through love and thoughtful action the couple have transformed their property into a thriving oasis of productivity.
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Organic Dairy at Lindsay Farm
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Lindsay Farm is a pioneering organic dairy farm in Hawkes Bay of New Zealand.
Within this video brother and sister managers of the farm share their insights into establishing pasture diversity and soil health through adopting est practices in grazing management and increasing sward diversity.
Their fertile farm and happy cows reveal the advantages of their approach.
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Mark Christensen - Heritage Food Crops
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Mark Christensen of Whanganui is a man on a mission to find heritage varieties of crops that have the highest medicinal potency for combating cancer and promoting optimal health.
His property on the outskirts of urban Whanganui features a diverse orchard, glasshouse and variety of trial plots where he strives to find new varieties of heritage crops that offer the highest medicinal value.
Within this interview he provides a tour of his property, discusses seed saving techniques, his research on medicinal foods and his insights into establishing crop diversity.
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Greenbridge on Permaculture Designs
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We Talk to Daniel Woolley and Kama Burwell of Greenbridge Design and Implementation in Taranaki, New Zealand.
They have worked hard at establishing a professional permaculture design business in New Zealand and discuss the challenges they have navigated, the intentions of permaculture design and rewards they have experienced.
Their is a wealth of information in this one of applying the principles of permaculture design to the New Zealand farmscape.
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Regenerative Farming at Family Farm
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Greg and Rachel Hart are dedicated practitioners of regenerative farming practices to restore ecosystem health of their Hawkes Bay Farm.
The Mangarara Family Farm vision has four parts:
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Nelson Lebo - Healthy homes and resilient farms
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Dr Lebo brings a wealth of experience in permaculture design to the Whanganui community and acts as an Eco Advisor within the wider Manawatu / Whanganui region.
His role as Eco Adviser is to provide free consultation on home design and retro-fitting to make a healthier living environment and on sustainable living and regenerative farm design.
He has also set up an Eco School that offers permaculture internships to learn on a real permaculture farm while obtaining a Permaculture Design Certificate. | https://www.agrifutures.co.nz/interviews.html |
The origins of regenerative agriculture are rooted in permaculture. At its core, this philosophy takes nature as a model to develop a system thinking approach; in other words, working with nature, not against it. David Holmgren, the co-originator of permaculture, describes it as a design system based on 12 key principles which in turn rest on three guiding ethics: Earth Care, People Care, and Fair Share
Permaculture draws on ideas steeped in small-scale farming and rural life. If we were to focus on agricultural applications exclusively, “the development of self-sufficient farming ecosystems” would be a good definition of permaculture.
It is a holistic philosophy that has evolved over decades, and various authors and influences have played a role in its development. The regenerative agriculture model grew out of this transformation with one primary objective: the revitalization and improvement of soil health.
Why is the health of our soils so important?
The Rodale Institute defines healthy soil as “that which allows plants to grow to their maximum productivity without disease or pests and without a need for off-farm supplements”.
One of the most important characteristics of healthy soil is the presence and co-existence of microorganisms that have an essential function in terms of plant health. For example, bacteria act as natural antibiotics to keep pests at bay, while fungi help retain water and nutrients. Along with other external factors, this microbiota is essential to the decomposition of natural waste in the soil and the production of what we call organic matter, also known as humus.
Organic matter plays a decisive role in the soil, because it stimulates the development of a balanced ecological system, that is to say, the growth of vegetation and plants such as the grapevine.
Healthy soils with a suitable amount of organic matter offer a wide range of benefits: they prevent erosion, hold more water, maintain biodiversity – which is crucial to combating diseases and pests – and improve the mineral and nutrient content that feeds the plants.
The grapevine is a plant organism that can adapt to a wide variety of soil types. As is true for every plant, the soil is its home and food source. The type and quality of the soil underpin the traditional reasoning behind the famous vinicultural concept of TERROIR. In their book Authentic Wine: Toward Natural and Sustainable Winemaking, Jamie Goode and Sam Harrop provide clear examples of how terroir influences the final flavour of the wine.
According to the OIV, there are around 18.2 million acres under vine worldwide, which means we have to ask ourselves: how can we improve and ensure the quality of the soils where our vineyards grow in the long term? The answer is clear: we must follow a path that integrates the concept of regeneration. The aim of regenerative viticulture is not merely to maintain the status quo but to rehabilitate and therefore build resilience over time.
By implementing winegrowing practices aimed at restoring soil health, we can increase organic matter while at the same time the soils sequester carbon below and above the ground. This is known as “carbon farming”. Plants use solar energy to fuel their growth cycle and in the process they capture carbon and store it in the soil for decades, centuries even. This makes our soils one of the most significant carbon sinks on Earth: healthier soils literally translate into a healthier planet.
In his book Growing a Revolution, David R. Montgomery writes that even the most modest estimates point to the substantial potential for soils to capture enough carbon to make a real difference. Consequently, regenerative practices provide a real solution to our environmental problems.
This places winegrowers in a key position in terms of mitigating accelerated climate change. So, where do we start? Both organic and biodynamic viticulture are important starting points for the introduction of regenerative agriculture.
These practices share crucial components such as cover crops, composting, improving biodiversity, and conserving and improving organic matter. They strive to protect the soil from erosion while retaining water, nutrients, plant material, and the microbiota, which in turn keeps carbon in the ground.
Non-profit organizations across Europe such as The Regenerative Viticulture Foundation are building a community of professionals from the wine and grape sector to demonstrate the benefits of regenerative viticulture and create awareness within the industry.
The Rodale Institute has been working along these lines since 1947, conducting research into the cultivation of healthy, living soils to promote the use of regenerative agriculture as a better, natural, and more responsible form of modern farming.
Given its holistic approach, regenerative viticulture also opens up a wide array of possibilities for economic and social improvements within the sector. For example, it can generate local employment opportunities and wealth, as well as reduce the variable costs arising from drastic climatic changes which currently affect wine regions around the world.
We are beginning to recognize the impact of conventional winegrowing and its heavy consumption of natural resources. The moment has come to accept that if we continue down this path, we will soon reach a point at which we will have depleted the earth’s capacity and with it the potential of our vineyards to keep producing great wines.
Marta Juega, Ph.D. | https://sustainablewineforeveryone.com/are-you-familiar-with-the-concept-of-regenerative-agriculture/ |
What types of farming operations are of interest to you?
- Hay/Forage
- Large Animal (eg cattle or sheep)
- Small Animal (eg pigs or poultry)
- Vegetable
- Fruit/Orchard
- Other
What farming practices do you plan on using?
- Organic
- Other
Please elaborate on the type(s) of agricultural operation you plan on running:
I am seeking the opportunity for myself and my family (spouse, 4 children, 1 dog-Border Collie) to work on or build up a forest farm using permaculture and restoration agriculture techniques. My goal would be to help the landowner establish a sustainable ecosystem on their land using perennials, fruit and nut trees, as well as animals in a Silviopasture system.
More Info
What is your farming/ranching experience?
- On-farm apprenticeship
Tell us more about your agricultural experiences:
- Spent March 2022- October 2022 helping manage a small 2 acre farm in Tooele, Utah. Managed chickens, Guinea fowl, ducks and horses.
How many acres are you currently farming/ranching?
Please briefly describe what you grow or raise currently: | https://idahofarmlink.org/seekers/audra/ |
SANTA CRUZ DE TENERIFE, Sep 30 (EUROPA PRESS) –
The Ministry of Agriculture, Livestock and Fisheries of the Government of the Canary Islands, through the Canarian Institute of Agrifood Quality (ICCA), has announced the subsidies provided for in the Rural Development Program (PDR) aimed at maintaining organic farming practices and methods for the 2021 campaign, which includes funds of 53,400 euros corresponding to the part 15% co-financed by the State and the Autonomous Community.
The main objective of these grants is to promote the maintenance of the application of organic farming methods, including livestock, ensuring long-term sustainable agriculture and the protection of natural resources. The deadline for submitting applications to benefit from these grants ends on October 20.
As a novelty for this year, a new call for aid is opened for petitioners who assume the commitments for a period of two years (2021-2022), which will allow the incorporation of a greater number of beneficiaries. In this sense, the amounts of aid per area are increased, applying new modulation or correction factors for area intervals.
This measure includes the aid destined, on the one hand, to the maintenance of organic farming per hectare in organic production for dry and irrigated herbaceous crops, rainfed fruit trees, pip fruit trees, stone fruit trees, citrus fruits, bananas, vegetables al open air, Horticultural crops under greenhouse, vineyard, and tomato, and on the other hand, to the maintenance of ecological agriculture per hectare in the production of forages and grains for animal feed. Finally, it contributes to the maintenance of organic livestock per head of livestock referred to the hectare of grazing that makes up the farm.
The director of the ICCA, Basilio Pérez, pointed out that this call “contributes to establishing and maintaining a sustainable management system for agriculture”, and pointed out that these subsidies “promote agricultural practices such as the non-use of phytosanitary products and synthetic fertilizers, crop rotation, the use of organic fertilizers, and the adequate livestock load, which promote, among other positive actions, the improvement of the soil and water quality; the mitigation and adaptation to climate change; the recovery and increasing the biological activity of the soil, or preventing erosion and improving the biodiversity of the environment “. | https://tenerifeweekly.com/2021/09/30/the-canarian-government-allocates-53400-euros-in-aid-to-organic-production-in-agriculture-and-livestock/ |
Of course, it is not an easy job ranking five of the best classical musicians of all time given that there were so many great classical composers to choose from. This list is not exhaustive as there are other noteworthy composers that couldn’t be included in this list. With that in mind, here are our greatest classical musicians of all time.
Johann Sebastian Bach
Bach’s mechanical, emotional, and intellectual works during the Baroque period shaped the music world after him. He perfected and advanced the established styles of music through his expertise in counterpoint, motivic organization, and harmonies. His adaption of rhythms, polyphony, and textures are just wonderful. His works comprise the Goldberg Variations, the Brandenburg Concertos, two Passions, the Mass in B minor, and over three hundred choral works, compositions for organ, and several other compositions for various instruments.
Ludwig van Beethoven
Beethoven is one of the best composers of all time. He played a crucial role in the transitioning from the Classical period to Romanticism in music with his works far ahead of composers of the Romantic era. Of all composers in history, he is among the most popular and influential. His greatest works include his 9 symphonies, over 30 piano sonatas, a violin concerto, awesome chamber music, 5 piano concertos, beautiful songs, choral works, and string quartets. His 9th Symphony, 5th Concerto for Piano, Concerto for Violin, Late Quartets, and Missa Solemnis were some of the best works of their kind in history.
Wolfgang Amadeus Mozart
Mozart was a musical genius whose compositions defined classical perfection and demonstrated a fine balance of orchestra and solo musical instrument. Composing music from a tender age of five, his works were directly written in full orchestra scores with perfect accuracy. He composed well-structured, soft, and light music like the Serenade in G Major. He wrote several pieces including symphonies, chamber music, sonatas, operas, divertimenti, piano concerti, horn concerti, string quartets, masses, pieces for organ, and much more.
Frédéric Chopin
Famous for his great piano compositions, Chopin was amongst the top composers of the Romanticism period producing some of the most brilliantly beautiful piano pieces. His piano works were innovative in form and harmonics. His piano works were the most innovative and include ballads, sonatas, etudes, mazurkas, nocturnes, waltzes, impromptus, and preludes. Amongst his best works are his first Ballad in g minor and the 9th Nocturne.
Pyotr Ilyich Tchaikovsky
Tchaikovsky was one of the best classical musicians of all time. He wrote great symphonies, operas, piano and violin concertos, chamber music, ballets, and choral compositions with the Russian touch. Some of his most popular works include “The Queen of Spades”, “Sleeping Beauty”, “Eugene Onegin”, and “Nutcracker”.
Franz Schubert
His mastery of the forms of his time and melodic lyrical compositions made him the greatest songwriter of all time. Schubert loved writing songs to the extent that he wrote them almost everywhere he found a paper and ended up composing over 600 songs. His beautiful “Hark, Hark, the lark”, was written while he was in a beer hall on the other side of his receipt. He also wrote symphonies, masses, ballets, operas, sonatas, string, and quartets. | http://pulsechambermusic.com/the-best-classical-musicians-of-all-time/ |
by Anna Tran
Mourning Dove Sonnet is a musical work for solo vibraphone composed by Christopher Deane in 1983. Traditionally, the vibraphone is played with a single person holding two to four mallets. This piece however utilizes non-traditional extended percussion techniques to take advantage of the wide range of tones and timbres the vibraphone has to offer. Mourning Dove Sonnet is one of many experimental pieces in percussion literature that contributes to the constant evolution of the percussion artform. It is necessary for composers to continue pushing boundaries in the world of music. In this way, expression has new opportunities to be displayed and ideas are brought into reality.
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About the Author
Anna Tran is currently a junior at Millersville University majoring in Music Business Technology with a computer science minor. Her project was inspired by unconventional percussion compositions that were not commonly performed. The piece Mourning Dove Sonnet was very contrasting to traditional solo percussion compositions and this was one of the key factors that attracted her to it. Her goal in learning the piece was to experience the process of learning non-traditional techniques and to learn the purposes for adding sound color to a solo instrument. With the completion of learning the whole piece, Anna had a greater understanding of how and why composers write for extended techniques. Through this process Anna continues to seek out new innovative ways to create and utilize sound. In the future, she hopes to use music and sound as a vehicle for purposeful innovation. More specifically she aspires to gain experience in the fields of sound design, music composition, and public art installations. | https://mimcpj.com/2017/04/14/mourning-dove-sonnet-a-case-in-extended-vibraphone-techniques/ |
PNEUMA (πνεῦμα) is an ancient Greek word for “breath”, “spirit” or “soul”. This new quartet features four improvisers / composers: vocalist Ayelet Rose Gottlieb and clarinetists James Falzone, Francois Houle and Michael Winograd. Pneuma’s sound is kaleidoscopic – many worlds entangled – with extended techniques and layered effects blending with soulfulness and an exposed vulnerability. Jewish-music intertwines with contemporary classical compositions and free-jazz improvisations. Pneuma’s instrumentation is unusual and full of breath, allowing every band member to reimagine their role and find their ground in new and innovative ways.
Pneuma’s sound is kaleidoscopic – many worlds entangled – with extended techniques and layered effects blending with soulfulness and an exposed vulnerability. Jewish-music intertwines with contemporary classical compositions and free-jazz improvisations. Pneuma’s instrumentation is unusual and full of breath, allowing every band member to reimagine their role and find their ground in new and innovative ways.
The quartet zooms in-and-out, shifting perspectives from the very personal to the global, from intimacy to a loud roar. The poetry (sung in English) comes from many corners of the world including Christina Rossetti (UK), Warsan Shire (Somalia / UK), Forugh Farrokhzad (Iran), James Joyce (Ireland), Mayumi Terada (Japan), and Ono no Komachi (9th century Japan). These texts coincide with wordless pieces such as Gottlieb’s “Neither You Nor I” and “Lament”, inspired by Klezmer and Sephardi music.
Pneuma made their premiere at the 2017 Vancouver International Jazz Festival and their debut album, “Who Has Seen The Wind?” is anticipated for release in May 2019 on Songlines Records.
Jerusalem-born vocalist/composer AYELET ROSE GOTTLIEB creates from within the details of every-day life, shedding a musical spotlight on the golden moments hidden in the cracks of the mundane. Currently based in Montréal, Canada, Ayelet performs globally in various collaborations, including “I Carry Your Heart” with saxophonist Erik Lawrence in tribute to his father and Ayelet’s mentor, Arnie Lawrence; in duo with ECM recording artist Anat Fort, following their 2017 release, “Two More Dreams”; with Mycale a-cappella quartet- a John Zorn a-cappella quartet, commissioned by him to arrange, perform and record two albums for his legendary “Masada Book II” series. As a composer, arranger, and producer, Ayelet collaborated with conductor DB Boyko, ETHEL string quartet, installation artist Michelle Jaffe and more. A New England Conservatory graduate, Ayelet identifies as a “third stream” musician. Her distinct sound builds on her Middle-Eastern and European lineage. Improvisation and poetry are at the core of Ayelet’s work, which is deeply rooted in the jazz and blues traditions, expanding into the avant-garde. She has released seven albums under her own name on labels such as Tzadik and 482music.
Clarinetist MICHAEL WINOGRAD is one of the most respected and versatile working musicians in klezmer music today. Based in Brooklyn, New York, Michael spends much of his time in transit, performing and teaching throughout the world. He is one-third of the transatlantic klezmer/cabaret collective Yiddish Art Trio, clarinetist of Tarras Band, a classic 1950’s Jewish American tribute group, and the co-founder and director of the ground breaking, borderless world fusion band Sandaraa. He has played alongside Itzhak Perlman, The Klezmer Conservatory Band, Socalled, Budowitz, Alicia Svigals and more. Michael received the prestigious Map Fund Fellowship for his work in Sandaraa and was awarded a commission from Chamber Music America in 2014 to compose “The Pomegranate of Sistan,” a collection of musical settings of contemporary Urdu Poetry. With a degree from the New England Conservatory of Music, Michael is an avid arranger and record producer. In 2015 Michael arranged a program for Symphony Nova Scotia and has produced records for Adrienne Cooper, Susan Leviton, Miryem Khaye-Siegel, Jeff Warshauer & Deborah Strauss, Josh Waletzky and others. | http://ayeletrose.com/site/1012 |
This is a story about an often overlooked part of the late 18th century composers' circle, whose work had a profound influence on the evolution of classical music. The keyboard music of eighteenth-century female composers is not generally known. But their exciting and challenging works played an important role in shaping the musical landscape of the time. At the end of the 18th century, the rise of the piano, with its solo role in concertos and sonatas, was accompanied by the rise of female pianist-composers. Some of the best performing musicians were women. The heart of musical life was the salon, where the brilliant minds of the time, including philosophers, musicians and artists, gathered. Women have often been the performing musicians in the salon and in this way they have had a great impact on music, literary and art circles. Music by Mozart's student and co-performer Josephine Barbara Aurnhammer, blind composer and piano virtuoso Maria Theresia von Paradis, Margarethe Danzi and Marianna Auenbrugger.
On the road to Mozart
In this program we travel to the time when Mozart lived to discover which composers have shaped and influenced his musical style.
Although Mozart's music is an expression of his genius, his music is by no means an isolated phenomenon, bu closely linked to the ideas and currents of his time.
He lived in a stormy and changeable time, where the ideas of the Enlightenment were the dominant and the so called 'Empfindsamkeit' emerged as a countercurrent. Over time, the 'Emfindsamkeit' turned into the 'Sturm und Drang' flow. These combative characteristics are therefore reflected in Mozart's music. | https://www.lienemadern.nl/programs |
Boston Conservatory at Berklee's contemporary classical music performance program is designed to expand and develop students' capacities to work independently and collaboratively in the area of contemporary classical music (post-1950). Incorporating influences from early 20th-century classics to electronic music, as well as jazz, pop culture, experimental, and mixed media arts, students will gain the skills and insight needed to achieve a life in music, as performers, composers, teachers, directors, or entrepreneurs.
Each year, the Conservatory presents more than 700 performances by students, faculty, and guest artists, 260 of which are new works. Students in the contemporary classical music performance program alone premiere more than 150 new works, which include commissioned pieces by established composers, as well as new compositions by the Conservatory's talented student composers. In addition to performing in the school's various small and large ensembles, contemporary classical music students participate in the Boston Conservatory Contemporary Ensemble, a group that performs six concerts throughout the year devoted entirely to contemporary music in the classical style.
The Conservatory's prime location in the culturally diverse city of Boston provides students with an abundance of opportunities to gain real-world experience with some of the nation's leading organizations. This positions students to work alongside and learn from groundbreaking artists who are creators and champions of new music and contemporary classical performance.
Download program requirements for voice
Our Students
Students who flourish in the Conservatory's contemporary classical performance program appreciate classical music, but are energized by new works. They are passionate about using their classical training to explore new performance spaces and techniques, and are fearless in their pursuit of new music and new forms of expression. They are collaborative by nature and thrive in an ensemble setting.
Core Curriculum
Throughout the two-year program, students participate in the Conservatory's Contemporary Ensemble and take advanced courses in improvisation, aural skills, communicating about music, and contemporary compositional techniques. Additionally, students will receive weekly private lessons in their chosen instrument from renowned faculty members. Students are encouraged to audition for and participate in any additional Conservatory ensembles that may enhance their studies in contemporary performance.
Your Future
With the skills gained in this program, graduates will be prepared to lead a life in the musical community as performers, composers, teachers, directors, or entrepreneurs. | https://bostonconservatory.berklee.edu/contemporary-music/mm-contemporary-classical-music-performance |
A Brief History of Classical Music
At present, many people regard classical music as medicine either for a tensed mind or for a depressing soul. Even a prolific composer Johann Sebastian Back said, “Music is an agreeable harmony for the honor of God and the permissible delights of the soul. ”However, from a technical point of view, classical music refers to musical compositions from a clearly stated period of history.
That is the main reason why students face certain difficulties while writing a classical music essay. Since this particular topic has a strong link to history, completing such a challenging college assignment requires thorough research and significant efforts to be taken. However, if the individuals know the boundaries of classical music, they can find music they like without taking any efforts.
Evolution of classical musicOrder now
Music in the Middle Ages (400-1400 A. D.
)In the Middle Ages, music had mainly religious nature. Being chant-like, classical music of this particular period is considered to be monophonic. It is common knowledge that monophonic music does not imply an accompaniment, it consists solely of a melody. Meditative and relaxing Gregorian Chants are considered to be the most famous illustration of classical music in the Middle Ages. Music in the Renaissance Period (1400-1600 A. D)During this time, polyphony became more popular since music was written for a variety of different stringed, percussion, keyboard, and woodwind instruments.
The most common stringed musical instruments include the rebec, the viol, the hurdy-gurdy, the guitar, the harp-like lyre, the cittern, the bandora, the lute, and the orpharion. While numerous percussion instruments including the tambourine, the Jew’s harp, the bells, the triangle, and different kinds of drums, the keyboard musical tools involved harpsichord and virginals. Finally, a list of woodwind instruments included the reed pipe, the bagpipe, the double reed showed, the transverse fleet, the dulcian, the recorder, and the crumhorn. In general, during the period of Renaissance, music was written for accompaniment to entertain the representatives of nobility at the ballroom dances.
Baroque Music (Sometimes Rococo) (1600-1750 A. D)During a given historical period, music had a specific aristocratic context being considered important in courts and palaces. In the 1600s, the concepts of the sonata, concerto, and symphony emerged. One of the brightest examples of Baroque’s concerto is considered to be Antonio Vivaldi’s ‘Four Seasons. ’The Classical PeriodDuring this period, the position of classical music in the current society changed dramatically. First of all, the general population began to pay for attending the concerts of classical music.
Hence, since the composers did not have to entertain the nobility anymore, they had a chance to write their unique compositions in a way they wanted. A balance was the cornerstone of Classical music composition. As a result, the gaudy and overly ornate style was left in the Baroque age. Such dramatic changed could be noticed when we pay attention to the titles of the classical music pieces.
The composers did not use various flowery titles like, for instance, ‘The Four Seasons. ’ In turn, the compositions appeared during that period were titled as “Piano Concerto No. 3. ”, “Piano Concerto No. 9.
“, and the others. The Romantic PeriodThe Romantic Period in the history of Classical music can be characterized by complex rhythms, rich textures, use of syncopation, full chords, and chromatic harmony. What is more, during this time, the piano gained great importance. As the researchers say, “it was the subject of much of the compositions of this period, including nocturnes, impromptus and, etudes. ”21st Century-classical period of musicClassical music of the 21st century is nothing but a genuine masterpiece since it does not have any limitations.
The only limitation was the composers’ own imagination. The harmony of classical music of a given historical period can be characterized by “increased dissonance and use of chromatic, pentatonic and modal scales. ” The important thing to be mentioned is the fact that classical music of the 21st century tends to be polyrhythmic, unpredictable and atonable. What is more, the examples of classical music compositions tend to have a vague melody as well as a strong sense of dissonance. Quotes“I loved ‘Fantasia’ as a kid because it filled me with wonder, enchantment, and awe. | https://artscolumbia.org/classical-music-essay-30232/ |
is Europe's most recorded flute player who can be heard on countless movie and TV soundtracks, alongside albums for a long list of international artists. His own releases include groundbreaking and innovative premieres, including his own arrangements of work by composers such as Michael Nyman. Andy is the longest serving member of The Michael Nyman Band, playing baritone saxophone and flutes on Michael's soundtracks and concert tours since the early 1980's.
Other formative influences were gained working for well known British Dance Band leaders Joe Loss, Nat Temple, Eric Delaney and Sidney Lipton whilst and shortly after studying at the Royal College of Music, following membership (as principal flute) of The National Youth Orchestra. He was also a founder member of the Myrha Saxophone Quartet with John Harle in the late seventies. Thus, although training originally as a classical flautist, these experiences led his career to diversify, covering almost every musical genre, duetting with Pat Metheny, playing with artists such as Stevie Wonder, Joni Mitchell, Tony Bennett, Cilla Black, The Beach Boys and Katherine Jenkins to name but 5 widely contrasting performers. Andy also appears regularly performing works by Karl Jenkins and other successful composers, such as Hans Zimmer, performing the solo Duduk in live performances of his Gladiator movie score. In 1998 Andy performed tin whistle live in the interval act at the Eurovision Song Contest in Birmingham and was Mike Oldfield's recorder player (in Dulci Jubilo) at the 2012 Olympics Opening Ceremony.
Among many appearances in London's West End theatre, he has worked on shows and projects for Sir Andrew Lloyd Webber, notably featuring on The Beautiful Game, Bombay Dreams (by Indian composer A.R Rahman) and recording Sir Andrew's "Variations" theme tune for The South Bank Show alongside his brother, Julian. Andy played on the movie soundtracks of musicals, including Phantom Of The Opera, Sweeney Todd, Cats, Evita and Mama Mia. He appeared on the 25th anniversary DVD performances of Sir Cameron Mackintosh's Les Miserables and the 2009 DVD of Chess at The Royal Albert Hall.
He is in the iconic, award winning (BBC Radio 2 Best Live Act 2012) "folk-rock" band The Home Service, the legendary "medieval prog-rock" band Gryphon and plays regularly with the major London Symphony orchestras as well as chamber orchestras and groups across the capitol. He is a close collaborator with pianist/composer Geoff Eales and is pioneering Geoff's significant flute repertoire with the album "The Dancing Flute".
Andy is also known as London's foremost "ethnic" instrumentalist, performing on a kaleidoscopic array of unusual woodwind instruments, alongside the more common instruments of the flute, saxophone and clarinet families. He has contributed extensively to the “Spitfire” sample library with work on both orchestral and ethnic instruments, including the release of the “Andy's Kitbag” series. As a composer, he has produced and performed hundreds of music "library" tracks which are played across the media regularly. Andy is a "Pearl Flutes International Artist" and the proud owner of the platinum flute built for Geoffrey Gilbert in 1950 by Charles Morley. | https://streaming.highresaudio.com/en/artist/view/10ddb2d4-edca-45b1-8acf-b45b59e2486f/andy-findon |
It is clear that Haydn had a strong influence on the composition of these works. In fact, Mozart once claimed: "I have learned from Haydn how to write quartets" (Berger, 286). Nonetheless, Mozart's unique personality and technical mastery are also apparent in these works. This paper will discuss the ways in which Mozart's "Haydn Quartets" are similar to the string quartets of Haydn. Haydn and Mozart represent the classical style in music, which was popular during the late eighteenth century.
Ottorino Respighi (1879-1936) is a well-known Italian composer, pianist, conductor, and music educator. His music was influenced by the brighter colors of Rimsky‐Korsakov and Strauss, and his symphonic poems are notable for their brilliant and luscious scoring. During his study in Russia, he learned orchestration from Rimsky-Korsakov, who significantly influenced Respighi’s orchestration. As a twentieth-century composer, Respighi’s tonal compositions seem to be out of fashion compared with other composers in the same stage, such as Schoenberg, Stravinsky, Bartok, Webern, etc. He was seldom attracted by the more self-consciously innovative musical trends of the time; however, he energized the traditional tonal music to develop to the various ways.
Towanda Hamilton Ludwig Van Beethoven July 13, 2015 Ludwig Van Beethoven Ludwig Van Beethoven was one of the greatest musical prodigy’s of Western music who has played a major part in influencing music we listen to today. His music has been played all over the world. Beethoven’s reputation as a composer and pianist is world known buy the numerous orchestral music pieces he composed over the span of his lifetime. Some would argue Beethoven is the greatest composer who ever lived because he was able to convey the beauty of music while personally struggling with imminent deafness. Although
And as we know, since Beethoven did not become deaf immediately, therefore he had time to revise and reassess about the direction and purpose of his remaining length of career and life. And from the large number of compositions that were written after Beethoven started going deaf, we can certainly believe that he had much more music ideas and concepts that he wanted to show people, and that had ultimately set him in one of the highest positions in the Classical music era as well as one of the most influential composers to the Romantic period musicians. In the classical period, Europe was experiencing many changes in architecture, literature and arts due to the movement impact of classical antiquity. And we can also see this in Beethoven’s early artworks, where he demonstrated the typical charac... ... middle of paper ... ...iting compositions that interests the public. Works Cited First Edition.
Introduction Over time, the world has seen many outstanding musicians, and so much fantastic music. Each highly remembered composer or musician changed the way we think and see the world. They give us new ideas, and music is a wonderful way to convey moods and emotions. Each also slightly changed music itself. Handel was one of the greatest of these people.
As he aged, Bach primarily played the organ, developing a strong love for the instrument. Although he also be... ... middle of paper ... ...usic through the myriad of instruments they included in their orchestras. Obviously, the Baroque period propelled music to success and popularity it had never reached before. Works Cited • "Baroque-Music.com." Baroque-Music.com.
He was the inventor of the string quartets and the father of symphony, two important genres of the Classical period. He created the sonata form which has been echoed by other great composers including Mozart and Beethoven. His wide variety of music from happy dancing to somber funeral music was greatly appreciated by the public and the nobles earning him a honorary degree from Oxford as Doctor of Music. Unlike Mozart or Beethoven, when Haydn died he was not forgotten. Two weeks after his death, “the whole art-loving world of Vienna';, went to a great memorial service at the city center in honor of the greatest composer of the Classical period.
own. (Wegeler and Ries, 127) Others looked at different parts of Beethoven’s contribution. Beethoven stands between the Classical and Romantic periods which is suiting considering that he combined so many elements of music theory in order to achieve a level of production that is unique and innovative. He is said to be a “man who freed music'; from the shackles of 18th century formal conventionality. He was seen and can still be seen as the man who effected a revolution in music every bit as fundamental as the French Revolution in politics.
Although Claude Debussy was an amazing orchestral composer, his works seemed to agree most with the piano. Today, one of the most known pieces of piano repertoire is the piano suite, Claire de Lune. Many composers started to become inspired by Debussy and thus The Impressionist Era was born. In the later years to come Debussy would have never guessed his music would be so powerful and destructive. In 1876 unrest soon came to France, and ironically held in the middle was Impressionism.
For instance the most famous artist from the Baroque era is Johann Sebastian Bach born in 1685 from Germany. He is a mastered organ and harpsichord player. He was also a brilliant composer. He was one of the first artists to culminate the era, writing music for many types of musical forms. Some of his popular works are “Air on a G String, Double Violin Concerto” (Green). | https://www.123helpme.com/essay/An-Essential-Era-of-Music-344159 |
Some Binghamton University music students will have the opportunity of a lifetime this Thursday: to have their original compositions performed by professionals.
The BU music department will be hosting the world-renowned Contemporaneous ensemble on Thursday, Jan. 24 in the Casadesus Recital Hall. Contemporaneous, a 21-person ensemble led by co-artistic directors Dylan Mattingly and David Bloom, who is also the conductor, will be performing new works by Iranian composer Anahita Abbasi and American composer Philip Glass, as well as original compositions by BU undergraduate and graduate students.
Contemporaneous has gained quite a bit of attention in the world of orchestral music. The New York Times published a feature on Contemporaneous in 2016, and the ensemble has performed at a wide range of venues including Lincoln Center, Park Avenue Armory, and (Le) Poisson Rouge. Their debut album “Stream of Stars – Music of Dylan Mattingly,” has been played on the radio internationally, including on WNYC’s “New Sounds” and WRTI’s “Now is the Time.”
Bloom and his peers founded the group during their time at Bard College. The ensemble was created with the goal of promoting and performing the most exciting music of the present moment.
With a passionate emphasis on educating other musicians, Contemporaneous travels to colleges and universities to practice and perform the original compositions of students studying in the music departments there, bringing to life the music of now.
“The music that students here at BU are creating is so vital to the present moment and that is the music that excites us the most,” Bloom said. “It’s why we do what we do.”
Fourteen BU students were selected to send original compositions to Bloom and his ensemble. After rehearsing the selected compositions, Contemporaneous musicians traveled to Binghamton to work alongside the students in order to achieve the vision that those students had in mind for each of their works.
“They are reacting to how we are performing their music and saying ’Oh okay, this is different than I expected, can we try it this way or that way?’” Bloom said. “It’s become a very close musical relationship.”
For Bloom, working with BU students is reminiscent of his college days as a music student at Bard. He said he is constantly inspired by their determination and novel approach to composing music.
“Contemporaneous started performing when we were the age of some of the composers that we are working with at [BU],” Bloom said. “The connections we made then and the musical partnerships we forged eight years ago are the most important ones to the ensemble in all of our respective musical lives.”
When Bloom is not conducting the ensemble, he works with well-known classical composers including Donnacha Dennehy, Lucy Dhegrae and Michael Gordon, and frequently works with artists outside of the classical world like David Byrne, Kimbra and Courtney Love.
Though the ensemble frequently travels to different locations, Bloom said that their music will continue to be innovative and unifying — regardless of where they are performing.
“The place we’re in and the music we’re making at each present moment is the most important music that we’ve ever played,” Bloom said. “We bring our all to everything that we do.”
The Contemporaneous ensemble will be performing at 7:30 p.m. on Thursday, Jan. 25 in Casadesus Recital Hall. | https://www.bupipedream.com/ac/90609/finding-contemporary-sounds-in-classical-music/ |
more diverse representation in South Florida in classical music arts. In 2021, Portia Dunkley co-founded,
with Angel Refuse’, The New Canon Chamber Collective Inc. (an affiliate of UpBeat Miami), a non-profit, South Florida-based chamber ensemble, to further this mission.
The New Canon Chamber collective is committed to social justice by creating an artistic platform that
truly prioritizes building community through the classical music arts and genuinely reflects the rich cultural landscape of South Florida
About the Founder
Born to immigrant parents, Portia Dunkley is a native of Miami, FL with Bahamian and Haitian Caribbean roots. Early on in life, she was introduced to the double bass and continued her studies graduating from The New World School of The Arts in Miami, FL and attended Florida State University where she received both a bachelor’s degree in performance and a Master Degree in Arts Administration. She currently resides in South Florida where she continues the joy of creating music with her husband, jazz trombonist, Waldron Dunkley and daughter Auriel, who also plays double bass. In 2017, Portia started Teeny Violini, a mobile music education program for preschools and afterschool programs, providing music education services for historically underserved communities, reaching over 600 students from preschool-5th grade through weekly programming. In 2019 Portia was chosen as a Fellow for the SphinxL.EA.D (Leaders in Excellence, arts and Diversity) inaugural cohort. In that same year she was recognized by the Knight Foundation with an Arts Challenge Grant for her project, Music of the Unsung America, a multi event lecture-concert series that highlights music compositions by Black composers in the shadows of history. This project creates opportunities for Black and Latinx professional classical musicians in South Florida to perform works by Black and other minority composers left out of the “traditional” canon of music. Most recently she was a recipient of the American Composers’ Forum, ACF Connect Fellowship and grant. Currently she serves as the new Executive Director of the Refugee Orchestra Project whose mission is to demonstrate through music, the vitally important role that refugees from across the globe have played in our country’s culture and society. Inspired by her own experience as a Black woman musician and double bassist and having learned about these Black composers late in her career, Portia hopes that her work with Unsung America and The Refugee Orchestra Project will help build communities of belonging, amplify the voices and creative talents of marginalized artists and inspire young people of all cultures to see themselves reflected in classical music. | https://www.americaunsung.org/about/ |
Origin and History of Music
There are many theories regarding when and where music originated. Many agree that music began even before man existed. Historiographers point out that there are six periods of music and each period has a particular style of music that greatly contributed to what music is today. Here are some resources for you to better understand the history of music. Links are arranged chronologically and is a great primer to learn more about every stage of music development.
The Medieval Era
(800 – 1400 C.E.)
The Medieval Era is the longest and most remote period of musical history. It is important to note that this musical era consists of almost a thousand years worth of music. For most of the middle ages, the Church was the focal point of social life, learning, and the arts. Saint Gregory, who was pope from 590 – 640 C.E., is said to have organized a huge repetoire of chants that developed during the first centuries of the Christian church. Thus the term of “Gregorian Chant” came about.
Early Medieval music notation did not look like the notation that is used in present day music. The earliest signs of a notational system notational system for music used neumes. For a long time, musical notation consisted of the pitch or note that was to be sung. Other musical notation, such as rhythm didn’t begin until the 12th or 13th centuries.
Gregorian Chant is monophonic , having one melodic line without an accompaniment. It is said to be very serene, with pure shapes of melody. It is not known who wrote the melodies of the Gregorian Chant. Similar to folk melodies, it probably changed over time as it was passed down through generations.
Toward the latter part of the Middle Ages, music consisted of two or more melodic lines that were heard simultaneously, called polyphony . This appeared around the 1200s. Polyphony was more difficult to compose than the monophonic chant, because a composer had to combine multiple melodic lines in a way that would be pleasing to the listener. Most of the Medieval polyphonic music was anonymous, as the names of composers were never written down. However, there are a few exceptions, as some composers had works so important that their names were preserved along with their music.
Although little of it has been preserved, secular song was important to the medieval era.. Secular song was monophonic and stylistically more diversified than plain song. It was stronger, and utilized regular rhythms, and had short rhythmic patterns. It was generally modal but favored major (Ionian) and minor (Aeolian) modes.
The Renaissance Period
(1400 – 1600 C.E.)
The Renaissance era encompasses Western music history from 1400 to the begining of the 1600’s. This period in time marked the rebirth of humanism, and the revival of cultural achievements for their own sake in all forms of art, including music. The word “Renaissance” in itself is defined as a “rebirth”or a “reconstruction”.
During this time, artists and musicians produced works that displayed more artistic freedom and individualism. This creativity allowed artists to abandon the stricter ways of the Medieval Era. Their art forms rediscovered the ancient Greek ideals. The great masters of the Renaissance were revered in their own lifetimes (rather than after their deaths), which was different from most of their Medieval predecessors. With the new printing techniques, music and musical ideas were able to be preserved and distributed to the people.
The distinctive musical sounds of the Renaissance era were comprised of a smooth, imitative, polyphonic style, as seen in the music of Byrd, Palestrina, and Lassus. While sacred music remained of great importance, secular music was starting to become increasingly common. Therefore, the polyphonic style was not only used in sacred music, but also in secular madrigals .
The repertoire of instrumental music also began to grow considerably. New instruments were invented, including two keyboard instruments called the clavichord and virginal. In addition, many existing instruments were enhanced. The lute became the favored instrument of the time period, and it was established as the standard instrument for family music making during the 16th century.
Masses and motets were the primary forms for sacred vocal polyphony. These were accompanied by the lute or a small instrumental ensemble or consort. Secular vocal forms included motets, madrigals and songs, while instrumental pieces were usually short polyphonic works or music for dancing.
Renaissance polyphony was harmonious when compared with the Medieval style. Imitation was a method that composers used to make elaborate music more coherent and to give the listener a sense of arrangement. Imitation, where one melodic line shares, or “imitates,” the same musical theme as a previous melodic line became an important polyphonic technique. Imitative polyphony can be easily heard in the music of Byrd, Gibbons, and Gabrieli. Additionally, the masses and motets of composers such as Josquin also displayed the imitative polyphonic style. Imitative polyphony was so important that it continued into the Baroque period, especially in sacred music for the church.
The Baroque Era
(1600-1750 C.E.)
The term Baroque era describes the style or period of European music between the years of 1600 and 1750. The term Baroque was derived from a Portuguese word meaning “a pearl of irregular shape.” The word Baroque was initially used to imply strangeness, abnormality and extravagance, applying more to art than music. It is only in the 20th century that this term has been employed to refer to a period in music history.
When compared with its predecessors, Baroque music can be seen as being highly ornate, lavishly texturized, and intense. The music of this time period was characterized by rich counterpoint and a highly decorated melodic line. The music of this period has a number of defining characteristics including the use of the basso continuo and the belief in the doctrine of the affections. The doctrine of affections allowed composers to express emotions and feelings in their compositions. Another distinguishing characteristic of the Baroque era was the emphasis on contrast of volume, texture, and pace in the music, as compared to music of the late Renaissance which did not concentrate on these elements. In addition, Baroque music broke away from the harshness of the Medieval and early Renaissance style with new emphasis on the use of vocal and instrumental color. Secular types of music were now in abundance and used as widely as those of the liturgical musical styles. Imitative polyphony (more than one line of music) still was an extremely important factor in writing and playing music, while the homophonic method (a musical technique that displays a vast separation amongst the melody line and the accompaniment) was gaining acceptance and use quite rapidly. This homophonic style eventually became dominant in instrumental forms of music as well. Musical works containing a continuo part in which a keyboard (usually an organ or harpsichord) and a bass instrument (usually a bassoon or a cello) helped to convey the harmonic support of chords under the melodic lines.
Although homophonic music was becoming increasingly popular during this time in music history, new forms of polyphonic music were also developing simultaneously. Similar to composers during the Renaissance, composers during this period felt that the art of counterpoint was essential to their artistry. Two extremely strict forms of imitative polyphony, cannons and fugues , were very popular at the time of the Baroque era. To prove their very expertise, composers were sometimes expected to improvise complex fugues at a moment’s notice.
It is also important to note that opera and the orchestra were both conceived during the Baroque era as well. Around 1600, opera came about because Italian intellectuals wanted to recapture the spirit of ancient Greek drama in which music played a key role. Claudio Monteverdi’s Orfeo (1607), was the first great opera. The homophonic musical style played a significant role in opera and solo vocal music because it focused the listener’s concentration on the poetic melody of the singer.
During the beginning of the Baroque period, as a companion for operatic and vocal music, the orchestra evolved. By the mid-1600s the orchestra was growing into its own entity and the concerto was one of the most popular forms of music performed. The concerto featured a solo instrumentalist, or small ensemble of soloists, playing in opposition to the orchestra, thus creating an interesting contrast of texture and volume. In addition, during the Baroque period composers began exploring music’s ability to express the human spirirt and to depict natural phenomena. Vivaldi’s The Four Seasons was the most famous set of concertos that typified this.
The Classical Era
(1750-1820 C.E.)
Although the Classical Era lasted for only 70 years, there was a substantial change in the music that was being produced. Classical music placed a greater stress on clarity with regard to melodic expression and instrumental color. Although opera and vocal music (both sacred and secular) were still being written, orchestral literature was performed on a much broader basis. The orchestra gained more color and flexibility as clarinets, flutes, oboes, and bassoons became permanent members of the orchestra.
The classical style was dominated by homophony , which consisted of a single melodic line and an accompaniment. New forms of composition were developed to adapt to this style. The most important of these forms was the sonata which was in instrumental music. This form continued to change and evolve throughout the classical period, and it is important to note that the classical sonata was very different from the sonatas written by Baroque composers.
The early 1700s reflected a musical style known as Rococo. This style served as a transition from the Baroque to the Classical Era. Rococo, which developed in France, is actually an art term that described a new art style which was both a light and embellished. Musically speaking, it is refered to as style galant. In Germany, after 1750, the style galant became empfindsamer stil. With this change in name came an added element of expressiveness and sentimentality.
As classical music evolved, distinctive characteristics developed. Changes in form were seen along with changes in phrase structure. Shorter phraases and well defined cadences became more prevalent. During this time period, a favorite accompaniment pattern was the Alberti bass (name for Dominico Alberti), which featured a broken chord progression.
The melodies of the Classical era were more compact and diatonic. Harmony was less structured. It used the tonic, dominant, and subdominant chords. In addition, during this period, diatonic harmony was more common then chromatic. Composers mainly used chords in triadic form and occasionally used seventh chords in their compositions.
The four major composers of the Classical era were Haydn, Mozart, Gluck, and Beethoven. These composers wrote extensively for vocal and instrumental mediums.
The Romantic Era
(1850 – 1920 C.E.)
The Romantic era was a period of great change and emancipation. While the Classical era had strict laws of balance and restraint, the Romantic era moved away from that by allowing artistic freedom, experimentation, and creativity. The music of this time period was very expressive, and melody became the dominant feature. Composers even used this expressive means to display nationalism . This became a driving force in the late Romantic period, as composers used elements of folk music to express their cultural identity.
As in any time of change, new musical techniques came about to fit in with the current trends. Composers began to experiment with length of compositions, new harmonies, and tonal relationships. Additionally, there was the increased use of dissonance and extended use of chromaticism . Another important feature of Romantic music was the use of color. While new instruments were constantly being added to the orchestra, composers also tried to get new or different sounds out of the instruments already in use.
One of the new forms was the symphonic poem , which was an orchestral work that portrayed a story or had some kind of literary or artistic background to it. Another was the art song , which was a vocal musical work with tremendous emphasis placed on the text or the symbolical meanings of words within the text. Likewise, opera became increasingly popular, as it continued to musically tell a story and to express the issues of the day. Some of the themes that composers wrote about were the escape from political oppression, the fates of national or religious groups, and the events which were taking place in far off settings or exotic climates. This allowed an element of fantasy to be used by composers.
During the Romantic period, the virtuoso began to be focused. Exceptionally gifted performers – pianists, violinists, and singers — became enormously popular. Liszt, the great Hungarian pianist/composer, reportedly played with such passion and intensity that women in the audience would faint. Most composers were also virtuoso performers; it was inevitable that the music they wrote would be extremely challenging to play.
The Modern/20th Century Era
(1900 – Present)
With the coming of the 20th century another evolution in the musical world emerged. While some of the early 20th century music can be seen as extensions of the late Romantic style, much of 20th century music can be seen as a rebellion. Composers did not look to build on what was standard but again created music freely and used sounds that went against the current grain. Twentieth century music can be described as being more refined, vague in form, delicate, and having a mysterious atmosphere.
Twentieth century music is an era that is hard to define in terms of musical style. The only easy way to define 20th century music is that it does not fit into the Romantic era’s requirements. And because of its own expression and orchestral technique it does not fit into any other category but its own.
This time period spawned many new terms for musical styles because of the diversity of music that was being written. Some common examples are atonality, expressionism (seen in Schoenberg’s early music), neo-Romanticism , and neo-Classicism .
As was true in the Romantic era, nationalism was still an important musical device used during the first half of the 20th century. Composers utilized folk songs to enriched their music. Examples can be seen in the music of Raplh Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles influenced composers from both the United States and Europe.
In 20th century musical styles traditional forms and structures were broken up and recreated or composed using non-Western musical techniques and abstract ideas. Technology also became an extremely important factor in the music making during this time period. Composers have been known to use recording tape as a compositional tool. Electronically created sounds are used in combination with other electronic sounds or played together with traditional music instruments. Most recently, the use of computer technology has affected the world of music making. Some ways in which computers currently alter the face of the music world are by manipulating the performance of instruments in real time. | https://www.projectfactory.info/project/essay-history-music/ |
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Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers
Date: May 2010
Creator: Thomas, Lisa Cheryl
Description: My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has ...
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A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals
Date: August 1986
Creator: Duhaime, Ricky Edward
Description: The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.
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New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)
Date: August 2000
Creator: Lan, Ping-Ting
Description: This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.
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The Nightingale in Poetry and Music
Date: May 2003
Creator: Blizzard, Amy
Description: This thesis surveys a variety of songs and arias for high soprano which feature the nightingale; examines the musical elements that symbolize, refer to, or imitate the nightingale; and compares these musical elements with transcriptions of the nightingale's song. The first chapter reviews the symbolic development of the nightingale and its role in poetry and literature. The interior chapters address a selection of musical compositions that feature the nightingale and its song. The final chapter establishes a relationship between the sound of the actual sound of the nightingale and the musical gestures created by composers to imitate the nightingale.
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The Nightingale's Flight from Opera to Symphonic Poem: A Comparative Study of The Nightingale and The Song of the Nightingale by Igor Stravinsky
Date: December 2000
Creator: Couturiaux, Clay
Description: An analysis of the transformation from Stravinsky's opera The Nightingale to The Song of the Nightingale, a symphonic poem by the same composer. The text includes a brief history of Stravinsky's life and the genesis of The Nightingale and The Song of the Nightingale. The bulk of the dissertation discusses actual changes employed by Stravinsky (with score examples). Patterns of modifications are identified and discussed as they relate to the composer's change of attitude in orchestration. The analysis focuses on overall patterns of alteration imposed by Stravinsky and their perceived effectiveness achieving a symphonic aural outcome.
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The Nineteenth-Century German Tradition of Solo Trombone Playing: A Lecture Recital, Together with Three Recitals of Selected Works of E. Bozza, W. Hartley, A. Frackenpohl, A. Pryor. G. Frescobaldi. L. Grondahl, P. Bonneau and Others
Date: August 1989
Creator: Wolfinbarger, Steve M.
Description: This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.
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The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides
Date: August 2002
Creator: Murray, Lauren Baker
Description: Music written for oboe and orchestra in the nineteenth century falls into three categories: Classical Concerto, Opera Fantasy, and Concertino. The classical, or standard, three movement, sonata-ritornello format was only sparingly used. Instead, composers chose more the experimental forms of the Opera Fantasy and Concertino. The Opera Fantasy was used as a way for oboe players to play popular opera arias of the time, while showcasing their virtuosity and expression. It is in the Concertino where composers expanded the oboe repertoire to its highest form in the nineteenth century, experimenting with structure, and using the oboe to the height of its expressive powers. In addition to discussion on the Concertino in general, performance guides have been provided for two concertinos, Concertino for Oboe and Winds, by Carl Maria von Weber and Concertino for Oboe and Orchestra, Op. 18, by August Klughardt. Information is provided regarding composer biography, compositional/historical perspective, technical and stylistic considerations, and structure. By examining the two very different pieces, one from the beginning of the nineteenth century and one from the end, the evolution of the Concertino can be seen, as well as gaining an understanding of the wide variety of repertoire written for the oboe in ...
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Octatonic Pitch Structure and Motivic Organization in George Walker's Canvas for Wind Ensemble, Voices, and Chorus
Date: May 2003
Creator: Nelson, Ryan
Description: Canvas was commissioned by the College Band Directors National Association (CBDNA) Consortium in fall 1999 for the CBDNA Biennium National Conference to be held at the University of North Texas in February 2001. This substantial and profound three-movement work is Pulitzer Prize winning composer George Walker's first work for wind ensemble and is a milestone in wind composition at the turn of the millennium. This analysis considers Walker's sophisticated use of octatonic collections and their subsets. Walker uses the three transpositions of the octatonic scale as a harmonic framework for the work. Within this framework, specific subsets of the collection are used in traditional harmonic ways. A hierarchy of pitch sets is created, lending a "tonic" function characteristic to prevalent and specifically placed sonorities. Onto this "canvas" of octatonic harmonies, Walker "paints" specific motivic gestures. These motivic gesture monopolize specific intervallic relationships that are initially presented in the beginning of the work. Certain motivic techniques are then employed in the ongoing development of the motivic content. These motivic techniques include melodic suspension, interval alternation, double stroke articulation, irregularly recurring patterns, chordal punctuations, interrupted sequences, and dramatic uses of silence. Formally, Walker uses short "cells" of similar motivic and harmonic content ...
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Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell
Date: May 2016
Creator: Douglass, Mark
Description: This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s musical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells.
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Orchestral Etudes: Repertoire-Specific Exercises for Double Bass
Date: August 2011
Creator: Unzicker, Jack Andrew
Description: In this project, frequently required double bass orchestral audition excerpts as well as their individual technical difficulties are identified. A survey of professional double bass players and teachers currently and formerly employed by major orchestras, universities, and conservatories have participated to validate the importance of four of the most frequently required orchestral excerpts: Ludwig van Beethoven’s Symphony No. 9, Mvt. 4, and Symphony No. 5, Mvt. 3; Richard Strauss’ Ein Heldenleben; and Wolfgang Amadeus Mozart’s Symphony No. 40, Mvt. 1. The survey respondents identified the primary and secondary technical concerns of each of the four excerpts. I have created technical studies, or etudes, that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the double bass.
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Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião
Date: December 2012
Creator: Gimenes, Marilia Gabriela do Nascimento
Description: Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.
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Overview and Introduction to the Organ Music of Alsatian-american Composer René Louis Becker (1882-1956)
Date: May 2012
Creator: Spritzer, Damin
Description: This dissertation provides the first biographical overview and annotated catalog of the organ music of Alsatian-American organist and composer René Louis Becker. Born and educated in Strasbourg, Alsace, Becker emigrated to the United States in 1904 and remained active as a composer and church musician for the next 50 years. in addition to providing sources for his biographical information, documentation of the specific organs with which Becker was professionally associated is included for the purpose of evaluating possible dates of composition of his undated organ works as well as for consideration of organ registrations when performing his works. Primary sources include newspaper clippings, personal correspondence, family scrapbooks, organ archives, and both published and unpublished manuscripts. Study of these manuscripts, including rediscovery of more than fifty works of Becker’s which were previously published in the early 1900s, present an opportunity to introduce a large new body of sophisticated repertoire from a distinguished and accomplished musician to the field of organ music. Becker composed more than 180 individual works for the organ, over half of which remain in manuscript and which were completely unknown since even before his death in 1956. Becker’s complete known oeuvre for organ includes 34 marches, 15 toccatas, ...
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An Overview and Performance Guide to Manuel Ponce's Sonata III for Solo Guitar
Date: August 2006
Creator: Smith, Jay
Description: Composed in 1927 and dedicated to Segovia, Ponce's Sonata III, one of the staples of the classical guitar repertoire, is the focus of this paper. To put this piece into proper perspective among Ponce's other works, biographical information leading up to the composition of the piece is presented first. Each of the three movements is then analyzed with regard to formal construction as well as harmonic and melodic language. Analysis is an important precursor to actually playing the piece, as Sonata III is a work that departs from Ponce's previous compositional style. The main portion of this paper addresses the preparation and interpretation of Sonata III. The insight gained through initial analysis of the piece is used to arrive at a musically satisfying interpretation of the work. Specific performance suggestions are included. Technical issues are addressed and possible solutions are presented. Alternate fingerings are provided to alleviate some of the common technical challenges the guitarist will encounter. A transcription and discussion of the Segovia revisions are also present. The paper concludes with general suggestions for improving performance that would be applicable to other works for guitar as well. This synthesis of biographical information, analysis, editorial options and performance suggestions, has ...
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Overview of America's Professional Choirs: Considerations for Establishing, Maintaining and Succeeding in the Creation of a Professional or Community Choir in the United States
Date: December 2006
Creator: Oppenheim, Joshua J.
Description: This document chronicles the history, development, process, and impact of three of the United States' first and most successful professional choirs. Representing the impact of these three choirs demonstrates a need for current professional or community choirs today. Four conductors of current professional and community choirs were interviewed and discussed elements for establishing, maintaining and succeeding in creating of a professional or community choir in the United States today. This document impresses the importance and considerations for a successful endeavor when establishing a professional or community choir.
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Pablo de Sarasate: His Life, Music, Style of Performance, and Interactions among Other Performers and Composers
Date: December 2006
Creator: Lee, Chu-Yunn
Description: Pablo de Sarasate (1844-1908) contributed to the development of violin performance through his innovative virtuosic techniques and popular Spanish characteristics, and his influence on violin performing style remains even in the present day. He composed virtuosic compositions to showcase his excellent technique, and well-known composers of the time such as Camille Saint-Saëns and Edouardo Lalo composed for him as well. These compositions include not only virtuosity but also Spanish characteristics that were suitable to Sarasate's nationalistic heritage. The combination of Spanish and virtuosic characteristics made these pieces as standard violin repertoire for modern violinists. At the end of the nineteenth century, it was his distinct performance style that broke the boundary of technical virtuosity in violin performing. The following generations - Kreisler, Heihetz, and in the present day, Isaac Permann - developed their performance techniques based on Sarasate's performance style. To examine Saraste's influences and contributions to the development of violin performing style, this dissertation focuses on Sarasate's performance practices, his technical developments, his unique style of playing, and his music to discuss his influences on composers and violinists alike. This study places Sarasate's performance style in the context of nineteenth- and twentieth-century violin performance practices through a discussion of ...
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Paul Hindemith's Septet (1948): A Look Back to Neue Sachlichkeit
Date: August 2010
Creator: Shaffer, Benjamin Eric
Description: In the early 1920s, Gustav Friedrich Hartlaub created a fine arts movement that began in Weimar, Germany, which questioned artistic Expressionism. In 1923, he formed an art exhibition to display new art works of simplicity that were of his anti-Expressionist goal. This exhibition was termed Neue Sachlichkeit, or New Objectivity, and quickly became associated with all fine arts. Music of Neue Sachlichkeit ideals during the 1920s and 1930s began to exhibit anti-Expressionist concepts of form, neoclassicism and limited instrumentation. Paul Hindemith was among the leading figures of Neue Sachlichkeit music. Although Paul Hindemith's Septet (1948) was composed during his later career, it shows many Neue Sachlichkeit traits found previously in the 1920s and 1930s. Characteristics of limited/mixed instrumentation, neoclassic instrumentation and form, and Baroque counterpoint are found in the Septet. These traits can also be head in earlier Neue Sachlichkeit pieces by Hindemith such as Hin und zuruck, op. 45a (1927), Das Marienleben (1922/23, rev. 1948) and Neues vom Tage (1929). Chapter 2 examines the Neue Sachlichkeit movement within the fine arts. Chapter 3 gives a brief biography of Paul Hindemith with a concentration on his influence of Neue Sachlichkeit music of the 1920s and 1930s. This chapter also relates ...
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Paul Robert Fauchet's Symphony in B-flat: A Performance Edition for Modern Wind Band Instrumentation
Date: May 2016
Creator: Kitelinger, Shannon Monroe
Description: Paul Robert Fauchet's Symphonie pour Musique d'Harmonie, known in the United States as Symphony in B-flat, is a four-movement composition spanning nearly thirty minutes in length and written in the style of the late romantic composers. Despite its place as one of the first symphonies for wind band, a performance of the piece that represents the composer's 1926 orchestration is difficult due to the inclusion of instruments that are no longer in common practice, including bugles, alto horns, and saxhorns. Later American editions of the work by James Robert Gillette (1933) and Frank Campbell-Watson (1948/1949) replaced these instruments, but also took several other liberties with orchestration and voicing. The primary purpose of this study was the creation of a performance edition of the Symphony for modern wind band that is accessible to a larger audience of performers and listeners. The method involved in creating the modern edition eliminates errors of extant editions and clarifies a number of the discrepancies surrounding the symphony's multiple publications. This edition attempts to retain the composer's voicing and orchestration choices. To accomplish this, the present project considered where modern instrumentation differed from the original sources and attempted to balance timbral similarities between those instruments, while ...
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A Pedagogical and Analytical Study of Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar
Date: May 2011
Creator: Morey II, Michael J.
Description: Polymeter has been a relatively unexplored compositional technique of music of the Common Practice Period. Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar is recognized in the guitar world as not only an important theoretical treatise, but also a benchmark for more advanced levels of improvisation. Currently, his treatise remains the best source for learning polymetric improvisation on the guitar. My personal contribution stems from the idea that multiple interpretations of thought processes and technical approaches are possible when learning to play polymeters on the guitar. The first section focuses on providing an alternative technical approach towards learning to play polymeters on the guitar by simplifying selected exercises in Bogdanović’s treatise from their original presentation, and demonstrating further possibilities as to how the exercises can be applied in a practical manner to improvisation. The second part reveals through analysis of the Concert Studies 1, 2, and 5 both his innovative improvisatory use of polymeter as a stylistic device, and his ties to traditional ideas of structure.
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A Pedagogical and Methodical Approach to Unaccompanied Euphonium Literature Through Performance and Analyses of Original Works by Torstein Aagaard-nilsen
Date: August 2013
Creator: Nyren, Patrick J.
Description: Original unaccompanied literature currently stands as one of the most understudied bodies of music in the euphonium repertory. This is largely due to a lack of access to reference recordings, live performances, and study/performance guides. Many of the commissioning projects for new euphonium music in the late 20th and early 21st centuries have promoted the composition of large scale works for euphonium and large ensembles, but very few have generated new unaccompanied pieces for euphonium. Many of the most recent commissions for unaccompanied euphonium music have been for competitions such as the Lieksa Brass Festival (Finland) and Leonard Falcone International Festival (USA). These competitions are also where many students get their only exposure to the unaccompanied repertoire. Unfortunately, there is a small number of standard unaccompanied works that are continuously recycled for these competitions and the exposure to new pieces in the repertoire is further diminished for many developing euphoniumists. This study will examine the three works for unaccompanied euphonium by Torstein Aagaard-Nilsen and provide solutions for many common technical challenges and pose suggestions for approaching and preparing this genre of music. Connections are made throughout the study to specific etudes and other unaccompanied solos that can be used as ...
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Pedagogical Applications of Scat-singing Within the Jazz Trombone Studio
Date: August 2014
Creator: Schneller, Aric Lewis
Description: This study investigates the pedagogical applications of scat-singing within the jazz trombone studio. In addition to the obvious ear-training benefits that the student player can gain from this synthesis, the palette of articulation subtleties and overall musically expressive qualities for trombonists can also be greatly enhanced. These commonalities will encompass the pedagogical focus of this document, utilizing performance recordings and publications by prominent jazz artists and writers to document existing teaching strategies as well as develop new concepts. The first section of this document presents an introduction that includes a historical overview of scat-singing, prominent scat-singing instrumentalists, and concepts and current literature. The second section presents selected biographies on Wycliffe Gordon and Bill Watrous, both prominent jazz trombonists who sing as well as play the trombone. The third section investigates jazz articulation, scat-singing articulation, and doodle-tongue articulation and their relevance to this topic. The fourth section explores musically expressive qualities as analyzed in Bill Watrous’ solo transcription of “Body and Soul.” The final section draws conclusions about the pedagogical applications of scat-singing within the jazz trombone studio and summarizes current teaching strategies. Although this document is not a performance guide, an informed performance of the concepts and examples contained herein ...
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A pedagogical study and practice guide for significant original euphonium solo compositions for the undergraduate level student.
Date: August 2007
Creator: Meixner, Brian Daniel
Description: Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of ...
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Pedagogical style and influence of Nadia Boulanger on music for wind symphony, an analysis of three works by her students: Copland, Bassett, and Grantham.
Date: May 2004
Creator: McCallum, Wendy M.
Description: An examination of the influences on twentieth-century wind music would be incomplete without the consideration of composer, organist, pianist, conductor, teacher, and critic Nadia Boulanger (1887-1979). Students from the United States began studying with Boulanger between World War I and World War II, and continued to travel to study with her for over fifty years. The respect awarded this legendary French woman was gained as a result of her effectiveness as a teacher, her influence on the development of each student's unique compositional style, and her guidance of an emerging American musical style. The correlation between the teacher's lessons and the compositional output of her students must be explored. Boulanger did not compose specifically for winds, and she did not encourage her students to compose for the wind symphony. However, this document will outline the influence that this powerful pedagogue exerted over the creation of repertoire by her students by providing insight into the pedagogical style and philosophical foundations of Boulanger as reflected in the literature and by the writings, comments, and compositions of three successful students who composed literature for the wind symphony: Aaron Copland (1900-1990), Leslie Bassett (b. 1923), and Donald Grantham (b. 1947). Three significant works for ...
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The Pedagogy of Robert Dick
Date: December 2014
Creator: Bost-Sandberg, Lisa
Description: Robert Dick is best known as a leading proponent of contemporary music and extended techniques for the flute; however, his teaching is informative on a broader level that encompasses technical and musical aspects of traditional playing as well as contemporary practices. This dissertation is intended to serve as a resource for flutists, providing a detailed documentation of his approach to playing and teaching the flute. Dick’s highly integrated pedagogy—informed by his traditional training, revolutionary work in documenting and codifying extended techniques on the flute, and his equal personal involvement in performance, composition, and improvisation—provides a strong basis and clear trajectory, musically as well as technically, to his students. The primary research material for this document is the author’s personal collection of detailed notes from her studies with Dick. Additionally, as no pedagogy exists in a vacuum, a number of sources including historical treatises and more recent published documentations of flutists’ pedagogies provide context and support. Such publications are of current and continuing educational value; considering Dick’s contributions to the development of flute playing and his integrated approach to teaching the flute, a document that accurately and thoroughly addresses his pedagogy is a logical addition to this literature.
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Percussion scoring and orchestration in the wind and percussion ensemble literature of Jared Spears and David Gillingham
Date: August 2001
Creator: White, Marc M.
Description: While many composers of wind ensemble literature have utilized percussion extensively in their compositions, Jared Spears and David Gillingham are renowned wind ensemble composers who have also written specifically for the percussion ensemble. Within their writing, both have exploited percussion through innovative scorings and their interest in rhythm, timbre, and density. The purpose of this study is to explore the scoring practices (functions of the instruments and combinations) and orchestration techniques (rhythmic and density relationships) of both composers, focusing on the manner and extent to which percussion is employed in their wind and percussion ensemble literature. The criteria for examining each piece and genre were developed to compare and contrast each composer's scoring and orchestration characteristics. To this end, each piece and genre was examined through several scoring categories designed to analyze overall ensemble relationships as well as individual functions of the percussion instruments. These categories were also applied to sections of music, focusing specifically on combinations of instruments and the relationship of ensemble choirs in separate and combined roles. Finally, percussion orchestration was examined with respect to motives, rhythmic underpinnings, metric usage, density relationships, and the significance of these elements to structural unity and form. These comparisons showed that, ... | http://digital.library.unt.edu/explore/partners/UNT/browse/?fq=str_degree_discipline%3APerformance&start=270 |
Music Of Early Times Early music is based mainly on the music of the Medieval, Renaissance and Baroque eras. Many people like to define Early Music as ending in 1750, with the death of J.S. Bach. This is a handy date, but it misses the various stylistic changes taking place around that time, i.e. the emergence of the gallant and pre-classical idioms in close proximity to the final flowering of the baroque proper. To add even more confusion, this is also not clear-cut.
As with everything else, Baroque music ended gradually and sporadically, if we are to say that it ended all. Perhaps the significant factor defining these eras as”early music” is that they do not have a continuous performance tradition. In other words, this music ceased to be performed after its time had passed and needed to be revived in our own era. This is not true of the “classical music of Mozart, Beethoven, et al. Which possesses a continuous performance tradition.
This means that, to some degree, it is this revival which dominates EM (that is, early music as a movement), at least in spirit. Of course, things are not clear-cut here either. For instance, late Baroque composers like Bach, Handel, Vivaldi, and etc. Were revived relatively early and therefore have a fairly long performance tradition which is not dependent on the present early music movement. Now we are seeing an increasingly large number of performances of Mozart, Beethoven, and others in the content of early music; this further muddies the waters. There is the question of pre-Medieval music.
While early musicians would undoubtedly be happy to claim it as their own, unfortunately there is very little surviving evidence about music from earlier times. Indeed, there are no music manuscripts from Western Europe at all. However, that doesnt stop some people from trying to recreate what might have been heard. Since music has also been a performance tradition, classical concerts represent divergences from that tradition, based upon a new look at the original context of a composition. New composers sometimes talk about capturing the “original intentions” of an early composer. Although like any essentially psychological object, these intentions can never be thoroughly concrete.
As such, that decision rests largely with the artistic intuition of the modern performer, and should be judged on their own musical merits. Occurring mainly because society today likes the different sound. In the case of pre-Baroque music, there are really little choices but to attempt to recreate the sound world of the era, in order to even approach the surviving compositions. Of course, thats what many”early music” performers are doing, and they are consequently reviving a vast body of superlative music, which had previously been effectively last to us. This is, probably, the core of “early music.” Music today has been influenced much by early music.
From a broader perspective, it is also a thoroughly modern idea that the “composers intentions” should matter more than what a performer chooses to do with the music in front of the composer. In fact, it has been somewhat facetiously suggested that such an approach is not the composers intention at all. Music is played very different, because people interpret things differently, which is why music has changed so much over time. Early music was the start of a great change in sounds. In the beginning, with early music we can tell that the ideas were mainly from the composer. Over time, people realized that they can interpret music in many different ways also.
This was the first movement into new music, and I believe that early music will be played for well past my lifetime. “We live in a time of great changes, a time of transformation between major eras. Looking into the unsettling, the unfamiliar, the senselessness of a world taking a dramatic turn towards the unknown, people get lost and confused. Their fear, their need for survival even, urges them to look inside for something big, something dramatic, something inspiring, something that gives them courage to face the unknown and the strength to shape it.” (Ewen, David, pg.40) Along with a great change, there was Jazz. The start of the first real American music. With the culture change from Early, classical music.
Many things changed during this time, but mainly was do to the changing in culture that influenced jazz. Some of the most accomplished musicians of our time have devoted themselves to a lifelong study of Jazz or classical music, and few exceptional musicians have actually mastered both. A comparison of classical Jazz music will yield some interesting results and could also lead to an appreciation of the abilities needed to perform or compose there kinds of music. The music called classical, found in stores and performed regularly by symphonies around the world, spans a length of time from 1600 up to the present. This time frame includes the Renaissance, Baroque, Classical, Romantic and contemporary periods.
The classical period of music actually spans a time from of 1750 to 1800; thus, the term Classical is a misnomer and could more correctly be changed to Early Music or European Art Music. European because most of the major composers up till the 20th century were European. Vivaldi was Italian, Bach was German, Mozart and Beethoven were Austrian; they are some of the more prominent composers. Until the twentieth century with Gershwin and a few others did we find American composers writing this kind of art music. For the sake of convention, we can refer to Early Music as Classical music.
Jazz is a distinctively American form of music, and its history occupies a much smaller span of time. Its origins are found in the early 1900s as some dance band leaders in the southern U.S. began playing music that combined ragtime and blues. Early exponents of this dance music were Jelly Roll Martin (a blues player) and Scott Joplin (ragtime). The terms of “jazz” and”jazz band” first surfaced in the year 1900.
Some say this occurred in New Orleans, although similar music was played at the same time in other places. The most prominent exponents of this early music, called Dixieland Jazz, included Louis Armstrong and Sidney Bechet. After World War I, Jazz music had evolved and was aided by the development of the recording industry. The small dance band ensemble grew into the larger orchestra known as the “Big Band.” The music of the Big Bands became known as “Swing.” Two of the more famous Swing band leaders were Tommy Dorsey and Harry James. In the late 40s and through the 50s, a different kind of Jazz became popular.
This music, played by a very small ensemble, was much more sophisticated and complex . Its rich harmonic changes and melodic counterpoint were not conducive to dance. It became known as “Bop,” with Charlie Parker and Dizzie Gillespie being the early proponents. In the last twenty years there has been a combination of Jazz with popular music of the US and Latin America. This modern Jazz music has been called “Fusion.” Present day exponents include Pat Metheny and Chic Corea. There has also been a return to the sound of Bop in the last ten years by such musicians as trumpeter Winton Marsalis and his brother Branford, a saxophonist.
Let’s focus on the instrumentation of the two kinds of music. In Classical music, both large orchestras and small ensembles are used. Generally, the greatest and most prominent compositions are for the larger symphony orchestra. The largest part of the orchestra is the string section consisting of violins, violas, cellos and string basses. These instruments were invented very early in medieval times but really matured into their present form during the late 18th century. The wind instruments, comprised of brass and woodwinds, took longer to mature.
The brass section in particular did not posses the ability to play chromatically (in all keys) until the advent of valves which allowed the length of the instrument to be changed while playing. This occurred around the middle to late 19th century. Consequently, the brass instruments are less prominent in the music of Bach, Mozart and Beethoven along with their contemporaries. Late 19th and early 20th century composers make use of a very large orchestra with all the fully developed wind instruments. Some of the master composers of this time were: Wagner, Rimskey-Korsakov, Ravel and Stravinsky.
Currently, composers also make use of the full orchestra but with the addition of increasingly larger percussion sections that add many unique and unheard of sounds than in earlier music. While all these changes were happening, many other situations changed the aspect of music to the tragedy around them. World War II also influenced song, about Love and happiness, which was a major start in rock music, which will be brought up later. Early Jazz music was played in small ensembles making use of clarinet, tuba, cornet, baritone, drums, and piano. Dixieland groups of New Orleans had similar instrumentation.
During the Swing era, larger groups were employed to achieve more of an orchestral sound. The Big Bands of the this era were predominantly wind orchestras containing alto and tenor sax sections, trumpet and trombone sections, along with piano and drums. When Bop music arrived, the alto saxophone and trumpet were the preferred instruments of the major soloists who were backed up by piano, string bass and drums. With the advent of Fusion, electric instruments such as the electric guitar and keyboard synthesizer became prominent. How has each of these kinds of music been transmitted to later generations of musicians? Early in the evolution of classical music, a system of notation was gradually developed which for the most part remained stable from the Renaissance on. This gave the composer control over how his compositions were to be played. | https://lowlowlimbo.com/music-of-early-times/ |
Dubbed “adventurous” by The New York Times, PUBLIQuartet’s creative programming lends a fresh perspective to the Classical music scene. Founded in 2010, PQ is dedicated to presenting new works, original classical arrangements, group compositions, and open-form improvisations which expand the aesthetic of the string quartet. This season PQ will hold the prestigious title of Quartet-In-Residence at the Metropolitan Museum of Art, performing seven concerts throughout the various galleries, Grace Rainey Rogers Auditorium, and the Cloisters.
PQ was selected as the Concert Artists Guild’s New Music/New Places Ensemble at the 2013 CAG Victor Elmaleh Competition, winning their 2013 Sylvia Ann Hewlett Adventurous Artist Prize and received Chamber Music America’s 2015 ASCAP Adventurous Programming Award for outstanding and innovative approaches to contemporary music. Their original program, MIND|THE|GAP, was developed by PQ in 2011 to generate a wide interest in new music and keep traditional classical music relevant to modern audiences. Intertwining compositions from seemingly disparate genres, their “ingenious, freewheeling hybrids” (The Strad) touch on deeper connections between traditional, modern and popular music through improvisation and group composition.
In 2014, PQ launched PUBLIQ Access, a genre-independent initiative which creates new works for the string quartet by today’s most innovative emerging composers. They have shared these compositions with new audiences on more than 40 concerts around the country. PQ has performed in a diverse range of venues from Carnegie Hall and SubCulture to the Detroit Institute of Arts and Jazz at Lincoln Center. They have been presented by the Detroit Jazz Festival, Chautauqua Institution, Virginia Arts Festival, American Composers Orchestra, Great Lakes Chamber Music Festival, Music of Now Marathon at Symphony Space, and WQXR’s Terrance McKnight. Their self-titled debut album was released on CAG records in 2015. | http://www.newworldinitiative.com/publiquartet/ |
Featured:
American classical music is music written in the United States in the European classical music tradition. In many cases, beginning in the 18th century, it has been influenced by American folk music styles; and from the 20th century to the present day it has often been influenced by folk, jazz, blues, Native American, and pop styles.
Beginnings
The earliest American classical music consists of part-songs used in religious services during Colonial times. The first music of this type in America were the psalm books, such as the Ainsworth Psalter, brought over from Europe by the settlers of the Massachusetts Bay Colony. The first music publication in English-speaking North America — indeed the first publication of any kind — was the Bay Psalm Book of 1640.
Many American composers of this period worked (like Benjamin West and the young Samuel Morse in painting) exclusively with European models, while others, such as William Billings, Supply Belcher, Daniel Read, Oliver Holden, Justin Morgan, Andrew Law, Timothy Swan, Jacob Kimball Jr., Jeremiah Ingalls, and John Wyeth, also known as the First New England School, developed a native style almost entirely independent of the most prestigious European models, though it drew on the practice of West Gallery music composers such as William Tans'ur and Aaron Williams. Many of these composers were amateurs, and many were singers: they developed new forms of sacred music, such as the fuguing tune, suitable for performance by amateurs, and often using harmonic methods which would have been considered bizarre by contemporary European standards. Some of the most unusual innovators were composers such as Anthony Philip Heinrich, who received some formal instrumental training but were entirely self-taught in composition. Heinrich traveled extensively throughout the interior of the young United States in the early 19th century, recording his experiences with colorful orchestral and chamber music which had almost nothing in common with the music being composed in Europe. Heinrich was the first American composer to write for symphony orchestra, as well as the first to conduct a Beethoven symphony in the United States (in Lexington, Kentucky in 1817).
Because the United States is made up of many states, some of which were parts of other empires, the classical music of the nation has derived from those empires respectively. The earliest classical music in what is now California, and other former Spanish colonies, was the renaissance polyphony of Spain. This sacred classical music was provided to support the liturgy of the Catholic Church.
Second New England School
During the mid to late 19th century, a vigorous tradition of home-grown classical music developed, especially in New England. Academics view this development as pivotal in the history of American classical music because it established the characteristics that set it apart from its European ancestors. This initiative was driven by musicians who wanted to produce American indigenous music. John Knowles Paine is recognized as the leader of this group.
The composers of the Second New England School included Paine's colleagues and students such as George Whitefield Chadwick, Amy Beach, Edward MacDowell, Arthur Foote, and Horatio Parker, who was the teacher of Charles Ives. Together with Paine, the group was also known as the Boston Six. Many of these composers went to Europe — especially Germany — to study, but returned to the United States to compose, perform, and acquire students. Some of their stylistic descendants include 20th-century composers such as Howard Hanson, Walter Piston, and Roger Sessions. Ives was considered the last of the Second New England School composers although his music is viewed by some as one that still drew influence from European tradition mixed with modernism.
20th century
In the early 20th century, George Gershwin was greatly influenced by African American music. He created a convincing synthesis of music from several traditions. Similarly inclined was Leonard Bernstein, who at times mixed non-tonal music with Jazz in his classical compositions. Leroy Anderson, Ferde Grofe and Morton Gould also composed pieces in the "symphonic jazz" vein.
Many of the major classical composers of the 20th century were influenced by folk traditions, none more quintessentially, perhaps, than Charles Ives or Aaron Copland. Other composers adopted features of folk music, from the Appalachians, the plains and elsewhere, including Roy Harris, Elmer Bernstein, David Diamond, Elie Siegmeister, and others. Yet other early to mid-20th-century composers continued in the more experimental traditions, including such figures as Charles Ives, George Antheil, and Henry Cowell. Others, such as Samuel Barber, captured a period of Americana in such pieces as Knoxville: Summer of 1915.
The 20th century also saw important works published by such significant immigrant composers as Igor Stravinsky and Arnold Schoenberg, who came to America for a variety of reasons, including political persecution, aesthetic freedom and economic opportunity. See Modernism (music) for more information on the rise of Modernism in America and throughout the world.
Minimalism is a musical movement that started in the early 1960s in New York City. Composers such as Philip Glass, Steve Reich, and John Adams (composer) used experimental composition techniques such as drones, phasing, repeated motifs, sharp contrasts between mixed meters, simple but often abrupt movements between minor and major chords with the same root, contrasts between tonality and atonality, and a large amount of use of synthesizers to display the interplay of the fundamental building blocks of music: the cancellation and amplification of wavelengths that make up all acoustic and synthesized sound. As is often the case in art, the rise of American minimalism in music paralleled the rise of minimalism as an artistic style, which used the contrast of black and white, the gradual movement of shading with gradients, and also often repeated concepts and themes.
In the 1970s and 1980s, the Postmodern music Movement would see the rise of composers such American composers like John Cage who adopted atonal structures and took an experimental approach to music composition, most famously and controversially with his 1952 piece 4'33", for which there are no notes written on the page and the music is described to consist of the sounds of the immediate environment of the audience, thus extending the definition of music to consist of any and all sounds even though they are without a composer created structure. Another more current, example of Postmodern music is that of American composer Miguel del Aguila who blends American idioms with those of his Hispanic, Latin American roots.
In the 20th century, Incidental music saw new heights with the development of the full orchestrated Film score. Drawing from the opera styles of composition and the rules of Richard Wagner (specifically the idea of Gesamtkunstwerk), many early soundtracks include Overtures, Intermission Music, and Medleys and Concert Suites and a repeat or use of the overture for the end credits, depending on whether the movie was showing opening or ending credits. Over the evolution of the cinema the music took on greater and greater sophistication with the inclusion of advanced instrument techniques, a multiplicity of musical genre in any given work, and multicultural structures and instrumentation as the film industry, and therefore the music composition industry, became more globalized. It exploded in the 1990s in America with the release of many different blockbuster films and a high demand for fully orchestrated soundtracks, but is now often replaced with soundtracks that are entirely synthesized or utilize covers songs of famous popular songs or are even composed by popular performers, such as in the soundtrack for the 1997 film of Titanic (Titanic: Music from the Motion Picture) and the use of many popular songs for specific historical references in the soundtrack for the movie Forrest Gump (Forrest Gump (soundtrack)). Because of the growing common practice of using popular songs combined with a more classical soundtrack, it became a standard to release two soundtracks with one made of up the popular genre selected songs, and the Original Score or Film Score as mentioned previously. Significant American composers of film music include Wendy Carlos, Danny Elfman, Michael Giacchino, Jerry Goldsmith, Bernard Herrmann, James Horner, James Newton Howard, Erich Wolfgang Korngold, Randy Newman, Alan Silvestri, and John Williams.
Classical and Popular (non-classical) Genre Fusion compositions also developed in the United States, starting circa 1950s, with entertainers such as Liberace and composers such as Walter Murphy bringing classical music to different genre with their arrangements, such as in Walter Murphy's Disco-Classical Fusion piece A Fifth of Beethoven. Many disco versions of famous classical works were arranged in the 1970s, such as works by Beethoven, Mozart, Schubert, Wagner, Mussorgsky, J.S. Bach, and George Gershwin.
Popular Classical works are also referenced and covered frequently in the United States, also starting circa 1940s-50s, in cartoons, famously in Rhapsody Rabbit and The Cat Concerto, both using Franz Liszt's famous solo piano concert piece: Hungarian Rhapsody No. 2. | http://www.artandpopularculture.com/American_classical_music |
Carnatic music is the classical music of South India. One of the world's oldest and richest musical traditions, it traces its ancestry to the same fountains that nourish Hindustani music.
Mridangam played in concert
In the early 16th century, Purandara Dasa started his well-known systemizing of the music by creating exercises and ladders by which musicians could reach excellence in the music of his time. In the seventeenth century, Venkatamakhi further systematized music theory with his 72 scales, the melakartas.
As in the emergence of modern Hindustani music, in the late eighteenth century three composers—Muttuswamy Dikshitar, Shyama Sashtri, and Tyagaraja— brought Carnatic music into its contemporary presentational formats though their innovative and endearing compositions, many of which continue to form the core of concerts.
In the present day, the violin and mridangam (barrel-shaped drum) are the instruments most often heard at Carnatic concerts; but they are joined by the vichitra and Saraswati veenas, the flute (venu), and modern western instruments such as the saxophone, clarinet, and mandolin which have adapted to play the richly ornamental style of this music. | http://www.mithas.org/Learn/Learn_Carnatic.html |
But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial.
Schoenberg taught at the school from until During this period, he and his pupils moved away from the tonal formality of the previous masters and discovered the possibilities of atonality and dissonance.
That being said, the Second School did not adopt a uniform structure, nor did they simply follow what Schoenberg was preaching. Instead, many members of the Second School contributed to the movement with their own ideas and styles in an attempt to break free from strict musical ideology.
This break from the past was quite radical in its implementation. For example, with the vast straining of the tonal structure, Schoenberg, Berg and Webern, among others, found little use of the time signature in their compositions and eventually abandoned this formality altogether. Another important technical change they utilized was an advanced chromaticism that Schoenberg felt opened the music up to dissonance.
To further skew the musical landscape, these composers adopted a new style of vocalization that mixed singing with speaking in an expressionist form.
These innovations led to the creation of groundbreaking composition such as the famous Five Pieces for Orchestra and Pierrot Lunaire. These were difficult works that forced a sense of dis-order and noise for the listener. The reactions from the public were mixed. Due to the influx of dissonance and atonality, Schoenberg felt that they needed to reign in their approach.
This led to the twelve-tone system that utilizes a single row on the chromatic scale. The whole song is based around the same row, but can be organized by either harmony or melody, or they were inverted, retrograded among other variations.
I personally felt that the innovations of the Second School were quite radical. Instead of the classical forms of composition that can almost seem like easy-listening background music at a country estate tea party, the atonality and dissonance Schoenberg and his pupils created put you in a position of disorientation.
You have to actively try to figure out what they were doing. I compare it to the advent of punk music following the mass popularity of light rock music that gets played on the radio.
It seems like the Second School felt like the old forms of composition were outdated and belonged to a system of thought that they were actively trying to challenge. I respect their attempt, but find the music difficult and somewhat too academic at the cost of sonic palatability.Arnold Schoenberg was born in September of As an Austrian composer, Schoenberg was well-associated with the expressionist movement in both German poetry and art.
He was also the founder and leader of the Second Viennese School. The First Viennese School is a name mostly used to refer to three composers of the Classical period in Western art music in lateth-century Vienna: Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.
(Franz Schubert is occasionally added to the list.). In The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School.
In The Essay this week, personal reflections on the revolutionary music and ideas. Arnold Schoenberg Verklarte Nacht () is known to be the earliest work of Schoenberg, which provided recognition to the composer and his composition. The poem, Verklarte Nacht, is a string sextet in one movement.
The poem is an inspiration from Richard Dehmel’s poem by the same name “Verklärte Nacht” (“Transfigured Night”). So were all his comrades. The Bolsheviks lied about the past — the relationships some of them had with the czarist police, Lenin's secret pact with Germany — and they lied about the future, too.
The lead article, Auner's "The Second Viennese School as an Historical Concept," elucidates the meaning of "Second Viennese School" with regard to Schoenberg as a teacher and in light of the reception of the school's techniques, "namely, the emancipation of the dissonance and twelve-tone composition" (p.
5). | https://hevubycorekaxar.rutadeltambor.com/the-viennese-school-essay-63706ou.html |
Art is a form of expression that is often used to communicate feelings and emotions. It can be difficult to come up with a piece of art that conveys what you want it to, but luckily there are many types of art to choose from.
There are many different styles of painting, from impressionism to abstract. There are also many types of art, such as sculpture, photography, and even graffiti.
What is an Art Style?
An art style is a term used to describe the visual appearance of a work of art.
It is a subjective term and it can be difficult to define an art style because there are so many styles that exist. For example, some people might say that the impressionist movement was an art style while others might disagree with that assessment.
The word “style” comes from the French word “stile” which means “a manner or method of doing something, especially writing or speaking; way of doing things; mode of expression; method.”
8 Ways to Find Your Own Unique Art Style
There are many resources for artists to find their own unique art style. Here are some of the most common ways:
1) Draw inspiration from other artists.
2) Explore different materials and mediums.
3) Experiment with different colors and shapes.
4) Look at your favorite pieces of art and try to replicate them.
5) Spend time looking at the world around you and take note of what inspires you most.
6) Paint something every day for a year, this will help you see your progress over time.
7) Try copying another artist’s work as closely as possible in order to understand how they achieved their style.
8) Ask yourself what makes you feel good, what makes you happy, or what do you find beautiful?
Research Your Influences and Personality Through Guides and Tools
As an artist, it is important to find your own style. You want to be able to express yourself and have a unique voice in the world of art.
One way to find your own style is by looking at the work of artists that you admire and analyzing their work. You can also look at other art styles and see which ones you like best, or what you can take from them and apply it to your own work.
The internet has made it easier than ever for artists to research their influences and personalities through guides and tools.
Understand the Different Styles of Art
The art world is very diverse and it is hard to find an artist that has the same style as another. This is because different artists have different ways of expressing themselves.
Some artists like to use abstract imagery to express their thoughts and feelings through the use of color, shapes, and motion. Abstract artists are often interested in non-objective and non-representational art.
Other artists like to focus on the human form or on a specific subject matter. These types of figurative artists are interested in realism or hyperrealism in their artwork.
Find Inspiration from Pieces of Art You Enjoyed Creating or Seeing
In order to find inspiration for your work, you need to take the time to look around. You may find it in strange places, like a piece of art you appreciate, or in nature.
You can also find inspiration by looking at your own work and seeing what you like about it. This is a good way to see what inspires you and what doesn’t.
Conclusion: Create Your Own Unique Style by Putting All the Pieces Together
The first step to create your own unique style is to identify the pieces that will make up your style.
The main question you want to ask yourself is: “What do I want people to think of when they see my work?”
How do I identify my art style?
There are many ways to start identifying your art style. It can be as simple as looking through your favorite pieces of art for inspiration. This can help you figure out what you like and what you don’t like.
Another way to do this is by analyzing the different elements in the artwork that catch your eye. Is it the colors, shapes, perspective, or something else? You will want to focus on these elements in order to find a style that fits your interests and preferences.
If you are having trouble understanding what your personal style is, try browsing through various artists work online for inspiration. This can be a great way to find an artist that inspires you and then analyze their work for similar stylistic elements as mentioned above.
What are the 5 ways to find your art style?
Finding your art style can be a daunting task. It is important to find your style so that you can express yourself through your art. Here are 5 ways to help you find your style.
1) Find inspiration in other artists’ work
2) Experiment with different mediums
3) Follow the trends
4) Draw from personal experiences
5) Ask for feedback from people who know you well
Why can’t I find my art style?
It can be hard to find your style when you are just starting out. It’s because there are so many different styles in the world.
You might think that you need to find a style that suits what you do, but actually it is more important to find a style that suits who you are.
What are the 7 different styles of art?
The 7 different styles of art are: | https://gloriadlee.com/find-your-art-style/ |
Curators: Dvora Liss and David Sperber
The exhibition New York, New Work presented, for the first time in Israel, some of the current major and canonical artists of contemporary Jewish art in the United States. The exhibition presented new works by members of the JAS (Jewish Art Salon), one of the most important, and certainly the largest group of artists who draw their inspiration from Judaism.
These artists appropriated Jewish traditions on their own terms. Their contributions to the development of contemporary American Judaism are considerable. Although the artists working within this framework do not reject aspects of secular Jewish culture, they undoubtedly place religious values at the center of the discussion on Jewish culture.
Israeli culture has no defined or well-developed field of Jewish art; Judaism – as a living and unique religious tradition – is usually excluded from the central discourse of Israeli art. Viewing the “there” from within the prism of the “here”, through an art exhibition that draws its inspiration from Jewish tradition, sources and culture - can challenge the conventional dichotomy in Israel that separates art from religion, and Jewish art from Israeli art. Unraveling these dichotomies and subverting the resulting hierarchies can inspire the local art scene that alienates itself from tradition. | http://www.jerusalembiennale.org/new-york-new-work/ |
Catholicism has used visual symbolism from its very beginnings. An early example is the ichthys or Greek fish, used by early Christians as a secret symbol. In the visual arts, Christian saints are traditionally associated with a symbol or iconic motif associated with their life or manner of death. During the Gothic and Renaisance period, artists used symbols so that the illiterate could recognize a scene or recall the biography of the saintly figure. This tradition established many of the symbolic motifs that we still recognize and today are incorporated into the stained glass windows of our new church.
Traditional symbols of the Evangelists are in the upper portion of the windows: the Lion of Mark, the Eagle of John, the Ox of Luke and the Man of Matthew. Their original inspiration comes from two biblical sources, the four living creatures that draw the throne-chariot of God in the first chapter of Ezekiel and the four creatures constantly praising God in chapter four of the book of Revelation.
These stained glass windows depict the three authors of the synoptic gospels as seated at a desk, writing their respective gospels on vellum, an ancient writing material made of calf skin with traditional tools, a knife, a pair of tongs and an ink pot. John is uniquely depicted as receiving divine inspiration from the hand of God and dictating that inspiration to a smaller scribe.
In the background of each window, is an artistic representation of the city most closely associated with each Evangelist. Mark is said to have founded the Church of Alexandria, one of the most important episcopal sees of Early Christianity. The evangelist Matthew is credited with writing the very first gospel account of Jesus for the Jews in the city of Jerusalem. Luke, a physician and evangelist, traditionally wrote his gospel in Antioch. John is associated with the city of Ephesus, where he is said to have lived and been buried. Some believe that he was exiled (around 95 AD) to the Greek island of Patmos, where he wrote the Book of Revelation.
Devotion to the Sacred Heart of Jesus developed in the 11th century out of earlier devotion to his holy wounds, in particular to the sacred wound in the side of Jesus. The Sacred Heart is often depicted in Christian art as a flaming heart shining with divine light, pierced by the lance-wound, encircled by the crown of thorns, surmounted by a cross, and bleeding. In the window of the church, the sacred heart is shown shining within the bosom of Christ with one hand pointing at the heart and the other in the ancient position of blessing. The crown of thorns represents the instruments of Jesus’ death, while the fire represents the transformative power of divine love. The Holy Spirit is above the head of Jesus surrounded by a cross and halo.
The image of the Immaculate Heart of Mary represents a devotional that venerates the interior life of the Blessed Virgin Mary, her maternal love for her son Jesus, and her compassionate love for all people. Veneration of the Heart of Mary is similar to worship of the Sacred Heart of Jesus. There are, however, differences as devotion to the heart of Jesus is especially directed to the “divine heart” as overflowing with love for humanity. In the devotion to Mary, however, the attraction is the love of her heart for Jesus and for God. The stained glass depicts Mary with a halo and the crown of heaven above her head. Her hands are pointing to the pierced heart, glowing with the love for God and hanging from her belt is a rosary.
The Star of Bethlehem, also called the Christmas Star, revealed the birth of Jesus to the Biblical Magi, and later led them to Bethlehem, according to Christian tradition.
Crown of thorns and nails are the instruments of Christ’s crucifixion.
Descent of the Holy Spirit upon Jesus in the form of a Dove as described in the gospels of Mark, Matthew and Luke.
Chalice and Host refers to the Blessed Sacrament and the institution of the Eucharist at the Last Supper.
The Triquetra is a three-part interlocking fish symbol that symbolizes the Christian trinity, three distinct Persons who exist in co-equal, co-eternal communion as the Father, Son and Holy Spirit. | https://stjosephwaxahachie.com/about/stained-glass-windows |
Feliks Jasieński collected art for thirty years of his life. The collection numbered about 15,000 items and included paintings and graphics from the turn of the 19th and 20th centuries, a set of Asian art objects, carpets, kilims, furniture and arts and crafts, as well as a library. The unique collection became a testimony to the time of its creator, who initially collected works in his apartment, and then, on 11 March 1920, donated them to the city of Kraków...
In One hundred views of Mount Fuji, Hokusai brilliantly displayed his virtuosity in drawing and creating an unusually slick and innovative composition by using mere outlines, which were often very delicate, and flat patches of greys of various shades. The artist depicted the elegant and simple shape of Fuji in numerous well-thought-out contexts, taking into consideration all possible points of view: different times of a day (at dawn, sunset, dusk), in various weather conditions (in beautiful weather, stormy weather, bright sunlight and mist), from different sides, both from near and far. The mountain frequently consists of a dominant feature, but in other cases it is reduced to a small patch in the distance and one needs to look closely for it among other details.
Toshūsai Sharaku is one of the most enigmatic Japanese artists. The woodcuts signed with his name come from the period between May 1794 and January 1795. A total of about 150 Sharaku card images depict actors from the Kabuki theatre; these are projects with a completely different new form of expression, often close to a caricature.
Along with Józef Pankiewicz, Władysław Podkowiński is considered to be the precursor of impressionism in Polish art painting. His works also gave rise to Symbolism and Expressionism trends in Polish Modernism. About 1892 Podkowiński’s oeuvre began to feature visionary and phantasmagoric depictions of the issues of love, suffering and death inspired by his personal experiences, with references to achievements by Western European symbolists.
Beautiful women of the oiran offered an attractive subject for artists dealing with Japanese wood engravings; it peaked in the Edo epoch (1603–1868). Elusiveness and passing, so strongly featured in the philosophy of this period, made people seize the current moment and celebrate the joy stemming from watching flowers or admiring the Moon.
The crane is one of the most important symbols of longevity in many Asian countries. When it is depicted in combination with other symbols, it takes on an additional, slightly different meaning, which is often deeper than the original one. This majestic bird with its beautiful body and feathers has become one of the most important symbols of the culture of Japan, as the Japanese are a people who observe the surrounding nature carefully and draw a lot of inspiration from nature.
Utagawa Hiroshige occupied a special place in the collection by Feliks Jasieński: the collection gathered more than 2,000 woodcut boards by this artist. The abundantly represented landscape genre helps us appreciate Hiroshige as an artist who was considered to be the master of recreating the mood created by snow, rain and fog.
The collection of military items from the Far East in the National Museum in Kraków includes over one thousand exhibits, from which the most numerous are Japanese works. Armours and helmets belong to extremely valuable specimens and although they mostly come from the Edo period (1603–1868), we can admire the Japanese masters’ superb craftsmanship in them.
This piece of furniture is an example of the small cabinets that were popular in the 2nd half of the 17th and the 1st half of the 18th century. Its typical elements include a small wooden body with a folding door, small drawers, a hiding place, and a metal open-work decoration on the sides made of engraved iron sheet with a set of stylised plant motifs, figures of people, angels, and animals.
The portable shrine with the image of Senju-Kannon Bodhisattva (Japanese: Bosatsu) was made with the use of the most valued techniques, and the precision of the fine exposure of details emphasises the high class of the exhibit.
This painting, characteristically shaped as a vertically extended rectangle, is a portrait of the artist's wife against a background of the interior of a summer apartment. This piece was created in 1904 in Zakopane, where the Mehoffers rented a newly completed wooden highland house for a few months.
Wyspiański left twelve self-portraits. Every one of them is a fascinating record of the physical change and current emotional state of the artist according to his often-repeated belief stating that “man (...) changes irretrievably; they are changed by their experiences and thoughts. A portrait is a reflection of a moment, an artistic reflection seizing things in their very essence.”
Feliks Jasieński (1861—1929), pseudonym “Manggha”, the outstanding connoisseur of art, patron and collector; he was broadly educated and talented musically. He exerted a considerable influence on the art culture of Kraków at the turn of the 20th century by his activity in the field of arts, his views, publications, and also by making the gathered collections available, including the rich collection of Japanese and Western European drawings and utilitarian objects from the Far East.
The idea of a comic strip about Feliks Jasieński, the Centre's patron, was the brainchild of Andrzej Wajda. The artwork was produced by Jakub Woynarowski in 2010, and it tells the story of a superhero – a Polish collector of Japanese art entangled in affairs of a social and health nature. Jakub Woynarowski keeps the story in perspective by using quite sophisticated, although simple looking means of expression – foreshortening, synthesis, as well as undertones.
Portraits of children occupy a special place in Wyspiański’s artistic oeuvre. Without the unnecessary sentimentalism, treated in a natural, affectionate manner with a great dose of sensitivity and realism, and captured in new and unexpected depictions, they refreshed the usual connotations related to this genre. | http://muzea.malopolska.pl/en/strona-glowna?p_p_id=3&p_p_lifecycle=0&p_p_state=maximized&p_p_mode=view&_3_struts_action=%2Fsearch%2Fsearch&_3_groupId=0&_3_keywords=&_3_format=&_3_cur=1&_3_delta=20&_3_advancedSearch=false&_3_andOperator=true&_3_entryClassName=com.liferay.portlet.journal.model.JournalArticle&_3_resetCur=true&_3_assetTagNames=Feliks+Manggha+Jasie%C5%84ski |
The Book of Symbols combines original and incisive essays about particular symbols with representative images from all parts of the world and all eras of history. The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol's psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image--all these factors are taken into consideration.
Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche's unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.
This encyclopedic guide explores the rich and varied meanings of more than 2,000 symbols--from amethyst to Zodiac.
From early cave drawings to modern corporate logos, graphic symbols have been used to convey meanings both tangible and abstract. In this unique dictionary, Carl G. Liungman puts approximately 2,500 Western graphic symbols at your fingertips. Each entry includes the sign's history, its meanings, and the systems in which it is used. Symbols are cross-referenced to other signs with the same meanings and to structurally similar signs with different meanings. Locating an entry is as easy as looking up a word in a dictionary, due to a system that classifies each sign on the basis of three of its structural features.
Enhancing the dictionary is a series of fascinating discussions of various aspects of ideograms. These include a discussion of signs and meanings, an overview of the historical development of signs, as well as sections on ancient American ideograms, the astrological system of symbols, the mystical pentagram, and the signs of the alchemists. Two indexes aid the reader. The Word Index specifies signs with a given name or meaning, along with subject headings. The Graphic Index displays symbols based on their structural features.
Dictionary of Symbols serves both as a valuable reference on Western cultural history and as a professional tool for those working in design and the arts.
The crow spelled death for medieval Europeans, but for Native Americans it represents a guide from the spirit world. Dictionary of Symbols explores 1,000 symbols from across the world's cultures and throughout the ages. Unlike other books on the subject, it is truly comprehensive, including entries, arranged alphabetically, for everything from amaranth (a Greek symbol of immortality) to ziggurat (a temple-shaped Mesopotamian icon). Indexed, cross-referenced, and packed with over 100 drawings, this is an indispensable reference for writers, artists, and anyone intrigued by the power of primal metaphors.
This new edition of Chiron's popular guide to the meaning of symbols in religion, archaeology, mythology, art, dreams, fairy tales, and literature contains more than 450 illustrations and 1,000 entries from around the world. In handy pocket size, it is of great assistance to anyone interested in dream interpretation, understanding symbolism in religion and art, and the overlapping meanings of symbols from different cultures. Beautifully produced and authoritative, this detailed survey reveals an abundance of types of human symbolic thinking.
With over 200 illustrations and lively, informative and often ironic texts, she discusses and explains an enormous variety of symbols extending from the Arctic to Dahomey, from the Iroquois to Oceana, and coming from systems as diverse as Tao, Christianity, Judaism, Buddhism, Islam, Tantra, the cult of Cybele and the Great Goddess, the Pre-Columbian religions of the Western Hemisphere and the Voodoo cults of Brazil and West Africa.
A tourist visiting the famous cathedral at Chartres might be surprised to discover an enormous labyrinth embedded in the thirteenth-century floor. Why is it there? In this fascinating book Craig Wright explores the complex symbolism of the labyrinth in architecture, religious thought, music, and dance from the Middle Ages to the present.The mazes incorporated into church floors and illustrating religious books were symbolic of an epic journey through this sinful world to salvation. A savior figure typically led the way along this harrowing spiritual path. Wright looks at other meanings of the maze as well, from religious dancing on church labyrinths to pagan maze rituals outside the church. He demonstrates that the theme inherent in spiritual mazes is also present in medieval song, in the Armed Man Masses of the Renaissance, and in compositions of the Enlightenment, including the works of J. S. Bach. But the thread that binds the maze to the church, to music, and to dance also ties it to the therapeutic labyrinth that proliferates today. For as this richly interdisciplinary history reveals, the maze of the new age spiritualists also traces its lineage to the ancient myth of Theseus and the Minotaur. While the hero of the maze may change from one culture to the next, the symbol endures.
This remarkable and wide-ranging book is an inventory of symbols and the symbolic imagination. The editors and their fifteen contributors are drawn from a variety of scholarly backgrounds--including anthropology, ethnology, psychotherapy and art history. This diversity of approach is responsible for the book's unique character, a reflection of the multiplicity of symbols and signs and the phenomenal range of possible interpretations they offer. This book draws together folklore, literary and artistic sources, and focuses on the symbolic dimension of every colour, number, sound, gesture, expression or character trait that has benefitted from symbolic interpretation. The conscious and unconscious minds are explored, desire and dreams are treated alongside the known and the chronicled. Extraordinary in its range and eclecticism, this dictionary was originally published in French as the Dictionnaire des Symboles, and it is regarded as the standard work on the subject.
Explore The Secrets of the Universe in 100 Symbols with this beautifully illustrated compendium of 100 diverse arcane tools and writings said to hold the key to the mysteries of the universe.Symbols carry weight and significance. Over time they grow as different cultures attribute new meanings to old signs. Did you know that the swastika, widely known now to be the key symbol for Hitler's Nazi party, used to be a Buddhist symbol for success? From the Aztec Calendar Stone and the Spear of Destiny to magic circles and Navaho sand paintings, each relic, symbol, and depiction is presented and analyzed in detail to reveal the beliefs and practices of past civilizations from all around the globe. Philosophers, astrologers, prophets, poets, and artists from every age and culture have whispered secrets to pharaohs, statesmen, kings, and queens. In Renaissance Europe, two powerful women--Catherine of Medici and, later, Elizabeth I of England--patronized the most important magi of the time. John Dee's obsidian mirror revealed the future of the nation to Elizabeth, while Nostradamus divulged spiritually inspired prophecies to Catherine at the Mus e du Louvre in Paris. Organized into three chapters--The Art of Divination; Enchantments, Symbols, and Talismans; and In Search of Secret Knowledge--the book's engaging and informative text brings to light the secrets and intrigues that surround each mysterious object and the obscure arts of the people who used them, highlighting how to decode their signs and symbols. | https://www.magersandquinn.com/?cPath=631 |
Folk art, or vernacular art (specific to a group or place), developed in Colonial America out of necessity when individual households produced most of the utilitarian objects required for daily life. Using traditional tools and techniques, many of these makers created pieces in which aesthetics came to play a substantial role, through form, ornamentation, or both. In some groups, notably the Shakers, function was emphasized, with pure form evoking an aesthetic and spiritual response. Religious beliefs have informed American folk art, such as the saints and other figures (Santos) carved and painted by Catholic settlers in the Southwest as early as 1700. Although the majority of folk art is now anonymous, the oeuvre of numerous individual artists can be determined by their distinctive styles or marks. Folk art is often considered within the field of ‘material culture’, with an emphasis on the object’s context rather than its creator. Most American folk art falls within three categories: painting and cut paper, textiles and fibre, and three-dimensional work such as furniture, carvings, metalwork, ceramics, and outdoor installations....
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Sandra Sider
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John Wilton-Ely
Term coined in the 1880s to denote the last stage of the classical tradition in architecture, sculpture, painting and the decorative arts. Neo-classicism was the successor to Rococo in the second half of the 18th century and was itself superseded by various historicist styles in the first half of the 19th century. It formed an integral part of Enlightenment, the in its radical questioning of received notions of human endeavour. It was also deeply involved with the emergence of new historical attitudes towards the past—non-Classical as well as Classical—that were stimulated by an unprecedented range of archaeological discoveries, extending from southern Italy and the eastern Mediterranean to Egypt and the Near East, during the second half of the 18th century. The new awareness of the plurality of historical styles prompted the search for consciously new and contemporary forms of expression. This concept of modernity set Neo-classicism apart from past revivals of antiquity, to which it was, nevertheless, closely related. Almost paradoxically, the quest for a timeless mode of expression (the ‘true style’, as it was then called) involved strongly divergent approaches towards design that were strikingly focused on the Greco-Roman debate. On the one hand, there was a commitment to a radical severity of expression, associated with the Platonic Ideal, as well as to such criteria as the functional and the primitive, which were particularly identified with early Greek art and architecture. On the other hand, there were highly innovative exercises in eclecticism, inspired by late Imperial Rome, as well as subsequent periods of stylistic experiment with Mannerism and the Italian Baroque....
Article
James Cordova and Claire Farago
Term that refers to handmade paintings and sculptures of Christian holy figures, crafted by artists from the Hispanic and Lusophone Americas. The term first came into widespread use in early 20th-century New Mexico among English-speaking art collectors to convey a sense of cultural authenticity. Throughout the Americas, the term imagenes occurs most frequently in Spanish historical documents. Santos are usually painted on wood panels (retablos) or carved and painted in the round (bultos). Reredos, or altarpieces, often combine multiple retablos and bultos within a multi-level architectural framework.
European Christian imagery was circulated widely through the Spanish viceroyalties in the form of paintings, sculptures, and prints, the majority of which were produced in metropolitan centres such as Mexico City, Antigua, Lima, and Puebla, where European- and American-born artists established guilds and workshops. These became important sources upon which local artists elsewhere based their own traditions of religious image-making using locally available materials such as buffalo hides, vegetal dyes, mineral pigments, and yucca fibres, commonly employed by native artists long before European contact.... | https://www.oxfordartonline.com/browse?btog=chap&t_0=art_ArtFormsAndPractices%3A25&t_1=art_ArtFormsAndPractices%3A32&t_2=art_ArtHistory%3A54&t_3=art_ArtHistory%3A17 |
World Art Foundation
In 1995 World Art Foundation was founded.The aim of the Foundation is to promote art arising from different cultures and peoples.
The occasion was the observation that many modern European artists are inspired by Oceanic and African art forms.
The question now was why these original art forms got so little attention, while some of the inspired European artists became world famous, and more so, what contemporary form and expression do these art forms have nowadays.
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After some research the contemporary modern art from Zimbabwe became one of the pillars of this project.
The art of sculpting in Zimbabwe is characterised by some typical features:
It is an authentic form of art that came into being without any influence from other artistic trends.The startingpoint was the culture of the Shonatribe in 1958. Sculpting in stone evolved out of the woodcarving tradition.
The design and the aura of the sculptures are linked to all aspects of life.
The Zimbabwean culture forms the basis, but one sees a lot of similarities general human culture. Sentiments, background and themes play an important part in the image and expression of the sculptures.That is why this form of art is very open to the public.
It is a unique intuitive way of sculpting. The artist does not draft anything before he starts.The stone, together with his own emotions, are his inspiration and determine the ultimate result. Spiritual experiences and ancient stories are often an inspiration for the artist.
The way man and animal relate to each other is an important subject for many artists in Zimbabwe. Their mutual interest and dependancy on nature plays an important role.
All forms of art like figurative, non-figurative and abstract do appear in the Zimbabwean sculpting, but most often it is a subconsciously chosen form for the artist. It is often only through contact with Europeans and Americans that the artist realises that the form of art actually has a name.
This way of sculpting has become a revealing and special form of art during the past forty years. From the plain surface to movement. From Shona culture to modern design. From soapstone to springstone.
The work is almost completely manual and the techniques are very refined. Through the manual labour they stay in touch with the rough material and the final sculpture which emerges from the stone.
Special attention is given to non materialistic matters. All feelings and thoughts are given an important place in life, especially the African way of dealing with spirits, rituals and family ties. | http://worldarthouse.nl/de/foundation.php |
Art is defined as “The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power” (“Oxford Dictionary” ). It is also used to describe “the various branches of creative activity, such as music, literature, and dance” (Oxford Dictionary” ). Over the course of time, art has been used to express cultural differences, socioeconomic views, religious themes, and even political ideals.Art has been in existence, in one form or another, for thousands of years. No matter what the time period, art is the expression of society and is reflective of the events that occur in that period. Generally, the dominant social class (whether it is economic, political, or religious) defines the style of art for that time period. We can study art and very often are able to determine the time period in which it was created. The identifying aspects of art are referred to as “style”, and it is the style of the piece of art that allows us to identify it. Additionally, by studying and learning about art from different time periods, we can learn more about the culture of that period. We can better understand the social life, political trends, and religious beliefs of those people living in that day (Wold, Martin, Miller, and Cykley ).
Besides the effects that are imposed by the dominant social class for the particular time period, previous generations of art can leave their mark on each successive time period as well (Wold, Martin, Miller, and Cykley ). The great artists of the past influence the work of future artists. Intentionally or not, every artist draws inspiration from previous artist. Just as…
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… art is only enhanced by knowledge and understanding of the qualities that define great art (De Rynck ).
Works Cited
Adajian, T.. N.p.. Web. 22 November 2013. .
De Rynck, Patrick. How to Read a Painting: Lessons from the Old Masters. New York, NY: ABRAMS, 2004. Print.Farthing, Stephen. Art: From Cave Painting to Street Art. New York, NY: Universe Publishing, 2010. Print.”Oxford Dictionary.” . Oxford University Press. Web. 26 Nov 2013. .
Wold, Milo, Gary Martin, James Miller, and Edmund Cykley. An Introduction to Music and Art in the Western World. 10th. Boston, Massachusetts: McGraw Hill, 1996. Print.
Wolf, Justin. The Art Story- Your Guide to Modern Art. N.p.. Web. 28 November 2013. . | https://nsucurrent.com/essay-on-the-meaning-of-art/ |
The great painters of the Renaissance period, many of whom focused on religious themes were often commissioned by well-to-do patrons including the Pope himself. The generations may judge it as they will, but as an expression of the energies of my own soul, it is divine. The so-called decorative arts—carpets, ceramics, metalwork, and books—are types of art that Western scholars have traditionally valued less than painting and sculpture. The forms and figures of symbolical thought can change into exaggerations and rank growths, however, and lead to transformations and hybrids—figures with several heads, faces, or hands—as exemplified in the statues and pictorial representations of the deities of India e. However, few if any of these various countries or Muslim empires would have referred to their art as Islamic. Not much of the original painting survived and what can be seen today are mainly repairs. Perishable goods could only be obtained locally.
Themusic lent itself to innovation and rapidly spread across thecountry drawing fans from different races as well. Coello, Claudio: Adoration of the Holy Eucharist Adoration of the Holy Eucharist, oil on canvas by Claudio Coello, 1685—90; in the sacristy, El Escorial, Madrid. The survey also finds that older adults are more likely than younger adults to say religion is very important in their lives, and women are more likely than men to express this view. Love's raptures, in so far as they are instinctive, are, of course, independent of any view of life; but apart from imagination and faith in one another, love does not keep its quality or renew itself in memory, nor can it survive death which always impends to destroy. Apparently, this is because the work was commissioned for a Benedictine monastery which observed silence. Families who use their religion as a framework for how the family should function often contribute their religious beliefs to a solid marriage and family structure. This can be seen in his representation of the Tower of Babel.
And blacks are much more likely than whites or Hispanics to say religion is very important in their lives. The painting with dimensions of 666 cm x 990 cm 262 in x 390 in is displayed in the Louvre Museum in Paris. Titian made the painting for Pesaro chapel in the Frari Basilica in Venice where it remains until today. Education and Opportunity The medieval university system was created and controlled by the church, so most European intellectuals during the Middle Ages were monks or other ecclesiastical figures. The nature of religious symbols and symbolization The word symbol comes from the Greek symbolon, which means contract, token, insignia, and a means of identification. Important figures from the Bible and early church history are presented. Though the Sistine Chapel ceiling is complex enough to dazzle the harshest art critic, the Last Judgement is considered to be even more complex.
. The symbol religious and other is intended primarily for the circle of the initiated and involves the acknowledgment of the experience that it expresses. The part, as a sort of certificate, guaranteed the presence of the whole and, as a concise meaningful formula, indicated the larger. The church's influence was so extensive that people from all walks of life would go on long and sometimes dangerous pilgrimages to holy places to atone for behavior the church considered sinful. The woodwork of demolished Shintō shrines, when taken to private homes, makes the sacred or holy present in the homes of pious Japanese families. Religious and humanist themes are harmoniously brought together, producing a work of impressive size, technical mastery and religious beauty. The colors blue and green for the Holy Spirit signify his movement in sky, water and earth.
A seventh figure, symbolizing the completion and fulfillment of the prophetic vision, was Jesus Himself, depicted as crucified. The poisonous feeling of futility, will then be lost; each task, no matter how petty or ineffectual, will become momentous as contributing something toward the realization of a good beyond our little existence; and we, however lowly, will find ourselves sublime as instruments of destiny. This allowed his work to appeal to and represent the variety of religious inspiration and devotion of the pilgrims. The King who promised to give her anything she wants, reluctantly agreed and had John the Baptist beheaded in the prison. Although social problems are solved in obedience to forces and demands beyond the control of artists, literary expression is effective in persuading and drawing into a movement men whose status would tend to make them hostile or indifferent, as in Russia, where numerous men and women of the aristocratic and wealthy classes became revolutionaries by reason of literature.
No one would have thought of themselves as an Italian, or of the art they produced as Italian. Many of these religious paintings are among the greatest works of Renaissance art as a whole. The painting with dimensions of 666 cm x 990 cm 262 in x 390 in is displayed in the Louvre Museum in Paris. A short biography and timeline of these artists can be accessed from the following links: Middle Ages Art by Type Middle Ages art increased from the type of art depicted in Pietistic painting religious art in the form of illuminated manuscripts, mosaics and fresco paintings in churches. Unlike in most representations of the Last Judgement, Michelangelo shows the subjects stripped of rank and position. The that in ancient Christian art symbolizes Christ may also symbolize the Apostles or humankind in general. It is thought to be the largest work ever executed on canvas.
A play representing Viennese life is appreciated in New York, a novel of contemporary manners in England is enjoyed in America. Our knowledge of the inevitability of death and failure will quiet our laments, leaving us at least serene and resigned where our struggles and protests would be unavailing. A typical medieval festival included bonfires, musicians, displays of juggling and other feats, trained animals, special food and plays with actors wearing fantastic masks and costumes. The Bible and writings of early theologians, originally in Latin but also translated into local languages for greater accessibility, were primary texts. Art, the image of life, may now serve as a model, after which the latter, in its turn, will be patterned. In total, twenty-one ancient Greek philosophers are painted, engaging in lofty discourse.
Most Christians who say many religions can lead to eternal life also say non-Christian religions can lead to heaven. The practice of painting the outer walls of Church buildings in such careful detail and elaborate depth seems to have been a phenomenon unique to 15th and 16th century Moldavia. Peter's Basilica, a project started by Bramante and finished by Michelangelo. As a result of thinking about the problems of calling such art Islamic, certain scholars and major museums, like the Metropolitan Museum of Art, have decided to omit the term Islamic when they renamed their new galleries of Islamic art. Parties to a contract, allies, guests, and their host could identify each other with the help of the parts of the symbolon. From these arises the structure of religious symbolism.
Angered by the building project, God decided to prevent it by scattering the people throughout the world and confusing their languages so that they were unable to return and continue from where they left off. The Roman Empire fell when the German Visigoths, led by Alaric, sacked Rome. Varieties and meanings associated with the term symbol Different forms and levels of the experience of and relationship to both sacred and profane are linked with the concepts of symbol, , and picture. In the context of this radical juxtaposition between secular art in late modernity and religious art, the lecture will show how the problem of aesthetic appreciation in tradition and modernity is linked to the problem of the world seen as cosmology or as stripped of cosmological understanding. But wait, let's back up a minute - there's something funny going on in Raphael's Stanze paintings.
Instruments were freely employed in the performance of vocal music. Lucy at the right - and an angel playing a violin at the foot of the altar. In most cases, the constructions are again related to objects in the world of. Such beliefs are expressions primarily of faith, not of knowledge; like religion, they are interpretations of life based on aspiration, not on evidence; and through them men secure the same sort of re-enforcement of motive, courage, and consolation that they derive from the doctrines called religious. Calligraphy, particularly Arabic calligraphy, as noted above, is a major art form and appears on almost all types of architecture and arts. | http://wingle.jp/importance-of-art-in-religion.html |
The vast scope of the art of India intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts.
Indian art can be classified into specific periods each reflecting certain religious, political and cultural developments.
Each period is unique in its art, literature and architecture. Indian art is constantly challenged as it rises to the peak of achieving the ideals of one philosophy in a visual form, then begins anew for another. This challenge and revolution in thought ovides, Indian artists with reasons for innovation and creation, and the process of visualizing abstract ideas and the culture of the land.
Each religion and philosophical system provided its own nuances, vast metaphors and similes, rich associations, wild imaginations, humanization of gods and celestial beings, characterization of people, the single purpose and ideal of life to be interpreted in art.
In the Indian context, the visual arts (sculpture, painting and architecture) are tightly interrelated with the non-visual arts. According to Kapila Vatsyayan, "Classical Indian architecture, sculpture, painting, literature (kaavya), music and dancing evolved their own rules conditioned by their respective media, but they shared with one another not only the underlying spiritual beliefs of the Indian religio-philosophic mind, but also the procedures by which the relationships of the symbol and the spiritual states were worked out in detail."
Insight into the unique qualities of Indian art is best achieved through an understanding of the philosophical thought, the broad cultural history, social, religious and political background of the artworks.
In India the distinction between "fine" and "decorative" arts is not pronounced.
The history of art in India begins with rock paintings. The first urban cultures of Harappa and Mohenjodaro with their centrally planned cities indicate a highly developed culture and an understanding of space that is clear from their architecture. The dancing girl from Mohenjodaro, various seals from Harappa and other art objects show that there was a clear knowledge of anatomy of the human figure, as well as a high degree of awareness and perception of animal forms.
The use of symbolic forms in India is as old as the Harappan seals. The fire altars of the Vedic period, with their astronomical and mathematical significance also play an important role in the evolution of the later temples.
The earliest Indian religion to inspire major artistic monuments was Buddhism. Though there may have been earlier structures in wood that have been transformed into stone structures, there are no physical evidences for these except textual references. Obscurity shrouds the period between the decline of the Harappans and the definite historic period starting with the Mauryas. Soon after the Buddhists initiated the rock-cut caves, Hindus and Jains started to imitate them at Badami, Aihole, Ellora, Salsette, Elephanta, Aurangabad and Mamallapuram.
Indian rock art has continuously evolved, since the first rock cut caves, to suit different purposes, social and religious contexts, and regional differences.
The Chola fresco paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.
Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.
During the Nayak period the chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of saivism is expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.
Alongside the classical art, there have been evolving, changing, transforming, folk and tribal art traditions. These art forms are the visual expression of people belonging to different cultural and social groups who fall into the broad category of Hinduisms. It is the expression of people whose life is tuned to the rhythms of nature and its laws of cyclic change and whose life is entwined with the energies of the earth.
Folk and tribal art represent the kernel of energy of the respective communities as a whole. It is a living, changing art form which changes with time, necessity, memories and experiences of these people.
Often puranic gods and legends are transformed into contemporary forms and familiar images. Fairs, festivals, and local deities play a vital role in these arts.
It is an art where life and creativity are inseparable. The tribal arts have a unique sensitivity, as the tribal people possess an intense awareness very different from the settled and urbanized people. Their minds are supple and intense with myth, legends, snippets from epic, multitudinous gods born out of dream and fantasy. Their art is an expression of their life and holds their passion and mystery.
Folk art also includes the visual expressions of the wandering nomads. This is the art of people who are exposed to changing landscapes as they travel over the valleys and highlands of India. They carry with them the experiences and memories of different spaces and their art consists of the transient, changing pattern of life. The rural, tribal and arts of the nomads constitute the matrix of folk expression.
The folk spirit has a tremendous role to play in the development of art and in the consciousness of the overall culture. Indian art and architecture has brought India closer to the world.The Taj Mahal and the Ajanta and Ellora caves have become world famous. The Taj Mahal is one of the Seven Wonders of the World.
British colonial rule had a great impact on Indian art. The old patrons of art became less wealthy and influential, and Western art more ubiquitous. Rabindranath Tagore, referred as the father of Modern Indian art had introduced Asian styles and Avant garde western styles into Indian Art. Many other artists like Jamini Roy and later S.H. Raza had taken inspiration from folk traditions.
In 1947 India became independent of British rule. A group of six artists - K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and F. N. Souza - founded the Progressive Artist's Group, to establish new ways of expressing India in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, and Akbar Padamsee. Present-day Indian art is varied as it had been never before. Among the best-known artists of the newer generation include Sanjay Bhattacharya, Bose Krishnamachari,Geeta Vadhera, Satish Gupta and Bikash Bhattacharya.
From the 1990s onwards, Indian artists began to multiply the forms they used in their work. Painting and sculpture remained important, though in the work of leading artists such as Subodh Gupta Pratul Dash, Devajyoti Ray, Jagannath Panda or Atul Dodiya they often found radical new directions. Crucially, however, in a complex time when the number of currents affecting Indian society seemed to multiply, many artists sought out new, more polyvocal and immersive forms of expression. Ranbir Kaleka, Raqs Media Collective and Shilpa Gupta have produced compelling contemporary works using such assortments of media forms including video and internet. This development coincided with the emergence of new galleries interested in promoting a wider range of art forms, such as Nature Morte in Delhi and its partner gallery Bose Pacia Gallery (New York and Kolkata). | http://goaartgallery.com/indian_art.htm |
The concept of death is based on the belief system of societies. Therefore, the definition of death, its importance in religion and philoso-phy and the meanings attributed to it throughout the centuries should be known to understand its place in the arts. To examine examples of artworks that concern the relationship between death and art relationship along with all concepts, to determine the effect of the concept of death on the artists in the study and to do a semiotic analysis of the symbols and imageries devel-oped in modern Turkish painting based on Turkish people's concept of death. The analysis of these signs also examined the concept of death as an inner expression of artists' subconscious and its depiction as an original awareness. Thus, many modern Turkish artists' paintings were examined, and methods such as literature review, artwork analysis and interview were used to draw conclusions. The study found that some artists embraced symbols or imageries relating to the concept of death in a conscious manner, while other artists approached the concept of death as a plastic aspect by taking style and form into consideration. The study found that the interaction between modern Turkish painting and the concept of death led artists to sustain their work with this concepts and cultures by using imageries and symbols relating to it as a form or an element of plastic expression..
Keywords: Turkish painting, art, death, symbols, semiotics. | http://www.idildergisi.com/ozet.php?dili=2&ref=1454595173&did=74 |
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Characteristic themes and symbols
In early times Chinese art often served as a means to submit to the will of heaven through ritual and sacrifice. Archaic bronze vessels were made for sacrifices to heaven and to the spirits of clan ancestors, who were believed to influence the living for good if the rites were properly and regularly performed. (For more information on ritual bronzes, see metalwork; Chinese bronzes.)
Chinese society, basically agricultural, has always laid great stress on understanding the pattern of nature and living in accordance with it. The world of nature was seen as the visible manifestation of the workings of a higher power through the generative interaction of the yin-yang (female-male) dualism. As it developed, the purpose of Chinese art turned from propitiation and sacrifice to the expression of human understanding of these forces, in the form of painting of landscapes, bamboo, birds, and flowers. This might be called the metaphysical, Daoist aspect of Chinese painting.
Particularly in early times, art also had social and moral functions. The earliest wall paintings referred to in ancient texts depicted benevolent emperors, sages, virtuous ministers, loyal generals, and their evil opposites as examples and warnings to the living. Portrait painting also had this moral function, depicting not the features of the subject so much as his or her character and role in society. Court painters were called upon to depict auspicious and memorable events. This was the ethical, Confucian function of painting. High religious art as such is foreign to China. Popular folk religion was seldom an inspiration to great works of art, and Buddhism, which indeed produced many masterpieces of a special kind, was a foreign import.
Human relationships have always been of supreme importance in China, and a common theme of figure painting is that of gentlemen enjoying scholarly pursuits together or of the poignant partings and infrequent reunions that were the lot of officials whose appointments took them across the country.
Among the typical themes of traditional Chinese art there is no place for war, violence, the nude, death, or martyrdom. Nor is inanimate matter ever painted for art’s sake alone: the very rocks and streams are felt to be alive, visible manifestations of the invisible forces of the universe. For the most part, no theme would be accepted in traditional Chinese art that was not inspiring, noble (either elevating or admonitory), refreshing to the spirit, or at least charming. Nor is there any place in most of the Chinese artistic tradition for an art of pure form divorced from content: it is not enough for the form to be beautiful if the subject matter is unedifying. In the broadest sense, therefore, in a culture steeped in the rhetoric of metaphor and allegory and forever turning to nature as a source of reference, all traditional Chinese art is symbolic, for everything that is painted reflects some aspect of a totality of which the painter is intuitively aware. At the same time, Chinese art is full of symbols of a more specific kind, some with various possible meanings. Bamboo suggests the spirit of the scholar, which can be bent by circumstance but never broken, and jade symbolizes purity and indestructibility. The dragon, in remote antiquity perhaps an alligator or rain deity, is the benevolent but potentially dangerous symbol of the emperor; the crane symbolizes long life; and paired mandarin ducks symbolize wedded fidelity. Popular among the many symbols drawn from the plant world are the orchid, a Confucian symbol of purity and loyalty; the winter plum, which blossoms even in the late winter’s snow and stands for irrepressible purity, in either a revolutionary political or a spiritual sense; and the gnarled pine tree, which may represent either survival in a harsh political environment or the unconquerable spirit of old age.
Critical to all artistic considerations was the belief that the energy and rhythm generated in artistic practice allied the practitioner with the ultimate source of that energy, drawn forth from earthly and heavenly sources and from the sacred Dao itself. Calligraphy and painting, especially, had the capacity to rejuvenate the artist or to damage him spiritually, according to the rightness of his practice and the character of the man. As such, art was viewed in these terms (and so, too, was the viewing of art), taking the artist as much into account as the artistic subject, with regard to erudition, moral character, and harmonic alignment with (or alienation from) the forces of nature.
Learn More in these related Britannica articles: | https://www.britannica.com/art/Chinese-art/Characteristic-themes-and-symbols |
My theological writings arise from my personal journey through faith and doubt, difficulties and joys. Many of our encounters with God inform our theology, make us who we are, and shape our living. I position my writings to reflect this part of my life that I try to live out as faithfully as I can.
In similar ways, religious artists try to capture some of the biblical and theological stories that live in their hearts, minds, and souls and recreate them in different art media. Religious art expresses theological journeys, struggles, and reflections on who God is and who we are. It brings beauty and wonder to the world as artists create representations or imaginings of the divine and the divine's interactions with creation. Through art we gain a deeper understanding of life, God, and the world. One religious artist who tries to capture provocative theological images in art is Caroline Mackenzie.
Caroline Mackenzie grew up in rural Norfolk, England and at fifteen decided to become an artist. At that age, she had no critical sense that there was any problem with the fact that the art books in the school library had no examples of women artists. She saw that being the artist was normally a white male enterprise with women playing the role of the beautiful, inspiring muse, or model. This led her to explore feminism, spirituality, and religion. She tried church but found no connections with her pressing questions. Then, at the British Museum, she discovered Indian sculpture. She found an art world that had meaning beyond entertainment and she also found some resemblance with her own body.
After graduating, Mackenzie went to India. It was a profound learning experience to be in a place where religion and devotion formed an integral part of everyday life. She stayed at INSCAPE Art Ashram, a small Christian community established by Jyoti and Jane Sahi. Here she had her first meaningful introduction to prayer. Her life in India formed her theological underpinnings that has influenced her art ever since.
In 1988, she returned to the UK and worked on a series of church commissions that culminated in a three year project at St Helen's Catholic Church, Caerphilly where she created wood carvings and made designs for the altar frontal and tabernacle setting. This project released tremendous energy and gave her a feeling for what it is like to engage and form public culture. This is the platform or area from which women have been excluded. How many churches or chapels have been designed by women? The church commissions provided her with public work while her inner psychological explorations found expression in paintings that she exhibited in art galleries.
In her attempt to integrate the inner and outer aspects of her life, Mackenzie became increasingly interested in feminist theology. In her continuing search for integration and wholeness, she turned to working in bronze as this medium enabled her to forge closer links between her inner and outer worlds. This fusion is authentic in her search for expression, empowerment, and integration as a Christian.
She is now working at the interface of the sacred and the secular as it has developed in Europe. Christian images of women often look disembodied, disempowered and a-sexual, whilst in the secular tradition, the female has a real body, but the image focuses on its erotic qualities. In neither context do images of women express active, creative, and empowered subjects with rights and dignity. Therefore, Mackenzie draws on the iconography of divine women in Indian religious art. Integrating her insights with the Christian tradition, she expands the idea of the sacred to include the full humanity of woman as included and playing an important part in Christ's redemptive humanity.
Mackenzie creates a form of art based on Christ's life that both women and men can identify with. A working relationship between feminist theologians and artists is productive. Artists can develop images and symbols that bring insights from the theologians into the wider public domain and theologians can help both scholars and lay people to understand this art and how it relates to scripture, tradition and the contemporary context.
Below are four bronze sculptures that represent theological reflection on Mackenzie's feminist faith development. These sculptures go back to the idea of art as a sadhana or spiritual practice as she understood it in India. The first sculpture is entitled, "The Victim". At first glance, it is difficult to discern the shape or form of the sculpture. On closer inspection it is a figure of a woman holding herself in a crouching state. She is vulnerable, weak, fatigued, and shamed. It is a state in which many women find themselves. Either they are shamed by society or victimized sexually, verbally, or physically. This state of mind, body, and soul, may become a tragic state of catatonia.
The second sculpture is "The Crucified Woman". In our Christian faith and art, we have many male images, most notably Christ, of crucifixion. But we need to keep in mind, that women and girls are symbolically crucified in many ways all over the world. They suffer under patriarchy and sexism. Women are raped, molested, and violently attacked. Women's crucifixions often go unnoticed within a patriarchal Christianity that genders God as male.
The third sculpture is "The Creator". Women have been creating, recreating, and giving birth since the beginning of time. Mackenzie emphasizes Proverbs 8:30, "I was beside him as a master craftsman and I was daily his delight, rejoicing always before him." The creative, creating feminine image of wisdom and Sophia needs to be retrieved within our Christian faith. We need to recognize the healing power in creating and being creators. Liberation and hope spring forth from creating.
The fourth is called, "The Flourishing Woman". This sculpture has leaves that grow forth from the woman; these leaves are also flames. This symbolizes the woman like a tree planted beside the flowing waters. Psalm 1:3 speaks of such a tree that flourishes in good times and bad because the roots are near the water: "Blessed is anyone who rejects the advice of the wicked and does not take a stand in the path that sinners tread, nor a seat in the company of cynics, but who delights in the law of Yahweh and murmurs his law day and night. Such a one is like a tree planted near streams; it bears fruit in due season and its leaves never wither, and every project succeeds." The leaves are like the flames of Pentecost through which the Holy Spirit gives life, energy, power and hope to the people. Women, who are traditionally wounded, crucified and exiled, are given hope as they are reminded that they can flourish and bring forth creation.
Together, these four sculptures express hope and transformation for women in the church. Women who are marginalized, subordinated, and victimized, can find power and empowerment in God. The good news can transform women into living, creating and powerful beings. Thanks be to God for artists who, by God's grace, proclaim this good news. | https://www.huffpost.com/entry/made-in-the-image-of-god-_1_b_6807964 |
Michael Velliquette is a contemporary mixed media sculptor currently working primarily with paper. His sculptures, using vibrant colors and bold forms, are visually and structurally complex. Using paper and glue with gator board (a heavy-duty polyester graphic arts board that is both lightweight and strong, and often used for exhibits or signs) and bristol board (heavyweight all purpose card stock) as understructure, he creates densely detailed and dimensionally complex sculptural collages that are then mounted on the wall. Velliquette carefully constructs these paper sculptures layer by layer, incorporating a range of sizes and shapes, including circles and other geometric forms, simple paper chains, and pieces cut to resemble feathers, all of which he then folds, bends and rolls into place. Several examples of his work can currently be seen in the exhibit Paperwork in 3D at the Shelburne Museum in Vermont through October 30th and at Chromatopia, a solo show at the Lawton Gallery at the University of Wisconsin-Green Bay until October 6th.
Velliquette's early work involved various media such as installation, paper sculpture, drawings and ceramics. His current work evolved from his background in mixed-media sculpture and installation, where paper was often only one component among many. He explains, "At the time my work was about transforming conventional craft or building materials into spectacle objects. But as the paper works evolved I began to look for ways to move beyond their inherent flatness to achieve the same sense of immersion that had been such an important part of my previous installation work. I spent time looking at other art forms like mosaic, relief sculpture, collage and other paper-crafting traditions, and I have gone on to incorporate aspects of these forms into my work. The results have been ever-increasing levels of visual and structural complexity."
On being asked how his work might change and in what new direction he might be going, Velliquette said, "In recent work I've been painting the paper prior to using it to construct the sculptures. It's given me a lot of great ideas for marking on the surfaces. It seems like a natural extension of the material with great potential. So, I've also been spending more time developing my drawings in relationship to these sculptural works and am moving towards a greater integration of the two."
His recent work seems to reference religious objects and ritualistic icons such as totems, stupas, altars and masks. He takes inspiration from sources that include dreams, spirituality, world myths and the occult. "The apocalyptic, the mythic, and the decorative are spoken through a method that embraces, by turns, compulsion, ritual and the fanciful" writes contemporary art historian Michael Jay McClure in Laws of the Unconcious, a book surveying Velliquette's early career. In Awaken And Free What Has Been Asleep, a solo exhibition at DCKT Contemporary in New York City this spring, Velliquette's work was influenced by the practice of sigilization, an occult-based method for developing personal symbols by which the words of a statement of intent are reduced to a formal design.
For example along the margins of each drawing in one series, "Good Ciphers 1-12" are handwritten statements like "Opening to a deeper sense of self," accompanied by gestoral rune-like symbols made from the letters of the statement. Those symbols are then repeated on a larger scale and more elaborately articulated. The sculptural works are also derived from sigils and convey a ceremonial aesthetic. "Meat Eater" appears to be a mask of a creature that is part vegetable, part animal. Works such as "Flambeau" and "Illumine" suggest symbolic lights while "Chromasoul" and "Lil' Orphist" reference the power of color. "Grey Guard," one of his few achromatic works, allows viewers greater access into the complexities of the work's construction. In a New York Times article, "Power Tower" is described as being "shrinelike," as well as being reminiscent of party decorations and grade school art projects. In this show Velliquette's paper sculptures and drawings showed an expanded engagement with ornamental abstraction. His bold new forms evolved from a self-described "rite" of meditation, reflection and drawing, and showed a heightened prowess with the process of cutting, layering and gluing his colored paper shapes.
In Chromatopia, Velliquette shows his continuing interest in the interaction of form and color. The works are infused with aspects of tantric drawing, totems, sacred architecture and votive statuary. Four distinct series make up this installation, including miniature gouache paintings, mixed media drawings, paper constructions and plaster sculptures. A statement from the gallery states that "Collectively, the works are suggestive of relics or artifacts from a culture devoted to the worship of vivid hues and complex patterning."
In a description of his work of 2010-2011, Velliquette states, "For me, these works have partly become an exploration of the way emotional responses can be cued by such basic formal elements as color, line, shape, texture and pattern. But these works also speak somewhat about spiritually driven object-making and devotional ornamentation." He also declares: "I also see my recent works as a reaction against the current economic environment. In times of crisis, people often turn to religion and faith. For me, I draw a similar sense of strength from my studio practice. As the country was drawing deeper into recession, everything I was hearing in the media was about shortage and scarcity. I wanted my work to express abundance and exuberance, and for the viewer to experience an aesthetic of plenitude. I get a lot of inspiration from visual density, and it keeps me feeling positive and energized."
Velliquette lives and works in Madison, Wisconsin, where he is on the art faculty of the University of Wisconsin-Madison. He has had numerous solo exhibitions around the country, including Awaken And Free What Has Been Asleep at DCKT Contemporary in New York City in the spring of this year, and participated in many group exhibitions in the U.S. and abroad, including Slash: Paper Under the Knife at the Museum of Arts and Design in New York City and Psychedelic: Optical and Visionary Art Since the 1960s at the San Antonio Museum of Art in San Antonio, Texas. He also has two solo shows upcoming: at Blythe Projects in Culver City, California in 2012 and at the Clough-Hanson Gallery at Rhodes College in Memphis, Tennessee in 2013. He is represented by DCKT Contemporary in New York City as well as by the David Shelton Gallery in San Antonio, Texas.
Michael Velliquette: Lairs of the Unconscious, Devibook, San Antonio, Texas, 2011, available on Amazon.com.
Complex backstrap textiles show astounding skill. But the process can inflict pain. Synergo Arts collaborates to address the problem.
You might well expect to find a somber mood at Delta Survie’s obstetric fistula center. But you would be wrong. | http://handeyemagazine.com/content/cutting-deep |
Passover is a festival that readily lends itself to broad artistic expression. Many of our greatest artists have produced striking graphic works on these subjects, and I present here a selection of original artwork from my Pesach collection.
Exhibited here are two etchings from Frank Leslie’s Popular Monthly: “Weighing and Delivering the Matzes or Unleavened Bread” (1858) and “Weighing and Kneading in Presence of the Rabbi” (1877). Frank Leslie’s illustrated newspaper was an American literary and news magazine founded in 1855 and published until 1922 that was renowned for its reports featuring beautiful artistic wood engravings depicting American life.
As Passover approached in 1858, tens of thousands of Jews lived in Manhattan, comprising about three percent of the population, and there were thousands of poor Jews needing kosher staples for the holiday – not the least of which, of course, was matzah. The Association for the Free Distribution of Matzos to the Poor, a group of benefactors and Jewish organizations, raised $681.87 (almost $24,000 in today’s dollars) for Passover provisions.
The effort was led by Robert Anderson and Mark Isaacs (Isaac’s name may be seen in the etching) and the 14,330 pounds of matzah that were purchased were distributed to 640 families for the benefit of some 3,000 people; about five pounds per person were apportioned to larger families and seven pounds per person for smaller ones.
Zev Raban’s rendering of a family sitting around the Seder table exhibited here is the initial draft of the illustration of the Seder that appears in Chageinu, his famous book on the Jewish holidays (the final illustration, also exhibited here, is significantly different from this sketch). Raban wrote several comments on the right side of the leaf (which are not shown here), including “try to add grandfather”; “Map of Eretz Israel on the wall”; “Pitcher with the bowl?”
Raban (1890-1970), who acquired his reputation through the designs he created for Bezalel, was undoubtedly one of the most important artists and designers in pre-state Eretz Yisrael. Synthesizing European techniques with authentic Jewish art based on specifically Jewish motifs, he developed a visual lexicon of Jewish themes with decorative calligraphic script and other decorative devices which came to be known as the “Bezalel style.” His work, which closely follows the historical events of the building of the Jewish state, reflected his desire to strengthen the identity of the emerging Medinat Yisrael through the revival and artistic expression of Jewish symbolism, and he designed symbols and brands for Zionist entities.
Displayed here are three original works by Joseph Budko, all signed by him. The first is The Ten Plagues, an original etching from his famous Pesach Haggadah; the second is a miniature engraving of a Seder; and the third depicts the head of the household, about to commence the Seder, standing by his open door issuing an invitation to anyone in need of a Seder.
Budko (1888-1940) created a whole new Jewish iconography ranging from Zionist symbols to representations of the world of the shtetl of his youth. Developing a unique style that combined his personal approach with Jewish character and synthesized Jewish tradition with a modern artistic approach, he was among an influential group of graphic Jewish artists who embraced the revival of the woodcut, a medium which lent itself perfectly to express the views of Israel and Jewish culture in various lands. He used the expressive form of the printing methods – etchings, woodcuts, and lithographs – to revive the use of graphic and book illustration in the Jewish art world.
Exhibited here are three postcards of Passover works by Alphonse Levy that feature a smiling Jewish peasant woman. From left to right: Pesach, in which the woman rolls kreplach for the soup (the caption underneath delightfully reads “the pellets of Passover”); Kosher for Pesach, where she is stirring soup with water vapor wafting upward; and Seder, in which she is bringing the Seder plate to the table dressed in her Yom Tov finery.
Born into a strictly Orthodox family, Levy (1843-1918), affectionately called “the Millet of the Jews,” infused his subjects, who came from among the native and pious Jews of the French villages, with a rare combination of whimsy and love. In particular, he was struck by the beauty and majesty of Jewish tradition, which formed the core of the subject matter of his work and, against bitter criticism from the upper-class Jews of Paris, who refused to recognize his work, he remained determined to be “the witness of the lives of the Jewish people.”
The original pencil sketch by Meir Gur-Arie exhibited here was most likely a design for an ad for kosher for Passover chocolate. To the right, a young man asks the four questions of the Ma Nishanah; an elderly Jew on the left panel answers him with Avadim Hayinu from the Haggadah; and the caption below reads, “we were slaves (in Egypt) . . . and now we are in Eretz Yisrael; eat, my son, the good chocolate . . .”
Born Meir Horodetsky (1891-1951), Gur-Arie studied at the Bezalel School of Art (1909-11), where he later taught painting and ivory carving (1911-29). His work is exhibited worldwide, including at the Israeli Museum in Jerusalem.
The striking Alexander Hogg engraving of the search for chametz exhibited here was included in Dr. William Hurd’s A New Universal History of the Religious Rites, Ceremonies, and Customs & Ceremonies of the Whole World: or A Complete and Impartial View of all the Religions on the Various Nations of the Universe (1788). The book included engravings of the religious practices of “the Jews [interesting that the Jews got top billing], Egyptians, Carthagenians, Assyrians, Babylonians, Medes, Persians, Chinese, Japanese, Africans, and all other Idolators and Pagan Nations [one of the engravings depicts “natives of the Caribee Islands feasting on human flesh”], Greeks, Christians, and Romish Church, with the Various Orders of the Communion.
The engraving of The Feast of the Passover exhibited here is by Moritz Daniel Oppenheim (1800-1882), the first Jewish painter of the modern era to receive classical artistic training, to gain recognition in the non-Jewish art world, and to be broadly recognized as one of the foremost Jewish artists of the nineteenth century. Always outspoken about his Jewish identity, his work, which was influenced by his cultural and religious roots, often explored the encounters between Jewish tradition and the modern world.
In Passah, Ephraim Moses Lilien depicts an old Jewish man in Egypt on the eve of the Exodus. The artist draws a pyramid to the left, Egyptian sarcophaguses at the upper center, and the rising sun of redemption and freedom beginning to rise on the far horizon.
Lilien (1874-1925), the first artist to become involved in the Zionist movement, collaborated closely with Theodor Herzl, and his photograph of the Zionist leader on the Rhine Bridge has come to be the definitive pictorial representation of the Father of Modern Zionism. Along with Boris Schatz and others, he was a member of the committee formed to establish the Bezalel School of Art in Jerusalem (1905), where he taught the following year. His drawings, executed mainly in India ink, show a crisp, elegant line and a strong contrast between black and white areas, and many of his better-known etchings, which record his impressions of Eretz Yisrael, have entered the collective Jewish consciousness.
Whenever I look at these old artworks that illustrate the Pesach scenes so familiar and beloved to all of us, I remember a short story that my mother asked me to read about 60 years ago, which she characterized as “remarkable.” It was little more than a mundane description of cleaning the house for Passover, baking the matzot, and preparing for the Seder, which left me distinctly unimpressed – until she told me that it was a translation of an account written over 400 years ago. None of these things had changed, and that story, as well as the art exhibited here, speaks eloquently to the eternity of the Torah, the festivals, and the Jewish people.
Wishing all a chag kasher v’sameach. L’shana haba’ah b’Yerushalayim! | https://www.jewishpress.com/sections/features/features-on-jewish-world/the-art-of-passover/2022/04/13/ |
Quentin Matsys was a Flemish painter, a leader of the Antwerp school of Flemish painting. He was born in 1466 in Leuven, Belgium, where he trained to be a blacksmith. There is no historically verified information about his early life since there are no written accounts, however, it is believed that he started decorating prints for carnivals, which led him to paint. He is known for his religious and satirical motifs, hidden under subtle references that were suitable for the time, and specifically well versed in allegorical moral judgment. Matsys used Christian symbols, emblems and conducted it with small details of vanity, egoism, and greed. The accent in his work is on overall atmosphere, on the unseen conversation and the emotional landscape of the characters. Even though there are many references and literal symbols, the attention is centered around melancholic, evil, spoiled faces of the portrayed people. Grimaces and facial expression were quite often the central details of the piece and the emotions they carry dictate the satirical and judging tone of the work. Matsys devoted most of his time to study of human emotion and its expression on various types of characters, from workers to lovers, mothers and children.
Matsys moved to Antwerp when he quit blacksmith practice. Some historical sources say it was due to poor health that he had to leave manual labor. Others say it was one of those events motivated by romantic motives, and that painting was more delicate and interesting, at the same time, felt more heartful to his loving wife. There are no data about his registration in any artistic guild, but his earlier work indicated that he was self-taught. Upon leaving Leuven he started painting more than just festival decoration, and in Antwerp, he was one of the first artist registered at the Guild of Saint Luke. For the durance of his career, he had only four students, apprentices, that were, like him, practicing the Flemish art and trying to revive the style of German Masters and early Italian renaissance paintings. Living in Antwerp, that was at the time becoming the central European trade center with increased money flow and cultural activities heightened, gave him a unique opportunity to witness firsthand the change in the upper-middle class society and the decline in moral and religious values. He is often compared to renaissance painter Dürer, but Matsys did not have the same desire to overdo the details with utmost perfection. His intention was to leave the surface of the canvas unpolished, rough and to step away from the refinement in order to establish himself as a unique individual with deliberately rough technique.
In an epicenter of commerce, Matsys found inspiration for one of his most famous pieces, The Moneylender and his Wife, painted in 1514. Two persons, a man, and his wife are depicted sitting at a table, positioned in a symmetrical manner, close to each other, signifying their focus on the subjects in front of them, more than each other’s company. The man is counting money, jewelry, and gold, while the woman is reading a book, no other than of religious content, the Virgin, and the Child. Matsys was using archaic colors and painting method for the time, and this was the practice for all of his artwork. The devil is in the details, and the devil in this one were the goods on the table. While showing man and woman in opposite polarities, the artist gave a social and cultural analysis of the society at the time. He often used mirrors in his paintings, as other Flemish artists did, in order to establish a connection with space behind the painting and the world outside of the depicted scene. There is a presence of the third figure in the mirror, and two people talking outside of the door. One of them is a young person, symbol of youth, unspoiled mind that still had not encountered the life of sales, trade, and moneymaking. The complexity of the mirror image indicates the wooden crucifix in the window, and the reflection of the third person in the room, a man opposing the main characters, the artist himself.
Quentin Matsys revived the existing tradition of implementing small objects of significant meaning in the background of his paintings. In the Moneylender and his Wife, gold and pearls represent lust, a sin that takes away the attention from the religious book. Faith was often substituted with devotion towards sins and vices and greed for wealth. He made sure to include the reminders of a good path that we should follow, the rosary that symbolizes faith, the Virgin that expresses purity and all that is good. Many works of the late 15th and 16th century partially issued the warning that the doom day will come, and the rapture will come and only the pure one will be saved. Matsys had a gift to delicately use these symbols and never to overburden the composition with symbolism. He dedicated more attention to an overall morality of the subject and tried to allegorically place the hints and messages. Religious faith and humble living were part of a religious path, however, people tended to lust for wealthy life and material income. Mortality was a constant subject that Matsys and many of his successors included in their work. Sometimes, the message was obvious, like in his famous painting The Ugly Duchess, 1513. This piece is a satirical work portraying a psychically strange looking woman, aware of her unattractive appearance. The overall image was heightened with unfashionable clothing for the time, and eager facial expression, as she was hoping to find the object of her desire. The flower in her hand symbolizes the marriage proposal, which was nowhere in sight. The overall style in all of the Mastys’ work in realism with some tendencies to use grotesque imagery. Her aged skin, out of fashion dress, a headpiece that symbolized the aristocracy, all together ridicule the woman who still tries to seduce the men. Harsh criticism was not intended to her physical looks, the physical appearance was just emphasized to increase the critical judgment of her behavior. It was all part of the genre painting at the time.
The Ugly Duchess is one of the most popular Matsys’ compositions, and it still raises many questions about its origin, the choice of subject, and identity of the woman in focus. It is still debatable if the portrayed woman was a duchess, of noble ancestry if the artist was commissioned to paint the portrait, or he just found her visage curious and interesting. The depiction itself is beautiful, although the subject is not, but her eager facial expression and hopeful eye gaze bring certain warmth and compassion. Art historians found that the woman was probably suffering from the rare disease called Paget’s disease, that causes the changes in metabolism so the facial bones become enlarged and deformed. The artist painted her realistic, which means the poor woman truly had to go through life being stigmatized and mocked for her horrible disease. However, her looks were not the part of the criticism, it was her futile hope to find luck and companionship, doing everything possible to attract a suitable man for a romantic endeavor. Matsys chose this subject because it was directly opposing the religious views of humble and respectful living. Masters has an ingenious way of using old techniques and dated (for the time) colors, to make the pictures as realistic as possible, and at the same time to reveal hidden references to social scrutiny and lack of faith among people. | https://www.widewalls.ch/artist/quentin-matsys/ |
In Ante Pacem: Archaeological Evidence of Church Life Before Constantine, author Graydon Snyder’s goal is to collect and annotate the extant evidence of the growth of the Christian Church in the centuries before Constantine. Snyder’s monograph, while not exhaustive, presents material evidence for the Church in the 2nd, 3rd, and early 4th centuries. Snyder writes that he has been highly selective in choosing material, which illustrates the important hermeneutical space between a scholar of religion and a practitioner.
In recent years, the study of religion has embraced the contribution of the scholar/practitioner, whose religious practice can inform and enrich the scholarly gaze. The practitioner must face the challenge to maintain scholarly objectivity and not to assume that one’s religious views are shared. Ante Pacem is certainly a scholarly text, but in his material choices for inclusion and his commentary, Snyder often privileges his denominational beliefs. Certainly, one cannot write a text without making choices about what to include. As a reader, I was left wondering was the excluded evidence might have revealed. Further, Snyder makes several definitive claims without any documentation or reference to back them up. It is possible that these undocumented claims result from a more confessional, rather than scholarly, mindset.
Chapter 1 provides a brief introduction to the development of scholarly work in pre-Constantinian Christianity. Snyder examines the tension between written and material sources, including when an artifact exists in both spheres. The author clearly lays out his methodology of drawing upon literary sources only to provide context for an artifact.
In chapter 2, Snyder considers extant Christian symbols found mostly on sarcophagi and burial catacomb walls. His presentation of this material evidence is informative and helpful. His interpretation, however, is arbitrary and more complicated than necessary. He groups the symbols into broad categories: symbols of conflict, deliverance, community, satisfaction, the deliverer, supremacy, and defeat. In his consideration of the individual symbols, Snyder does a good job providing history, frequency of occurrence, and connection to biblical sources for these symbols. He does little, however, to demonstrate how the figure of the orans (person with hands uplifted in prayer) is a symbol of deliverance or the palm tree is a symbol of community. If other scholars have grouped these symbols into Snyder’s categories, it would have been helpful to have the archaeological, art historical or literary references.
Chapter 3 features the categories of pictorial representations by medium: frescoes, mosaics, sarcophagi, and statues found in ancient churches and catacombs. There are several helpful aspects to this chapter. The author enumerates the combined groupings of figures in the various media. He provides a list of occurrences of each figure that reveals that representations of the prophet Jonah occur most frequently.
Chapter 4 provides solid and useful pictorial interpretations, drawing upon cultural and spiritual contexts to elucidate the Christian symbols presented in earlier chapters. While this is one of the best documented chapters in the book, with good scholarly references, nevertheless Snyder draws several arbitrary conclusions. Drawing upon his earlier unsubstantiated groupings to establish meaning, the author posits that one cannot draw a Christological interpretation of the fish symbol and a pneumatological meaning for the dove character prior to the reign of Constantine. He sees the fish and the dove both as symbols of peace and asserts that 3rd c. Christians would have agreed. Tuomas Rasimus, in his article, “Revisiting the Ichthys: A Suggestion Concerning the Origins of Christological Fish Symbolism,” affirms that the fish was an established symbol for Christ, and perhaps even for the Eucharistic Christ, by the end of the 2nd c. Rasimus includes pictures of extant archaeological evidence, makes reference to Christian fish artifacts found in the ruins of Pompeii and cites various other scholars for reference. Given the abundance of scholarship to the contrary, it is difficult to understand why Snyder would make such definitive claims without supporting evidence.
Chapter 5, the longest chapter, considers buildings. This chapter is very well-documented with solid illustrations and diagrams. Snyder is more careful to draw definitive conclusions about the material evidence in this part of the text. For example, when Snyder writes about the possible discovery of the bones of St. Peter, he relies upon the historical accounts, archaeological evidence and extant inscriptions. He maintains a scholarly skepticism about whether the bones enshrined in Rome can be verified.
In Chapter 6, Snyder capably presents inscriptions and graffiti. He provides a transcription of the original text, English translation and, when possible, pictures of the original or a map of the location.
In general, Ante Pacem would be a useful introduction in materiality for Evangelical Christian seminarians. | https://readingreligion.org/9780881466843/ante-pacem/ |
By Sally Writes
Around 10.2 million people visited the Louvre in 2018, which is a powerful testimony to the effects that art can have on human beings. Art does so much more than satisfy our inner aesthete. It can be a way of changing the way we perceive others and the world around us. Therefore, it is a magnificent way of promoting something the world needs more of: peace.
How Can Art Help End Fighting And War?
A 2017 study published in Frontiers of Human Neuroscience reviewed numerous studies that point to the sociological value of art. Researchers noted that, in addition to affecting moods and attention, contemplating art also promoted better social knowledge and self-understanding. Art, they found, can help develop empathy, and allow viewers to take a new perspective and to understand others better. These qualities are crucial pillars of peace, which begins when we understand the effects that our own actions have on others.
Can Creating Art Have The Same Effect?
The Dada movement, founded in Switzerland in the early 20th century by artists from a plethora of countries, including war-torn countries, shows the extent to which creativity can be used to both advocate for peace and overcome the devastating effects of war. Dada artists often relied on photography collages to express their dissatisfaction with government regimes that pushed unwilling victims into war. Without a doubt, their art helped them deal with their inner turmoil. There is a reason why, today, art creation is used as therapy with many groups – including refugees, war victims, veterans, and war survivors with PTSD. The value of art therapy goes way beyond the perceived aesthetics of the works themselves. Even those who have never created art before can learn to draw simple human shapes, symbols of peace, and even abstract work that can serve as a basis for self-discovery, expression of emotion, and a basis for discussion of events and feelings that are sometimes too difficult to express through words.
How Can Art Encourage Viewers To Make Peace A Greater Priority?
In addition to fostering empathy, specific exhibitions and movements have shown the extent to which art can promote peace. As noted by Dr. Carol Rank, lecturer at the Centre for Peace and Reconciliation Studies at Coventry University, many exhibitions throughout history have focused on the horror and destruction caused by war. Many artists (think Picasso in Guernica or Goya in his anti-war prints) used powerful imagery to reveal the way war destroyed lives – both of those who perished and those left behind. Fascinatingly, notes Rank, some artists (Kandinsky, Marc, Macke) created apocalyptic pieces that warned about upcoming wars. This is arguably one of the most powerful ways in which art can be used to promote peace – by warning society of what they can expect if they do not put a stop to those who make decisions on engaging in or desisting from war.
Throughout history, the world’s most influential artists – including Picasso, Dali, and Rubens, showed the harrowing effects of war in their art. Far from simply giving life to past battles, many used art as a premonition of upcoming conflict and as a call to human beings to fight for peace. On an individual basis, there are many ways that professional and amateur artists alike can do the same. By taking part in exhibitions, including art in peace-centered events, and discussing iconic war/peace-centered works in educational institutions, human beings can hone their empathy and find the inspiration they need to take a stance against those whose decisions have devastating consequences for so many lives. | https://www.peace-ed-campaign.org/promoting-peace-through-art/ |
For more than five years, the SCHIRN has served as a forum for national and international filmmakers and video artists. Under the heading Double Feature, the latter present a work from their own oeuvre, followed by their favorite film. Already, films and videos by more than 50 guests have been shown. Double Feature is designed as a platform for various trends and forms of expression in film and video production which, with the dawn of digitization if not before, is now considered an art form in its own right. On the last Monday of every month and in conversation with the curators Katharina Dohm, Matthias Ulrich and guest curators, the invited artists provide extensive insight into their creative work, especially their interest in film. In 2018 the audience can look forward to contributions from Lili Reynaud-Dewar, Gery Georgieva, Holly Zausner and Amie Siegel, among others.
RATHER THAN PRESENTING THE WORKS AS OBJECTS IN AN EXHIBITION ROOM, “DOUBLE FEATURE” CREATES A CINEMA-LIKE VIEWING SITUATION THAT FOCUSES SOLELY ON THE SCREEN.
LILI REYNAUD-DEWAR
The cinematographic work of artist Lili Reynaud-Dewar continually revolves around the concepts of cultural, social and emotional identity. Stories, myths and symbols are as much the subject of her works as they are tools of her artistic exploration.
GERY GEORGIEVA
Gery Georgieva’s films rely on a performative self-presentation. Often she interweaves specific types of women in a hallucinatory way – the Pop diva, the artist, the tradition-conscious country girl – in order to question constructs of gender, taste and identity.
HOLLY ZAUSNER
American artist Holly Zausner has created a figure as an alter ego who then accompanies her in her work. In her film “Unsettled Matter” (2015), Zausner has created a dystopian cinematographic version of Manhattan and roams through the otherwise lively city.
AMIE SIEGEL
In her work, Amie Siegel draws on a wide variety of sources from film and cinema history, as well as architectural and art history, and by means of transmission, correlation and repetition she reflects time and again on the medium of film itself. It is seeing that is the central element here.
HAMZA HALLOUBI
Artist Hamza Halloubi, who was born in Morocco, tackles questions of identity and its interpretation. His often melancholic films, with their lonely protagonists, create space for supposedly unimportant gestures or incidents that conjure up a different perception of the world.
PAULINE CURNIER JARDIN
The films by Pauline Curnier Jardin break into the hallucinatory hidden world behind our society. Using a grotesque, dark aesthetic, they are inspired by B movies and religious rituals alike, ultimately bringing to light a dystopian social reality.
CHRISTOPH KELLER
Christoph Keller’s works call to mind the magical realism of Jorge Luis Borges. In his installations, which look like experimental configurations, Keller makes use of art’s discursive possibilities to address scientific phenomena and their utopias. Keller positions his artistic products in the realms of objective science, to verify them and at the same time take them to absurd levels. Far more important in terms of the artist’s extensive research are the numerous spaces for thought that Keller creates with comparatively sparing artistic means.
PAUL KUIMET
Photographer and video artist Paul Kuimet dedicates his work to landscapes bearing traces of human life. It documents changing ideologies, ownership, architecture and identifiable ways of life. Many of his pieces reflect the political influence of the former Soviet Union on Estonia, independent again since 1991, where Kuimet was born in 1984 and has since lived.
NINA KÖNNEMANN
Video artist Nina Könnemann situates her work between realistic cinema and a structuralist materialism. Her pieces are often observations of everyday (marginal) phenomena, which take the form of studies of human behavior in a socio-economic context. Könnemann is particularly interested in marginal, urban spaces and everyday activities taking place within them that receive little attention. Using filmic means, in particular editing, she hones her unspectacular observations to create a subtly eloquent portrait.
ALEXEY VANUSHKIN
Alexey Vanushkin’s works are inspired by the excess of mass-media images whereby war and violence, lifestyle and pornography are knitted seamlessly together. Photographs and video recordings from various different sources are woven together with text, music and comic-like elements to form commentaries on contemporary visual culture. At times frivolous, provocative, or melancholy, Vanushkin challenges the visual habits of observers.
SU-MEI TSE
Defined by her simultaneously European and Asian roots, as well as her interest in the tonal dimension of the world, the artistic practice of Su-Mei Tse is permeated by questions of time, memory, musicality and even language. Su-Mei Tse was born in Luxemburg in 1973 and won the prestigious Golden Lion at the Venice Biennale for her country pavilion in 2003.
ALEXANDRA BACHZETSIS
In her performances, the artist and choreographer Alexandra Bachzetsis creates arrangements of bodies, costumes and movements that are as charming as they are brutal, and through which she questions the mainstream culture of the present day. Another definitive topic that plays a role in Bachzetsis’ cinematographic works is how femininity is constructed today. | https://www.schirn.de/en/exhibitions/2018/double_feature/ |
Way of flowers07.09.2015
Ikebana is a Japanese traditional art of floral arrangement. In early times of Buddhism flowers were a ritual offering to the dead. Disconnected from its religious roots, this tradition became, in Japan, a discipline of strong symbolic importance.
Ikebana is six hundred years old and this art has had various styles and numerous schools. As often in Japan, it was first a right of the nobility and the clergy before spreading to all classes. Modernisation has given Ikebana new forms and interpretations.
Unlike a Western bunch of flowers where beauty is the underlying key, Ikebana’s purpose isn’t decorative but of harmony created by a rigorous balance between shape, colors and lines of strength. The pattern of an Ikebana shows the universal balance between sky, earth and mankind* but as in any Japanese art, its definition in a few words cannot reflect properly the artist’s inner work where silence, concentration and subtle perceptions are harmoniously characterised in the art of acting correctly or doing well.
Not only is the Ikebana made of vegetal parts – flowers, stems, buds, leaves, wood, moss etc. but also the container. All materials used have a meaning and space created between, should be asymmetric. Although the beauty which results from this art is completely artificial, meaning that it’s found nowhere in nature, it echoes a cosmic serenity.
In the Western world, Art Nouveau was very sensitive to the art of Ikebana as not only does it draw its inspiration from vegetal forms, but also its science of asymmetrical shape offered an alternative to the geometry of the Italian Renaissance. Ikebana’s traditional, non-reproducible hand-crafted style was also inspiration for artists like William Morris or Joseph Hoffmann who clearly related to the Japanese aesthetical disciplines.
More recently, contemporary artist Camille Henrot was inspired from the silent language of Ikebana in her work Is it possible to be a revolutionary and like flowers? where she distorts the traditional form of Ikebana in order to create a Western library. Each book is turned into a floral arrangement, following a syntax invented by the artist. Such an idea came from the comforting properties of both flowers and literature. | http://www.diptyqueparis-memento.com/en/way-of-flowers/ |
The role of a Museum of Art is to inform and educate! This is a common enough objective and one that could be expected of any museum. But Nyoman Rudana, the owner of the eponymous Museum Rudana, has purposely given this objective a supplementary function: his museum aims to be at the service of the image of the nation.
And indeed, all the main exhibitions at the museum, have had, as their subject, Indonesian modern art – the sole purpose of which has been to establish the place it occupies, in the larger framework of international art – and, by so doing, to promote its international recognition. This attention, given to modernity in art in the national and international context, needs to be seen within the context of what is presently the museum owner’s principal occupation: politics. As one of the four senators representing Bali in the Regional Representatives Council(DPD, Nyoman Rudana wishes to promote an image of Indonesia, and of Bali, that goes beyond tradition. He wants to affirm that his country is a contender on the scene of both cultural modernity and post-modernity.
Much has been written about modernism in art. Its presence in the international landscape has often been seen as a mere phenomenon of diffusion, as if the brands of modern art that now exist throughout the world were mere offshoots of a single Western trunk and, as such, were of little interest. What this viewpoint overlooks is that modernism sprang up under different circumstances in the West from in the rest of the world. In the West, it was self-generated, issuing from a questioning of form in relation to subjectivity that was closely related to the great socio-economic and cultural transformations of the late 19th and early 20th centuries. In the rest of the world, however, it was exogenous. It was imposed top-down by colonization.
Borrowed “modernist” form was never an issue per se. It became a simple garb in which artists expressed their local cultural concerns. The result can now be seen: as modernity is firmly establishing itself throughout the world, non-Western modernism, sometimes ambiguously called post-modernism, is coming back to haunt the Western world, its matrix: the modernist revolution is now dead in the West, and it is now from the non-Western world with its strongly localized art that the most original expressions of contemporary art are coming.
The exhibitions, held since its creation at the Museum Rudana, have been concrete illustrations of this phenomenon of plural modernism. This current exhibition does not simply aim at “comparing” Indonesian and foreign artists, as with previous events at the museum. The current event goes further and aims at illustrating what is Indonesia’s specific contribution to international modernism in art: the insertion of an Indonesian ethnic symbolism within a modernist system of form. The logic of form espoused by the various artists in the show is undoubtedly that of modern art: exploration of color and form appears as a goal in itself, and does not seem to obey to any figurative constraints; yet, at the same time, carefully selected and often subtly connotative elements of figuration are present, in an obvious enough way to suggest spirituality-related forms of symbolism.
Eight artists are exhibiting at the present show “Modern Indonesian Masters.” Among them are the greatest names of Indonesian and Balinese modern art. These eight selected artists represent the two modernist traditions of Hindu Bali and Islamized Java as well as the two schools of Bandung and Yogyakarta. These two schools are differentiated by the way modernism was introduced: it was taught as such in Bandung, but it infiltrated itself more spontaneously into Yogya, thus leading, in the latter case, to a larger share being given over to the ethnic component. All the Balinese artists included in the show were educated in Yogya, thus adding a supplementary layer to their adoption of the modernist principles of art. As the exhibition hopes to make clear, it is by its modern symbolic expression, derived from the traditional local cultures, that Indonesian modern art makes a significant contribution to international art.
Among the selected artists, two are from Bandung, Srihadi Sudarsono and Sunaryo, while the rest consists of Yogya-educated Balinese, Nyoman Gunarsa and Made Wianta, as well as the younger Nyoman Erawan, Made Jirna, Made Budiana and Darmika, all of whom, with the exception of Darmika, are well-established names in the Indonesian art world. The only newcomer is Darmika, whose star has risen only in recent years.
Srihadi Sudarsono
Of the eight artists participating in the exhibition, the name of Srihadi Sudarsono comes first. At 76, ever-productive, he is an important name in Indonesian art history. He began his career in the late forties as an illustrator of the national liberation struggle. In the early 1950s, while still a student in Bandung, it was his cubistic works that brought the accusation that the Bandung School was a laboratory of the West. After a short stint in the United States, where he studied on a scholarship, he settled into a long period of symbolic “color fields”: in the most typical of these works - most of which were “horizons” - the layers of color, classical tools of minimalist abstraction, were enriched by barely visible figurative elements (offering, temple etc), so as to convey an impression of cosmic fusion between Man, Nature and the Cosmos. While working on this series, Srihadi became his country’s most prominent colorist to the point where he could as in his “social” and “political” series from the 1970s, purposely “uglify” colors in order to convey a strong protest. Today, his concern is meditative, as illustrated by the extraordinary subtlety of his colors: his “Borobudur” series are studies in often barely perceptible color nuances; so that it is through the small white spot of light he puts at the very top of the great temple’s highest stupa that the monument comes visually to life, poetically bringing down to us, to earth, the idea of godly transcendence. In his works shown at the museum, the accent is on ethereality, that of dancers between the real and the unreal, moving into the sublime.
Sunaryo
Sunaryo (66) is another star from the Bandung school. His work is characterized by a stunning breadth of skill. A painter, he also has a reputation as a sculptor as well as an installation and performance artist. His painting style, always highly artistic, is no less eclectic than his medium, sometimes abstract, at other times symbolically figurative in a poetic or social way – an illustration, if need be, of the fact that the “style” factor is always secondary to the artist’s creative power. If Sunaryo’s endeavor is often purely aesthetic, via abstraction, he is no stranger to making social statements through his works. One of his favorite themes is the encounter of “tradition over against modernity.” He sometimes represents this in a symbolic way as the fight between a red barong mask and the forces of darkness, but in the present exhibition, the point is made bluntly by dancers holding a hand phone - modern reality and its related threat of the loss of cultural memory. Here the accomplished master casts aside, for a while, his aesthetic concerns and has us ponder on Indonesia’s cultural future. He leaves the answer open. Another interesting facet of Sunaryo is his role as a cultural activist. His Selasar Sunaryo is one of the most active venues of modern art in Bandung.
Nyoman Gunarsa
The most senior Balinese artist at the exhibition is Nyoman Gunarsa. He was also the first Balinese to study at Yogyakarta’s ASRI art school, where he was later appointed as lecturer. ASRI’s lecturers all insisted on the need to “indigenize” Western influence and therefore refused to practice pure aesthetic research, as done in Bandung. In Yogya, Gunarsa was also influenced by Indonesia’s great expressionist painter Affandi. His art is the result of these influences, skillfully combining Balinese subjects such as dancers and wayang puppets with the “expressionistic”, almost “action painting” manner of modern art. His works typically consist of a softly hued background on which his brush draws in swift color swabs the canvas-size figures of Balinese dancers or wayang characters. Such a conjunction of softness of color, etherealness of form and dynamism renders his paintings magically appealing. By shrouding the expression of Bali in modern garb, Gunarsa succeeds, the first among Balinese artists to do so, to make Balinese art accessible to a wider national and international public. But Nyoman Gunarsa is not “simply” a painter. He is also a cultural activist. He owns Bali’s most complete collection of Balinese classical paintings, which are on show for the public at his museum in Klungkung.
Made Wianta
No less important than Gunarsa is Made Wianta. Made Wianta, who first came to attention of Indonesians with his black and white works, after a stay with Balinese traditional artists. Shapeless monsters, nameless forms, the subconscious side of Balinese psyche suddenly spurted out as the obsessive expression of this strongly individualized artist. In the middle 80s, Wianta’s attention shifted from black and white to color, from graphic lines to color dots, and from the figuration of the subconscious to the representation of pure formal archetypes: he thus became an abstract painter. His works have since been combinations of archetypal studies in geometry, calligraphy and color compositions - often in the form of colored dots. They combine elements of informal abstraction, op art and geometric abstraction. Many are based on dialectic of micro and macro elements, a reminder of Hindu concepts. Since the 1990s, Made Wianta has also come to our attention through his installations. His recent installation masterpiece was dreamland: an exhibition in a totally dark space of photographs of the “Bali Bombing” painted with cow blood. A strong statement on violence and universal call for peace.
Nyoman Erawan
Nyoman Erawan (55) is the master of what can be called Balinese abstract symbolism. His paintings look outwardly abstract but reveal themselves, on closer inspection, to be laden with typical Balinese symbols. Interestingly, these symbols are not, for him, merely instrumental or intellectual references; they come from the core of his personality. Besides being a modern painter, he is also a traditional sculptor and architect (undagi), for whom the symbols he uses have a living religious meaning: colors of the cardinal directions, Chinese kepeng coins, checkered black and white cloth, cosmic mountains etc. What he, thus, expresses in modern aesthetic language, and are accessible to anyone, are the Hindu concepts of eternal movement, of the life force surging and waning away, and of Man engulfed in this great cosmic whirling. Erawan’s ideas are still better expressed under the form of ‘installations’ and performances with similar, but this time three-dimensional symbols. A whole school of Balinese artists is following in Erawan’s path of abstract symbolism.
Made Djirna
Among Balinese artists, the collectors’ favorite is probably low profile Made Djirna. Djirna’s key to success lies in an uncanny mix of technical sophistication and thematic simplicity: the skills of the painter are put at the service of a simple vision of the world in which everyone can recognize some of his dreams - and nightmares. Djirna’s favorite theme is that of Woman. Yet, Djirna’s typical Woman embodies men’s ambiguities toward their lifelong partner. A symbolic archetype, this Woman is either depicted as a mother or, on the contrary, as a witch. In the first case, her shape, rounded, conjures up the image of the egg and, ipso-facto, of fertility, found also in the way she sometimes wraps her children in an oval composition. The atmosphere is that of an idyllic, universal motherhood. But this positive image is reversed as soon as the Woman gives up her function as Mother, then, the state of balance, symbolized by motherhood and fertility, moves into a state of disorder and evil, in which the Woman is either victim or perpetrator of evil. Controlled horror prevails – and artistic mastery. This same mastery is also at work in the artist’s abstract series – works of color dominated by a dialectic of green and red, the product of the emotional flux of this interesting master.
Made Budiana
Less easily accessible is Made Budiana. A master of pastels, as much as painting proper, his starting point is not so much color as “line”. Figurative representation in his work is never purposely accidental. It occurs, but less as the result of intent than as an accidental consequence of a “scrabbling frenzy” to which a few additional touches give a figurative content. The purpose of this spontaneous technique is to allow for the subconscious to come up to the surface. It does so, in images usually at the border of figuration and abstraction. Indeed, here and there, there appear in his works shapes vaguely reminiscent of cultural images through which the Balinese usually express and codify their anxieties. With Djirna, above, Budiana is one of the few Balinese artists who gives room in his works to a “modernized” version of Balinese cultural archetype.
Darmika
The last artist of the show is Darmika. Darmika is part of those FEW artist who come to maturity late on, once they have undergone a sort of catharsis through which their expression, until then impeded, finds a sudden outlet. Like the painters above, Darmika belongs to the modernist Balinese tradition, that of artists hovering between figuration and abstraction, and who usually end up subtly connoting Balinese symbols through an abstract-looking color composition. All is indeed subtlety in Darmika’s works. The contrasted colors, which seem to melt into one another, like opposed cosmic forces, eventually combine and blend in the great whirling of things.
These eight painters, who are among Indonesia’s most famous, illustrate the encounter of modernity and tradition. Yet, all are aloof from reality. Their world is that of symbols, dreams or ethereality. The real world is absent. There lies for artists, and for the museum, the challenge of the future. (Jean Couteau)
Museum Rudana
Jalan Cok Rai Pudak No. 44
Peliatan, Ubud.
(Telephone ++62-(0)361-975779).
The current exhibition runs from August 16, 2007 until October 1, 2007. The Museum is open Monday through Saturday from 9:00 a.m. until 5:00 p.m. and on Sunday from 12:00 a.m. until 5:00 p.m.
Source: Bali Discovery
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The practice of walking to a sacred space for personal and spiritual transformation has long held a place in the British imagination. Art and the Sacred Journey in Britain examines the intersections of the concept of pilgrimage and the visual imagination from the years 1790 to 1850. Through a close analysis of a range of interrelated written and visual sources, Kathryn Barush develops the notion of the transfer of ‘spirit’ from sacred space to representation, and contends that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. Drawing on a rich range of material including paintings and drawings, manuscripts, letters, reliquaries, and architecture, the book offers an important contribution to scholarship in the fields of religious studies, anthropology, art history, and literature.
"A beautifully written analysis of the relationship between British artists and pilgrimage, physical and mental, in the early nineteenth century. Focusing on a period that is often neglected in British pilgrimage studies, this work has a broad appeal and will be of great interest beyond the confines of art history." - John Jenkins, University of York, UK
"The spiritual pursuit of pilgrimage as an actual and mental act provides Kathryn Barush with a theme that is both notably rich in itself and provides a revealing entry into major artistic and theological issues in the period. She brings into prominence neglected sources for collecting and creating, casting fascinating new light on prominent artists and writers, most notably William Blake. She also provides new perspectives on the fraught and complex religious debates in Catholic and Protestant devotion in theory and practice. She takes us on an enriching journey across familiar and unfamiliar landscapes." - Martin Kemp, Trinity College, University of Oxford, UK
"In this book, Kathryn Barush provides ample evidence that the impulse and desire to revere objects of devotion, whether they be the relics of a saint or the artefacts of a celebrity, animate our human instinct to embrace all things mythic and connect the present with the past, the seen with the unseen." - Michael Morris, Dominican School of Philosophy & Theology, Berkeley, USA
"This book’s accomplishment resides in its convincing argument for the artistic process as a pilgrimage, and the finished object as a site of pilgrimage for others. Thus, devotional practice is reinterpreted in a modern guise through a close analysis of art and vision. It contributes a much needed corrective view of the period 1790-1850 in Britain through a fresh consideration of the practice of pilgrimage in all its manifestations, whether by foot, by reading, by study, or art making. The sacred journey may well be a traditional concept, but this book articulates why, at this point in history, it became a dynamic and modern theme in both visual and verbal art forms." - Therese O’Malley, National Gallery of Art, Washington, USA
"Kathryn Barush has sifted rare archival materials, followed the tracks of unsung questers, revisited the Gothic vision of the past, and dug deep into visual and literary sources in order to communicate the interweaving of faith and aesthetics in British Romanticism. At a time when understanding the relations of people to places and the past, and the interactions of individual and collective memory has become an urgent concern, Art and the Sacred Journey presents an original and exhilarating perspective. This is an enriching and exciting book, researched with admirable vigour, and written with enthusiasm." - Marina Warner, Birkbeck College, London, UK
"An illuminating and carefully researched study, Barush’s book elevates the idea of painting as pilgrimage both in this period and, as Blake might suggest, in "every age," not least those like our own so conscious of religious revivals and change." – Emma Mason, University of Warwick, UK, Marginalia Review of Books, January 2017
"Kathryn Barush’s rich and erudite study, scrupulously documented and illustrated, provides a welcome supplement to our understanding of religion’s influence on Romanticism, and the author is to be commended for her efforts." - Alexandra K. Wettlaufer, University of Texas at Austin, USA in European Romantic Review, August 2017
Awarded an honorable mention by the Graduate Theological Union Borsch-Rast Book Prize
Introduction; Manuscripts, mendicants, and magi: the antiquarian revival of pilgrimage texts and objects, with a focus on the collection of Francis Douce; Saints and symbols: pilgrimage and the theology of ‘things’; ‘Every age is a Canterbury pilgrimage’: William Blake as pilgrim and painter; Pilgrimage and the art of ‘the ancients’; The road to ruins; Conclusion: ‘the road goes ever on’; Bibliography; Index.
The public prominence of religion has increased globally in recent years, while places associated with religion, such as pilgrimage centers, and famous cathedrals, temples and shrines, have attracted growing numbers of visitors and media attention. Such developments are part of a global process where different forms of travel – physical movement such as labor and lifestyle migration, tourism of various forms, the cultural heritage industry and pilgrimage – have become a major feature of the modern world. These translocal and transnational processes involve flows of not just people but also material objects, ideas, information, images and capital.
The public prominence of religion aligned to the modern growth of tourism (sometimes now claimed as the world’s single largest industry) has created a new dynamic relationship between religion, travel and tourism. It has been mirrored by expanding academic research in these areas over the last twenty years across a variety of disciplinary areas, ranging from anthropology, sociology, geography, history and religious studies to newly emergent areas such as tourism and migration studies. Such studies have also expanded exponentially in terms of the geographic spread of places, religions and regions being researched.
This series provides a new forum for studies based around these themes, drawing together research on the relationships between religion, travel and tourism. These include studies from global and cross-cultural perspectives of topics, such as: | https://www.routledge.com/Art-and-the-Sacred-Journey-in-Britain-1790-1850/Barush/p/book/9781472466624 |
filed: August 6, 2013 • U.K.
Communities should be paid for allowing wind turbines and solar panels on public buildings, according to MPs.
The Energy and Climate Change Committee said local residents should be offered a cut in electricty bills or a stake in the ownership of renewable energy developments in their area.
The cross party group also said Government needs to do more to encourage local authorities to identify suitable areas for wind farms or solar arrays.
The report comes as solar companies warn that solar panels must go on more schools and other buildings since there are not enough brownfield sites around the UK.
Although large-scale projects will still supply the majority of power for the country, the MPs said local renewable energy projects will become increasingly important.
But while households which install small-scale systems, such as solar panels, and major renewables projects both receive financial support, medium-sized schemes, between 10 and 50 megawatts, fall through the gap and receive no cash.
The Government must bring forward proposals to support such schemes to incentivise people to install them, alongside a package of measures addressing finance, planning, grid access and advice, he committee urged.
The Government-backed Green Investment Bank (GIB) could provide seed funding and project development cash for feasibility studies, permits for the grid and other elements to reduce the risk in getting schemes off the ground.
Speaking for the committee, Dr Alan Whitehead said the Government should encourage businesses to offer local people a stake in all new energy developments, or even make it mandatory to offer community ownership.
“Encouraging schools, businesses and local authorities to generate some of their electricity locally can bring big benefits to communities and the UK as a whole.
“Businesses can reduce their energy overheads, locals can potentially benefit from cheaper electricity or heat, and councils can use projects to tackle fuel poverty, cut costs and reduce carbon emissions.
The report also urged the Government to do more to encourage local authorities to identify suitable areas for renewable energy development in their areas.
It said councils should set out clear guidance about what is expected from local energy projects to reduce risk in the planning process and prevent bad projects from coming forward.
The Government has admitted they want to increase the number of solar panels covering the countryside by up to 14 times over the next 7 years.
About 1.4GW of solar power is generated on buildings and in fields of Britain at present. By 2020, the Department of Energy and Climate Change wants this to rise to between seven and 20GW.
But a survey by Kronos Solar, shows that out of the 23,000-plus brownfield sites listed in the UK, just 128 have theoretical potential to host solar farms.
This will mean building on greenfield or finding more roof space to host solar panels. | https://www.wind-watch.org/news/2013/08/06/communities-should-be-paid-for-wind-and-solar-in-their-neighbourhood/ |
Renewable energy is any power source that can be replenished on a short timescale (typically less than a human lifetime). Examples include wind energy, tidal and hydrodynamic energy, solar power, biomass, biofuels and solar thermal or geothermal heating. Applications include generating renewable electricity, providing heating and cooling solutions, and powering vehicles. Renewable energy is widely used in commercial, domestic and government buildings to replace or supplement national grids, and government subsidies are frequently available to support the installation of green power systems such as wind farms or solar panels. The companies listed below include suppliers of eco-friendly energy products, consultants on renewable energy solutions and providers of eco-friendly alternatives, such as solar panels, marine and wind turbines and geothermal power. | https://www.copybook.com/renewable-energy?countryFilter=52&page=1 |
Class 9 – Monday, April 25, 2022
- Developing renewable energy, battery storage, conservation,
- How fast can we transition to 100% renewable energy?
- Buildings and transportation
- Barriers to ending fossil fuels
Required Readings
- Barriers to Renewable Energy Technologies | Union of Concerned Scientists (ucsusa.org) https://www.ucsusa.org/resources/barriers-renewable-energy-technologies
- https://renewableheatnow.org/renewable-heat-now-encouraged-by-hochuls-budget-bills-to-get-fossil-fuels-out-of-buildings-urges-faster-timeline-and-more-
- https://thehill.com/opinion/energy-environment/565278-investing-in-public-transit-is-a-climate-imperative Sierra Club
- Ithaca Green New Deal https://www.npr.org/2021/11/06/1052472759/to-fight-climate-change-ithaca-votes-to-decarbonize-its-buildings-by-2030;
- https://www.cityofithaca.org/DocumentCenter/View/11054/IGND-Summary-02-11-2020
- Global100REStrategyGroup.org https://global100restrategygroup.org/
Optional Readings
- (note: read for class 2: Wind and Solar Power – 53 – 60 Fight the Fire https://theecologist.org/fight-the-fire)
- https://renewableheatnow.org/wp-content/uploads/2021/12/RHN-legislative-package_final.pdf
How fast can we transition to 100% clean energy?
2030 vs 2050 net zero
Industrial processes – cement, aluminum steel – getting renewable at high enough temperatures
Joint declaration of the global 100% renewable energy strategy group
The Earth’s climate emergency requires the completion of a zero-emissions economy much sooner than the generally discussed target year of 2050. A target year needed for ending our CO2 and other climate-warming and air pollutant emissions is proposed to be 2030 for the electric power sector and soon thereafter, but ideally no later than 2035, for other sectors. The core solution to meeting this timeline is to electrify or provide direct heat for all energy and provide the electricity and heat globally with 100% renewable energy (RE).
Rich countries must end oil and gas production by 2034 to keep the world on track for 1.5°C and give poorer nations longer to replace their income from fossil fuel production, finds a new report from a leading climate scientist at the University of Manchester released today. https://www.iisd.org/articles/analysis/rich-countries-must-end-oil-and-gas-production-2034
Jacobson – Howarth Study 2014 – 100% by 2030 http://web.stanford.edu/group/efmh/jacobson/Articles/I/NewYorkWWSEnPolicy.pdf
This study analyzes a plan to convert New York State’s (NYS’s) all-purpose (for electricity, transportation, heating/cooling, and industry) energy infrastructure to one derived entirely from wind, water, and sunlight (WWS) generating electricity and electrolytic hydrogen. Under the plan, NYS’s 2030 all-purpose end-use power would be provided by 10% onshore wind (4020 5-MW turbines), 40% offshore wind (12,700 5-MW turbines), 10% concentrated solar (387 100-MW plants), 10% solar-PV plants (828 50-MW plants), 6% residential rooftop PV (5 million 5-kW systems), 12% commercial/ government rooftop PV (500,000 100-kW systems), 5% geothermal (36 100-MW plants), 0.5% wave (1910 0.75-MW devices), 1% tidal (2600 1-MW turbines), and 5.5% hydroelectric (6.6 1300-MW plants, of which 89% exist). The conversion would reduce NYS’s end-use power demand 37% and stabilize energy prices since fuel costs would be zero. It would create more jobs than lost because nearly all NYS energy would now be produced in-state. NYS air pollution mortality and its costs would decline by 4000 (1200–7600) deaths/yr, and $33 (10–76) billion/yr (3% of 2010 NYS GDP), respectively, alone repaying the 271 GW installed power needed within 17 years, before accounting for electricity sales. NYS’s own emission decreases would reduce 2050 U.S. climate costs by $3.2 billion.
One problem – his calculations are spreadsheets, where he plus in data from federal government. So, doesn’t really involve timetables, etc. or deal with logistical problems. And some of his assumptions have been challenged.
Transitioning to a clean-energy grid should happen by 2035, the study advises, with at least 80% of that adjustment completed by 2030. https://www.cnbc.com/2021/12/21/us-can-get-to-100percent-clean-energy-without-nuclear-power-stanford-professor-says.html All 50 states https://web.stanford.edu/group/efmh/jacobson/Articles/I/USStatesWWS.pdf
When I asked Prof. Jacobson whether 2030 or 2050 should be the timeline for 100% clean renewable energy, he said 2030 is what is technologically possible, he added 20 years to deal with political and economic concerns.
We switched from horses to cars in a decade. How fast did the iPhone take off? Other technological shifts have happen much faster than expected.
Biden – 100% clean electricity by 2035. In April 2021, the United States set a target to create a “carbon pollution-free power sector by 2035”—an important element in the country’s goal of reducing emissions 50 to 52 percent by 2030 and achieving net-zero emissions by 2050. https://www.washingtonpost.com/climate-environment/2020/07/30/biden-calls-100-percent-clean-electricity-by-2035-heres-how-far-we-have-go/
This article presents a potential “zero-by-35” decarbonization scenario in which each regional power market would reach net-zero greenhouse-gas (GHG) emissions by 2035 without offsets from other sectors. https://www.mckinsey.com/industries/electric-power-and-natural-gas/our-insights/net-zero-by-2035-a-pathway-to-rapidly-decarbonize-the-us-power-system
International Energy Agency – The Net‐Zero Emissions by 2050 Scenario (NZE) shows what is needed for the global energy sector to achieve net‐zero CO2 emissions by 2050. Alongside corresponding reductions in GHG emissions from outside the energy sector, this is consistent with limiting the global temperature rise to 1.5 °C without a temperature overshoot (with a 50% probability). Achieving this would require all governments to increase ambitions from current Nationally Determined Contributions and net zero pledges. In the NZE, global energy‐related and industrial process CO2 emissions fall by nearly 40% between 2020 and 2030 and to net zero in 2050. Universal access to sustainable energy is achieved by 2030. There is a 75% reduction in methane emissions from fossil fuel use by 2030. These changes take place while the global economy more than doubles through to 2050 and the global population increases by 2 billion.
Extinction Rebellion – getting to zero emissions by 2025 – is it realistic? (looks at UK) – https://www.bbc.com/news/science-environment-47947775
Barriers – technological vs. political
Cost of Renewable Energy vs Fossil Fuels
As we will outline below, government subsidies play a major part in how renewable energy sources will begin to grow, but let’s look at the cost of renewable energy vs fossil fuels without subsidies first to get a real idea of the cost difference.
Based on global energy prices, coal prices have averaged around $0.06 cents per kilowatt-hour (kWh), steam from fossil fuel prices have averaged around $0.05 cents/kWh, and small-scale natural gas prices have dropped as low as $0.03 cents/kWh, and until the last 10 years, renewable energy prices didn’t come anywhere near as low as this.
This is why it came as such a surprise when, in 2016, a major commercial solar farm offered a particularly low price for photovoltaic energy at $0.029 cents/kWh. This leveled out the cost between renewable energy and fossil fuels, so this can no longer be an excuse for why fossil fuels are still being used so widely.
The cost of offshore wind turbines has fallen about 80% over the last two decades, to as low as $50 a megawatt-hour. While more expensive per unit of energy than solar and wind farms on land, offshore turbines often make economic sense because of lower transmission costs. https://finance-commerce.com/2021/06/u-s-is-far-behind-in-offshore-wind-power/
Fossil Fuel vs Renewable Energy Subsidies in the US
One of the reasons that renewable energy is now so affordable in the United States is due to the energy subsidies set out by the Government. They offer these subsidies to consumers and businesses to encourage them to use more sustainable power sources in the fight against climate change.
Renewable energy subsidies are financial incentives that reduce the cost of using renewable energy sources in the hope that more industries, and energy consumers in general, will make the switch from fossil fuels to alternative energies.
Although initial installation costs are relatively high, as the subsidies come in the form of tax breaks or as direct payments, the Government is effectively paying for these initial costs so switching to the use of renewable energy sources will be cheaper in the long run.
There is a fundamental problem with the way US renewable tax credits are designed. Tax breaks are supposed to go to companies that develop renewable energy projects, but these developers rarely owe any taxes when they start building a wind or solar farm because most begin as a new company, with no pre-existing tax bills. If developers want to get any value out of government incentives, they must try to bring on third-party financial partners – typically massive banks like JP Morgan and Bank of America. Developers effectively sell their tax breaks to these banks in return for the upfront funds that banks invest in a project. https://theconversation.com/renewable-energy-us-tax-credits-for-wind-and-solar-mostly-benefit-big-banks-173965
Capacity factor
The capacity factor is simply the ratio of energy generated over a time period (typically a year) divided by the installed capacity.
|Generation Type||Capacity Factor|
|Solar Panels||25%|
|Wind Turbines||35%|
|Hydroelectric Power Stations||40%|
|Coal Fired Power Plants||70%|
|Nuclear Power Plants||89%|
|Combined Cycle Gas Turbine||38%|
https://www.whatnextnow.com/home/solar/what-is-capacity-factor-and-how-does-solar-energy-compare and https://www.statista.com/statistics/183680/us-average-capacity-factors-by-selected-energy-source-since-1998/
Stranded assets
The likelihood of fossil fuel assets being rendered worthless underscores the need to decarbonize the world’s economy as quickly as possible, according to Mark Carney, the U.N.’s special envoy on climate action and finance. Carney, the former governor of the Bank of England, said it was essential to “retool the plumbing” of financial markets so that every financial decision can take climate change into account. This includes steering lending away from fossil fuels and toward renewable energy alternatives.
The International Renewable Energy Agency, an intergovernmental organization, said in 2019 that at least $11.8 trillion worth of assets world-wide were at risk of being stranded by climate change and rules put in place to try to limit it through 2050.
The energy industry would face $3.3 trillion in stranded assets, according to Irena’s estimates. Much of the value of large energy companies comes from the expected income from their fossil-fuel reserves. https://www.wsj.com/articles/trillions-in-assets-may-be-left-stranded-as-companies-address-climate-change-11637416980
Siting is the need to locate things like wind turbines and solar farms on pieces of land. Doing so requires negotiations, contracts, permits, and community relations, all of which can increase costs and delay or kill projects. NIMBY – Not In My Back Yard
NY Action. In an effort to speed the development of large-scale clean energy resources, New York lawmakers authorized the creation of an Office of Renewable Energy Siting (ORES) and took steps to accelerate transmission investment to move carbon-free electricity to load centers. The new siting rules will ensure renewables projects larger than 25 MW can receive approval within a year. Under the current process, siting for these projects takes two to three years, experts say. https://www.utilitydive.com/news/new-york-becomes-1st-state-to-establish-renewables-siting-office-in-an-effo/575591/
Transmission refers to the power lines and infrastructure needed to move electricity from where it’s generated to where it’s consumed. Because wind and solar are relative newcomers, most of what exists today was built to serve large fossil fuel and nuclear power plants.
the cheapest wind power is from the Great Plains and Intermountain West, and the cheapest solar power is from the Southwest and Southeast regions, and both need a way to reach faraway coastal markets. But there’s little chance that states will be able to meet their more aggressive carbon-reduction goals with DERs (distributed energy resources) or in-state resources alone, according to the report. That puts pressure on federal and state regulators to find ways to unblock the current bottlenecks in project development, https://www.greentechmedia.com/articles/read/transmission-emerging-as-major-stumbling-block-for-state-renewable-targets
Load flexibility / load management / demand – The problem has always been coordination; before the internet, it was laborious, slow, and “chunky” to plan and execute shifts in demand. But as more and more appliances, homes, buildings, and industrial facilities are wired to the web, it has become easier to synchronize and coordinate their consumption, to treat them like an aggregate unit. Various forms of “load flexibility” are emerging as a significant force in energy systems. That shift to more dispatchable demand has important consequences. To the extent consumption can be controlled, the big peaks and spikes of demand can be reduced. That, in turn, reduces the need for overbuilding of power plants, potentially saving billions and reducing unnecessary carbon emissions. https://www.vox.com/energy-and-environment/2019/8/7/20754430/renewable-energy-clean-electricity-grid-load-flexibility?msclkid=befe59f1c2fe11ec99817c9aa6d7cd8a
Peaker plants really dirty and expensive.
Access to Rare minerals
Minerals have played a critical role in the rise of many of the clean energy technologies that are widely used today – from wind turbines and solar panels to electric vehicles. But ensuring that these and other key technologies can draw on sufficient mineral supplies to support the acceleration of energy transitions around the world is a significant and under-analyzed global challenge. https://www.iea.org/articles/clean-energy-progress-after-the-covid-19-crisis-will-need-reliable-supplies-of-critical-minerals
Lithium, cobalt and nickel give batteries greater charging performance and higher energy density. Copper is essential for the increasing use of electricity throughout energy systems thanks to its unmatched ability to conduct electric currents. And some rare earth elements such as neodymium make powerful magnets that are vital for wind turbines and electric vehicles.
The concentration of refining operations is also high, with China alone accounting for some 50% to 70% of global lithium and cobalt refining. China also holds a dominant position along the entire rare earths value chain. It is responsible for 85% to 90% of the processing operations that convert mined rare earths into metals and magnets1.
In addition, current extraction practices in some cases are inefficient, unsafe, polluting and subject to social protests. Some 20% of cobalt production in the DRC relies on “artisanal” miners who extract minerals with rudimentary tools in hazardous conditions2. Rare earth processing involves large amounts of harmful chemicals and produces high volumes of solid waste and wastewater, which are not always appropriately handled. These pose additional challenges for stable sourcing of minerals amid growing social and environmental concerns.
Estimate that will need to increase some of these minerals from 5 to 12 times by 2050. – A new World Bank Group report finds that the production of minerals, such as graphite, lithium and cobalt, could increase by nearly 500% by 2050, to meet the growing demand for clean energy technologies. It estimates that over 3 billion tons of minerals and metals will be needed to deploy wind, solar and geothermal power, as well as energy storage, required for achieving a below 2°C future. https://www.worldbank.org/en/news/press-release/2020/05/11/mineral-production-to-soar-as-demand-for-clean-energy-increases?msclkid=e2595e82c31b11ec904f61549335e453
Solar
Utility scale renewables – vs rooftop, decentralized
There is presently a lot of rooftop solar all over the world. But there are now more efficient ways of using solar. One is in new buildings, where the solar panels can replace roof tiles. Installing arrays of PV on the roofs of public buildings and warehouses is also cheaper than putting panels on smaller domestic roofs. But the real economies come with the “industrial scale” solar farms that now cover many fields and deserts. In these, solar arrays can be mounted on pivots, so that they turn to follow the sun across the sky at the best angle. When you read about very cheap solar, this is what they mean Solar may have started “off-line”, but it now makes sense as part of an integrated grid that connects hundreds of thousands of users. Solar power is, by its physical nature, a technology that works far more efficiently if it is shared
An important exception. Rooftop solar is particularly well suited to running domestic air conditioners. The sunnier it is on any given day, the more electricity is produced and the more it is needed
Friends of Columbia Solar
By the beginning of 2017, Hecate was striking lease deals with local farmers for a 60-megawatt installation on multiple parcels of land, to be called Shepherd’s Run solar farm.
Then it all bogged down. The town changed its zoning rules in April 2017 to try to thwart large solar development. Then it went to court to try to stop Shepherd’s Run.
Nor did it appear, after steady opposition, that there would be a solar farm. But then, last month, something surprising happened: A self-organized “working group” of Copake residents, aided by volunteer experts, presented what seemed very much like a civic plan to embrace the project. They agreed to work together to “reinforce Hecate’s commitment to being a community partner, and secure community support for Shepherd’s Run.”
After they watched the working group’s crisp, professional presentation, which also took place over Zoom and was accompanied by the release of a new website explaining the proposal, the 140 or so participants were invited to provide feedback. Almost everyone who spoke expressed some level of support. It was dizzying. A plan that had been publicly battered for five years — and is still opposed by local politicians — suddenly had momentum.
Perhaps the most important lesson is that it’s possible to win converts and overcome local opposition to development. But Copake is a cautionary tale as well. Because if it takes the better part of a decade to site a medium-size solar project in a rural community with a liberal political disposition, the transition to clean energy could well be a slow-motion disaster.
Why has off shore wind been so slow in the US
High costs, limited state and federal support, and opposition from a coalition of stakeholders—including shorefront communities that don’t want turbines spoiling their views—have been prohibitive. Offshore wind is poised to take off in the U.S.—but it won’t be easy (nationalgeographic.com) https://www.nationalgeographic.com/environment/article/offshore-wind-is-poised-to-take-off-in-the-us-but-it-wont-be-easy
In recent years, however, many of the barriers to offshore wind development have started to come down. For one, the technology has matured in Europe, where thousands of offshore wind turbines have been installed. The larger, more powerful 12- to 14-megawatt turbines hitting the market today provide a better return on investment than the six-megawatt turbines installed at Block Island, helping drive costs down.
At the same time, a number of states have adopted emissions reduction targets in recent years, spurred by extreme weather events and projections of even more severe climate impacts in the future.
There’s a lot of infrastructure that’s going to be needed,” Speakes-Backman says.
To accommodate the electricity arriving from offshore, utilities will have to add new transmission infrastructure to the grid, including coastal substations to receive the electricity and new power lines to funnel it into cities.
In addition to new supply chains and electrical infrastructure, the U.S. needs giant new ports capable of receiving and assembling turbine components. It also requires specialized installation ships that jack themselves up out of the water on legs and use tall cranes to erect the skyscraper-sized turbines. A 1920 law known as the Jones Act—which stipulates that only U.S. vessels can ferry goods between U.S. ports—makes using them in U.S. waters even more challenging.
accelerating the permitting process that has kept projects in regulatory limbo for years. Wind farms in federal waters must receive permits from the Department of the Interior’s Bureau of Ocean Energy Management, or BOEM. Currently, BOEM has 17 active commercial wind leases, including 14 projects that have submitted construction and operations plans for environmental review.
Fishermen and offshore wind
Fishermen feel they are being forgotten. Many say that their concerns – which range from safety issues operating around wind farms to how offshore wind development will alter the ocean environment and affect fish stocks – aren’t being meaningfully considered by regulators. Offshore wind “is one of the most consistently cited factors as a big risk to businesses and their practices”, said Annie Hawkins, the executive director of the Responsible Offshore Development Alliance (Roda), a trade association representing commercial fishermen. https://www.theguardian.com/environment/2021/jul/24/offshore-wind-development-new-jersey-us-fishermen-ocean-life
Fishermen worry that turbines and their associated infrastructure, including seafloor transmission cables and concrete foundations, will make it impossible to operate their vessels safely. Along the US west coast, where floating offshore wind technology is expected to be deployed because of the much greater depth to seafloor, suspended transmission cables could impede fishing nets and create a “functional closure” for certain types of gear,
Battery Storage
to make the transition to solar, wind, and other renewables that is necessary to avoid the worst outcomes of climate change, spare energy must be captured and made easily accessible when the sun isn’t shining or the wind isn’t blowing. Batteries are one option—but their numerous drawbacks have turned people’s attention to alternatives. The goal, as Matthew Hutson writes in an eye-opening report from this week’s issue, sounds simple enough: “If you use clean energy to do the initial work and find a green way to store and release it, you’ve created an ecologically responsible battery alternative.” But finding a practical, inexpensive, and efficient way to do it is the trick. One company is pumping water underground to form reservoirs that it can release to generate power. Another is liquefying air by cooling it to more than three hundred degrees below zero, and then warming it up to spin turbines. Yet another is trying something with weights and pulleys.
But typical battery models exhaust their stored energy after only three or four hours of maximum output,
Buildings – Energy conservation and insulation, renewable power
Cities account for nearly two-thirds of CO2 emissions that are driving global climate change. Beyond that, buildings account for nearly 40% of global greenhouse gas emissions due to their high day-to-day energy use and the carbon generated during their manufacturing and construction process.
Renewable Heat Now Campaign
Enacts the “all-electric building act”; provides that no city, town or village shall issue a permit for the construction of new buildings that are not an all-electric building if the initial application for a permit was submitted after December 31, 2023 unless certain circumstances apply.
Geothermal and heat pumps
The technology relies on the fact that the earth (beneath the surface) remains at a relatively constant temperature throughout the year, warmer than the air above it during the winter and cooler in the summer, very much like a cave. The geothermal heat pump takes advantage of this by transferring heat stored in the earth or in ground water into a building during the winter, and transferring it out of the building and back into the ground during the summer. The ground, in other words, acts as a heat source in winter and a heat sink in summer. https://www.energy.gov/eere/geothermal/geothermal-heat-pumps
No new gas in buildings. Much stronger building codes re insulation, energy efficiency appliances, etc.
Energy retrofits
How do you deal with existing buildings? Require energy retrofit whenever they are sold or refinanced? NY tried a voluntary on bill financing program that did work – consumers don’t like to incur debt and banks and utilities don’t like to finance debt to consumers (especially at low costs)
Ithaca Green New Deal – $100 million to decarbonize buildings – the city of Ithaca, New York, voted to decarbonize and electrify buildings in the city by the end of the decade — a goal that was part of the city’s own Green New Deal and one of the portions of the plan that will help the city become carbon neutral by 2030.Ithaca is the first U.S. city to establish such a plan, which the city says will cut Ithaca’s 400,000 tons per year of carbon dioxide emissions by 40%. The timeline to achieve its goal is much sooner than what other cities around the world have pledged to do.
Ithaca – which has a total budget of less than $80m – raise $100m by offering investors entry to a large-scale program he pitched as low risk with the potential for lots of cashflow. The goal is to create a lending program providing low- or no-interest loans and quick implementation of sustainable technology. The first batch of building owners could sign up as soon as September. For most homeowners, the program would help them swap out a gas furnace for an electric heat pump, or a gas stove for an electric one – changes that would otherwise involve high upfront costs. Aguirre-Torres says the program will also train a new green workforce in Ithaca.
“We’re talking about a people-first approach, rather than just purely environmental,” Aguirre-Torres said. The plan aims to create 1,000 new jobs by 2030, and the city has promised to redirect 50% of the financial benefits of its Green New Deal plan to low-income residents, https://www.theguardian.com/environment/2021/aug/19/ithaca-new-york-raised-100m-climate-proof-buildings
Transportation All electric vehicles
– buses
– long haul trucks
– subways
Airplanes
– hydrogen
– batteries
– less air travel plus better and faster trains
– low carbon fuels
– airlines are saying net zero by 2050
Green fuel
The airline industry believes its quickest path to net-zero is replacing jet fuel with “sustainable aviation fuel” (SAF) made from renewable sources, such as plants or used cooking oil.
In theory, SAF can cut flight emissions by around 80%, depending on how it is made.
But SAF is not widely available because of cost. The United States and other countries are considering subsidies to bring prices down and supplies up. In the meantime, some airlines are blending small amounts into their fuel
Offset credits are generated by investing in clean energy projects, planting trees, or supporting other types of efforts that keep emissions from the atmosphere. Airlines and other industries are already making these investments.
Electric and hydrogen
Other options being studied include whether battery capacity can be scaled up to power planes, and whether hydrogen fuel made with renewable power can be produced in the quantities needed. | http://gelfny.org/climate-class/1516-2/ |
BEIJING — China in recent years established global dominance in renewable energy, its solar panel and wind turbine factories forcing many foreign rivals out of business and its policy makers hailed by environmentalists around the world as visionaries.
But now China’s strategy is in disarray. Though worldwide demand for solar panels and wind turbines has grown rapidly over the last five years, China’s manufacturing capacity has soared even faster, creating enormous oversupply and a ferocious price war.
The result is a looming financial disaster, not only for manufacturers but for state-owned banks that financed factories with approximately $18 billion in low-rate loans and for municipal and provincial governments that provided loan guarantees and sold manufacturers valuable land at deeply discounted prices.
China’s biggest solar panel makers are suffering losses of up to $1 for every $3 of sales this year, as panel prices have fallen by three-fourths since 2008. Even though the cost of solar power has fallen, it still remains triple the price of coal-generated power in China, requiring substantial subsidies through a tax imposed on industrial users of electricity to cover the higher cost of renewable energy.
Also: | https://roselawgroupreporter.com/2012/10/solar-panel-glut-poses-new-threat-to-china/ |
Historic housing protection laws often stand in the way of upgrading old buildings. Therefore, it’s not always possible to install green energy sources — like solar panels or wind turbines — in old homes. However, if regulations allow, there are several ways to incorporate renewable power without sacrificing a home’s integrity or historic character.
Solar panels are a popular choice for renewable energy, but historic homeowners may face opposition when trying to incorporate these sources. For example, Washington, D.C. plans to generate 10% of its renewable energy with solar panels by 2032, but the plan faces pushback from historic preservation officials.
Although the law may preclude their use on historic buildings, some looser regulations allow homeowners to install photovoltaic panels as long as they don’t obscure historic rooflines. For example, placing solar panels on the side of a pitched roof — as long as it doesn’t face the street — is allowed in many cases. In some cases, it may be permissible to install pole-mounted solar arrays on hidden areas of the property.
Wind turbines are noisy, but they can be a great choice for old homes in rural areas. Regulations may prevent homeowners from installing wind turbines that obscure or alter the appearance of a historic building. However, if there is a way to incorporate them in an out-of-the-way location, owners may be allowed to use wind turbines to power their historic homes.
The International Energy Agency (IEA) aims to help the world meet the net zero emissions goals by 2050, one of which is for geothermal energy power to increase by 13% in per-year gains from 2021 to 2030.
Although geothermal energy systems require major excavations, it’s possible to incorporate them without changing a home’s outward appearance. The three most common types of underground geothermal systems are horizontal, vertical and pond loops.
Many old houses have gas stoves or heaters. In addition to being bad for the environment, indoor gas systems are detrimental to human health. Upgrading to electric stoves and heaters is an easy way to make older homes more renewable and livable.
In addition to adding renewable energy sources, there are several ways homeowners can improve an old home’s efficiency. These techniques pair synergistically with renewable energy use.
A settling basement can lead to increased utility bills in two ways. First, if water raises the basement’s humidity levels, hot air may rise through the floor and spread throughout the rest of the home. That means the air conditioner will have to work harder to decrease the temperature.
Secondly, basement settlements can open up cracks that let in cold or hot air from the outdoors. Fixing problems with the basement can go a long way toward improving energy efficiency.
Old homes often come equipped with old HVAC systems. Replacing the entire system would ideally offer the most energy efficiency, but that isn’t always possible due to regulations or sheer difficulty.
Instead, homeowners may be able to install smart thermostats. A smart thermostat carefully regulates the temperature throughout the home depending on the day, time, outdoor temperature and even building occupancy levels. It also doesn’t alter the appearance or structure of the building.
Some historic homes have single-pane windows that offer little in the way of insulation. Newer windows may have multiple panes and thicker glass to conserve as much energy as possible. The best part is that they come in multiple styles, so there’s no need to change an old home’s appearance for the sake of energy efficiency.
Sealing around windows and doors goes a long way. Additionally, installing thicker insulation in the attic, walls and basement can dramatically improve a home’s energy efficiency. It’s also worth noting that homes built between 1930 and 1950 may contain asbestos-based insulation. Replacing it will improve the safety and livability of the home.
Although historic buildings may not come with green energy sources, homeowners can install solar panels, wind turbines or electric stoves if regulations allow. Additionally, there are several ways to boost a home’s overall energy efficiency, including replacing outdated appliances, installing new windows and repairing cracks. It’s possible to bring a home into the 21st century without sacrificing its original charm. | https://www.renewableenergymagazine.com/jane-marsh/issues-with-renewable-energy-and-old-homes-20230310 |
Van der Hoeven, Maria.
"Renewable energy becoming cost competitive, IEA says".
31 Turkey edit The energy policy of Turkey includes heavily subsidizing coal in Turkey.44 A second, more successful R D effort, sponsored by the premio produttività polizia di stato DOE, focused on component innovations for giulia arena premio radicchio d'oro smaller turbines that used the operational experience of existing turbines to inform future research agendas.39 42 United States government role in the development of new energy industries edit From civilian nuclear power to hydro, wind, solar, and shale gas, the United States federal government has played a central role in the development of new energy industries.19 IEA position on subsidies edit According to International Energy Agency (IEA) (2011) energy subsidies artificially lower the price of energy paid by consumers, raise the price received by producers or lower the cost of production.Union of Concerned Scientists.Fossil fuels vino regalo natale accounted for most of the remaining cost of energy-related tax preferencesan estimated.6 billion.Russia edit Russia is one of the worlds energy powerhouses."EU wind industry faces tough challenge - and politicians should not make it worse ewea ".Archived from the original on 3 November 2011.Joint research projects between the government and private firms produced a number of innovations that helped increase the efficiency of wind turbines, including twisted blades and special-purpose airfoils.A 2017 study by the consulting firm Management Information Services, Inc.11, types of energy subsidies are: Direct financial transfers grants to producers; grants to consumers; low-interest or preferential loans to producers.
In occasione degli "Street Games infatti, torna l'iniziativa "Prezzi pazzi per Street Games promossa dall'assessorato al commercio ( qui tutti i dettagli ).
Energy subsidies are measures that keep prices for consumers below market levels or for producers above market levels, or reduce costs for consumers and producers.
Inoltre va detto che il tagliacapelli Moser Type 1400 è ideale anche per la tosatura di animali domestici.
28 At their meeting in September 2009 the G-20 countries committed to "rationalize and phase out over the medium term inefficient fossil fuel subsidies that encourage wasteful consumption".
Se non avete molto tempo a disposizione potete scrollare il mouse fino a conclusioni dove troverete un paragrafo riassuntivo sulla recensione del tagliacapelli Moser Type 1400.Government enacted new policies to support the industry in the early 1990s.Potrai cogliere sempre al volo le migliori offerte!Archived from the original on 7 December 2017.Non vi è alcuna custodia da viaggio, ricordiamo però che il Moser 1400 è dotato di un gancio alla base, tramite questo è possibile appenderlo quando è a riposo.24 In November 2011, an IEA report entitled Deploying Renewables 2011 said "subsidies in green energy technologies that were not yet competitive are justified in order to give an incentive to investing into technologies with clear environmental and energy security benefits".Criminal groups smuggle fuel out of Venezuela to adjacent nations (mainly Colombia).Along each stage of the innovation pipeline from basic research to applied R D to cost-sharing on demonstration projects to tax policy support for deployment public-private partnerships and federal investments helped push hydraulic fracturing in shale into full commercial competitiveness. | http://venusbedeckung.info/date-sconti.html |
Trade mark number:
1998330
At the time of filing, this trade mark was owned by The Crown in Right of the Commonwealth of Australia. The Clean Energy Regulator was established on 2 April 2012 as an independent statutory authority by the Clean Energy Regulator Act 2011. The regulator oversees the Small-scale Renewable Energy Scheme. The scheme creates a financial incentive for individuals and small businesses to install eligible small-scale renewable energy systems such as solar panel systems, small-scale wind systems, small-scale hydro systems, solar water heaters and air source heat pumps.
The SPV logo is used to certify that Specified Products correspond to Verified Serial Numbers for Solar Panels on the CEC’s (Clean Energy Council) Approved Modules list and are eligible for small-scale technology certificates (STCs).
Certification rules: | https://www.ipaustralia.gov.au/tools-resources/certification-rules/1998330 |
The key disadvantages include the relatively low rotational speed with the consequential higher torque and hence higher cost of the drive train, the inherently lower power coefficient, the 360-degree rotation of the aerofoil within the wind flow during each cycle and hence the highly dynamic loading on the blade, the pulsating torque generated by some rotor designs on the drive train, and the difficulty of modelling the wind flow accurately and hence the challenges of analysing and designing the rotor prior to fabricating a prototype.
One issue that has often raised concerns is the use of cadmium (Cd), a toxic heavy metal that has the tendency to accumulate in ecological food chains. It is used as semiconductor component in CdTe solar cells and as buffer layer for certain CIGS cells in the form of CdS. The amount of cadmium used in thin-film PV modules is relatively small (5–10 g/m²) and with proper recycling and emission control techniques in place the cadmium emissions from module production can be almost zero. Current PV technologies lead to cadmium emissions of 0.3–0.9 microgram/kWh over the whole life-cycle. Most of these emissions arise through the use of coal power for the manufacturing of the modules, and coal and lignite combustion leads to much higher emissions of cadmium. Life-cycle cadmium emissions from coal is 3.1 microgram/kWh, lignite 6.2, and natural gas 0.2 microgram/kWh.
Materials for wind turbine parts other than the rotor blades (including the rotor hub, gearbox, frame, and tower) are largely composed of steel. Modern turbines use a couple of tons of copper for generators, cables, and such. Smaller wind turbines have begun incorporating more aluminum based alloys into these components in an effort to make the turbines lighter and more efficient, and may continue to be used increasingly if fatigue and strength properties can be improved. Prestressed concrete has been increasingly used for the material of the tower, but still requires much reinforcing steel to meet the strength requirement of the turbine. Additionally, step-up gearboxes are being increasingly replaced with variable speed generators, increasing the demand for magnetic materials in wind turbines. In particular, this would require an increased supply of the rare earth metal neodymium.
Permanent magnets for wind turbine generators contain rare earth metals such as Nd, Pr, Tb, and Dy. Systems that use magnetic direct drive turbines require higher amounts of rare metals. Therefore, an increase in wind production would increase the demand for these resources. It is estimated that the additional demand for Nd in 2035 may be 4,000 to 18,000 tons and Dy could see an increase of 200 to 1200 tons. These values represent a quarter to half of current production levels. However, since technologies are developing rapidly, driven by supply and price of materials these estimated levels are extremely uncertain.
The US National Renewable Energy Laboratory (NREL), in harmonizing the disparate estimates of life-cycle GHG emissions for solar PV, found that the most critical parameter was the solar insolation of the site: GHG emissions factors for PV solar are inversely proportional to insolation. For a site with insolation of 1700 kWh/m2/year, typical of southern Europe, NREL researchers estimated GHG emissions of 45 gCO2e/kWh. Using the same assumptions, at Phoenix, USA, with insolation of 2400 kWh/m2/year, the GHG emissions factor would be reduced to 32 g of CO2e/kWh.
Bioethanol is an alcohol made by fermentation, mostly from carbohydrates produced in sugar or starch crops such as corn, sugarcane, or sweet sorghum. Cellulosic biomass, derived from non-food sources such as trees and grasses is also being developed as a feedstock for ethanol production. Ethanol can be used as a fuel for vehicles in its pure form, but it is usually used as a gasoline additive to increase octane and improve vehicle emissions. Bioethanol is widely used in the USA and in Brazil. Biodiesel can be used as a fuel for vehicles in its pure form, but it is usually used as a diesel additive to reduce levels of particulates, carbon monoxide, and hydrocarbons from diesel-powered vehicles. Biodiesel is produced from oils or fats using transesterification and is the most common biofuel in Europe.
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The U.S. Environmental Protection Agency (USEPA) Green Power Partnership is a voluntary program that supports the organizational procurement of renewable electricity by offering expert advice, technical support, tools and resources. This can help organizations lower the transaction costs of buying renewable power, reduce carbon footprint, and communicate its leadership to key stakeholders.
Enhanced geothermal systems (EGS) are a new type of geothermal power technologies that do not require natural convective hydrothermal resources. The vast majority of geothermal energy within drilling reach is in dry and non-porous rock. EGS technologies "enhance" and/or create geothermal resources in this "hot dry rock (HDR)" through hydraulic stimulation. EGS and HDR technologies, such as hydrothermal geothermal, are expected to be baseload resources which produce power 24 hours a day like a fossil plant. Distinct from hydrothermal, HDR and EGS may be feasible anywhere in the world, depending on the economic limits of drill depth. Good locations are over deep granite covered by a thick (3–5 km) layer of insulating sediments which slow heat loss. There are HDR and EGS systems currently being developed and tested in France, Australia, Japan, Germany, the U.S. and Switzerland. The largest EGS project in the world is a 25 megawatt demonstration plant currently being developed in the Cooper Basin, Australia. The Cooper Basin has the potential to generate 5,000–10,000 MW.
Also, the output voltage and power demand depends entirely upon the appliances you have and how you wish to use them. In addition, the location of the wind turbine generator, would the wind resource keep it constantly rotating for long periods of time or would the generator speed and therefore its output vary up and down with variations in the available wind.
Technology advances are opening up a huge new market for solar power: the approximately 1.3 billion people around the world who don't have access to grid electricity. Even though they are typically very poor, these people have to pay far more for lighting than people in rich countries because they use inefficient kerosene lamps. Solar power costs half as much as lighting with kerosene. As of 2010, an estimated 3 million households get power from small solar PV systems. Kenya is the world leader in the number of solar power systems installed per capita. More than 30,000 very small solar panels, each producing 12 to 30 watts, are sold in Kenya annually. Some Small Island Developing States (SIDS) are also turning to solar power to reduce their costs and increase their sustainability.
The trouble with rated power is that it does not tell you anything about energy production. Your utility company charges you for the energy you consume, not power. Likewise, for a small wind turbine you should be interested in the energy it will produce, for your particular site, with your particular annual average wind speed. Rated power of the turbine does not do that. To find out about energy production take a look at the tables presented earlier.
Solar panels converts the sun's light in to usable solar energy using N-type and P-type semiconductor material. When sunlight is absorbed by these materials, the solar energy knocks electrons loose from their atoms, allowing the electrons to flow through the material to produce electricity. This process of converting light (photons) to electricity (voltage) is called the photovoltaic (PV) effect. Currently solar panels convert most of the visible light spectrum and about half of the ultraviolet and infrared light spectrum to usable solar energy.
The world of small wind turbines is much like the wild-west of a century ago: Anything goes, and no claim is too bold. Wind turbine manufacturers will even routinely make claims that are not supported by the Laws of Physics. Energy production claims are often exaggerated, as are power curves. In fact, this is the rule, not the exception. Those manufacturers that tell the truth are the exception. Many manufacturers have never tested their wind turbines under real-world conditions. Some have never tested their turbine before selling it to unsuspecting customers. We are not joking! Because we sell grid-tie inverters for small wind turbines we have a front-row seat when it comes to actual operation of turbines of many makes and models. It turns out that some do not work; they self-destruct within days, and sometimes run away and blow their inverter within seconds after being turned onfor the first time (clearly nobody at the factory bothered to ever test it).
VAWT type turbines have no inherent advantage over HAWT type turbines. There, we have said it! VAWTs do not do any better in turbulent wind than HAWTs. Leaving the Savonius type VAWTs out (the type that looks like an oil drum cut in half – they have very poor efficiency anyway), both horizontal and vertical type turbines rely on an airfoil, a wing, to produce power. Airfoils simply do not work well in turbulent air; the wind needs to hit them at just the right angle and eddies wreak havoc. Couple that with the insistence of vertical axis turbine manufacturers to install their devices on very short towers or rooftops, and you get the picture. It will not work.
Heat pumps and Thermal energy storage are classes of technologies that can enable the utilization of renewable energy sources that would otherwise be inaccessible due to a temperature that is too low for utilization or a time lag between when the energy is available and when it is needed. While enhancing the temperature of available renewable thermal energy, heat pumps have the additional property of leveraging electrical power (or in some cases mechanical or thermal power) by using it to extract additional energy from a low quality source (such as seawater, lake water, the ground, the air, or waste heat from a process).
In an electricity system without grid energy storage, generation from stored fuels (coal, biomass, natural gas, nuclear) must be go up and down in reaction to the rise and fall of solar electricity (see load following power plant). While hydroelectric and natural gas plants can quickly follow solar being intermittent due to the weather, coal, biomass and nuclear plants usually take considerable time to respond to load and can only be scheduled to follow the predictable variation. Depending on local circumstances, beyond about 20–40% of total generation, grid-connected intermittent sources like solar tend to require investment in some combination of grid interconnections, energy storage or demand side management. Integrating large amounts of solar power with existing generation equipment has caused issues in some cases. For example, in Germany, California and Hawaii, electricity prices have been known to go negative when solar is generating a lot of power, displacing existing baseload generation contracts.
One 50 Amp 1000 Volt - 3 Phase Rectifier ---Intended for wind turbine rated for 50 amps continuous usage. ---This item is used to convert 3 phase AC to DC. ---Rectifier has spade terminals which will make for a clean and secure installation. No wondering if your wiring is going to come loose. ---One mounting hole to secure the body of the rectifier to your mounting box ---This item is not to me confused with a blocking diode to be used in DC motor applications or with solar. Powered by [eBay Turbo Lister] (http://pages.ebay.com/turbo_lister/) The free listing tool. List your items fast and easy and manage your active items. Froo www.froo.com | Froo Cross Sell, Free Cross Sell, Cross promote, eBay Marketing, eBay listing Apps, eBay Apps, eBay Application [FREE! Sellers: Add a FREE map to your listings. FREE!] (http://newage.mystoremaps.
UN Conference on the Human Environment (Stockholm 1972) Brundtlandt Commission Report (1983) Our Common Future (1987) Earth Summit (1992) Rio Declaration on Environment and Development Agenda 21 (1992) Convention on Biological Diversity (1992) ICPD Programme of Action (1994) Earth Charter Lisbon Principles UN Millennium Declaration (2000) Earth Summit 2002 (Rio+10, Johannesburg) United Nations Conference on Sustainable Development (Rio+20, 2012) Sustainable Development Goals
Some renewable power sources now cost somewhat more than conventional power, because the market for renewable energy is not fully developed and renewables have received fewer subsidies than fossil and nuclear fuels. Also, the damage to the environment and human health—otherwise known as externalities—caused by fossil fuels and nuclear power is not included in electricity prices. Renewable energy needs your support to overcome these barriers and become less expensive in the future. Look into becoming a green power consumer today!
Wind-generated electricity met nearly 4% of global electricity demand in 2015, with nearly 63 GW of new wind power capacity installed. Wind energy was the leading source of new capacity in Europe, the US and Canada, and the second largest in China. In Denmark, wind energy met more than 40% of its electricity demand while Ireland, Portugal and Spain each met nearly 20%.
Around the world many sub-national governments - regions, states and provinces - have aggressively pursued sustainable energy investments. In the United States, California's leadership in renewable energy was recognised by The Climate Group when it awarded former Governor Arnold Schwarzenegger its inaugural award for international climate leadership in Copenhagen in 2009. In Australia, the state of South Australia - under the leadership of former Premier Mike Rann - has led the way with wind power comprising 26% of its electricity generation by the end of 2011, edging out coal fired generation for the first time. South Australia also has had the highest take-up per capita of household solar panels in Australia following the Rann Government's introduction of solar feed-in laws and educative campaign involving the installation of solar photovoltaic installations on the roofs of prominent public buildings, including the parliament, museum, airport and Adelaide Showgrounds pavilion and schools. Rann, Australia's first climate change minister, passed legislation in 2006 setting targets for renewable energy and emissions cuts, the first legislation in Australia to do so.
Electricity produced by wind generators can be used directly, as in water pumping applications, or it can be stored in batteries for later use. Wind generators can be used alone, or they may be used as part of a hybrid system, in which their output is combined with that of solar panels, and /or a fossil fuel generator. Hybrid systems are especially useful for winter backup of home systems where cloudy weather and windy conditions occur simultaneously.
Biomass, biogas and biofuels are burned to produce heat/power and in doing so harm the environment. Pollutants such as sulphurous oxides (SOx), nitrous oxides (NOx), and particulate matter (PM) are produced from this combustion; the World Health Organisation estimates that 7 million premature deaths are caused each year by air pollution. Biomass combustion is a major contributor.
When a turbine is mounted on a rooftop the building generally redirects wind over the roof and this can double the wind speed at the turbine. If the height of a rooftop mounted turbine tower is approximately 50% of the building height it is near the optimum for maximum wind energy and minimum wind turbulence. While wind speeds within the built environment are generally much lower than at exposed rural sites, noise may be a concern and an existing structure may not adequately resist the additional stress.
At GE, product evolution is at our core, and we are continuously working to develop the next generation of wind energy. Beginning in 2002 with one wind turbine model, we now offer a full suite of turbines created for a variety of wind environments. We offer increased value to customers with proven performance, reliability, and availability. Our portfolio of turbines feature rated capacities from 1.7 MW to 5.3 MW (Onshore) and 6 MW to 12 MW (Offshore), we are uniquely suited to meet the needs of a broad range of wind regimes.
Our largest solar panel. Portable rugged and powerful. Our largest solar panel. Portable rugged and powerful. Designed for mobile base camps and die-hard adventurers a standard MC4 connector for third-party charge controllers and built-in charging cable for Sherpa Power Packs and Goal Zero Yeti Solar Generators. Can be chained in series or parallel to collect more power from ... More + Product Details Close
^ Jump up to: a b c Fridleifsson,, Ingvar B.; Bertani, Ruggero; Huenges, Ernst; Lund, John W.; Ragnarsson, Arni; Rybach, Ladislaus (11 February 2008). O. Hohmeyer and T. Trittin, ed. "The possible role and contribution of geothermal energy to the mitigation of climate change" (PDF). Luebeck, Germany: 59–80. Archived from the original (pdf) on 22 July 2011. Retrieved 6 April 2009.
Biomass, biogas and biofuels are burned to produce heat/power and in doing so harm the environment. Pollutants such as sulphurous oxides (SOx), nitrous oxides (NOx), and particulate matter (PM) are produced from the combustion of biomass; the World Health Organisation estimates that 7 million premature deaths are caused each year by air pollution. Biomass combustion is a major contributor.
The US National Renewable Energy Laboratory (NREL), in harmonizing the disparate estimates of life-cycle GHG emissions for solar PV, found that the most critical parameter was the solar insolation of the site: GHG emissions factors for PV solar are inversely proportional to insolation. For a site with insolation of 1700 kWh/m2/year, typical of southern Europe, NREL researchers estimated GHG emissions of 45 gCO2e/kWh. Using the same assumptions, at Phoenix, USA, with insolation of 2400 kWh/m2/year, the GHG emissions factor would be reduced to 32 g of CO2e/kWh.
A typical home uses approximately 10,932 kilowatt-hours (kWh) of electricity per year (about 911 kWh per month). Depending on the average wind speed in the area, a wind turbine rated in the range of 5 to 15 kW would be required to make a significant contribution to this demand. A 1.5-kW wind turbine will meet the needs of a home requiring 300 kWh per month in a location with a 14 MPH (6.26 meters per second) annual average wind speed. The manufacturer, dealer, or installer can provide you with the expected annual energy output of the turbine as a function of annual average wind speed. The manufacturer will also provide information about any maximum wind speeds at which the turbine is designed to operate safely. Most turbines have automatic overspeed-governing systems to keep the rotor from spinning out of control in extremely high winds.
In the 1980s and early 1990s, most photovoltaic modules provided remote-area power supply, but from around 1995, industry efforts have focused increasingly on developing building integrated photovoltaics and power plants for grid connected applications (see photovoltaic power stations article for details). Currently the largest photovoltaic power plant in North America is the Nellis Solar Power Plant (15 MW). There is a proposal to build a Solar power station in Victoria, Australia, which would be the world's largest PV power station, at 154 MW. Other large photovoltaic power stations include the Girassol solar power plant (62 MW), and the Waldpolenz Solar Park (40 MW).
In 2006 California approved the 'California Solar Initiative', offering a choice of investment subsidies or FIT for small and medium systems and a FIT for large systems. The small-system FIT of $0.39 per kWh (far less than EU countries) expires in just 5 years, and the alternate "EPBB" residential investment incentive is modest, averaging perhaps 20% of cost. All California incentives are scheduled to decrease in the future depending as a function of the amount of PV capacity installed.
Modern turbines usually have a small onboard crane for hoisting maintenance tools and minor components. However, large heavy components like generator, gearbox, blades and so on are rarely replaced and a heavy lift external crane is needed in those cases. If the turbine has a difficult access road, a containerized crane can be lifted up by the internal crane to provide heavier lifting.
Turbines used in residential applications can range in size from 400 Watts to 100 kW (100 kW for very large loads), depending on the amount of electricity you want to generate. For residential applications, you should establish an energy budget and see whether financial incentives are available. This information will help determine the turbine size you will need. Because energy efficiency is usually less expensive than energy production, making your house more energy efficient will probably be more cost effective and will reduce the size of the wind turbine you need (see How Can I Make My Home More Energy Efficient?). Wind turbine manufacturers, dealers, and installers can help you size your system based on your electricity needs and the specifics of your local wind resource and micro-siting.
Infinitemall stands behind their products and is willing to bend over backwards to help the customer. I live in rural Alaska, power here is very expensive and is generated mainly by diesel generators. My family and I are constructing a grid-tied alternative energy home. Outback Inverters and charge controllers are at the heart of the system, with a total of 8KW in solar panels and 5kw in wind generators. I have also constructed a D/C generator using an old 4 wheeler motor and 2 MWS Freedom II Generals that produces an easy 3.5kw at low engine rpms. The system totals close to 20kw in all. I purchased this wind mill to replace an older wind mill that I had built a few years ago using Windy Nations PMG. When I received the wind generator, I was disappointed to find that the center hole for the shaft had not been machined. Infintemall was very helpful, they got a new turbine out to me right away, and even paid for the defective unit to be returned. All said and done, they are a great company to deal with and I would highly recommend their turbine. It is very quiet, and quite powerful.
The W03083 Firman generator is perfect in and The W03083 Firman generator is perfect in and around the RV on the campsite while powering small appliances or while at home. Its Fuel Economy Mode reduces fuel consumption and promotes engine efficiency. It uses an OHV electric start engine (Max-Pro Series) for longer life higher performance and lower maintenance. ... More + Product Details Close
The New Zealand Parliamentary Commissioner for the Environment found that the solar PV would have little impact on the country's greenhouse gas emissions. The country already generates 80 percent of its electricity from renewable resources (primarily hydroelectricity and geothermal) and national electricity usage peaks on winter evenings whereas solar generation peaks on summer afternoons, meaning a large uptake of solar PV would end up displacing other renewable generators before fossil-fueled power plants.
Other renewable energy technologies are still under development, and include cellulosic ethanol, hot-dry-rock geothermal power, and marine energy. These technologies are not yet widely demonstrated or have limited commercialization. Many are on the horizon and may have potential comparable to other renewable energy technologies, but still depend on attracting sufficient attention and research, development and demonstration (RD&D) funding.
With that in mind it makes a great deal of sense to use a tilt-up tower for your turbine. It makes maintenance and repairs much safer (on the ground) and cheaper. Crane fees, or having turbine installers hang off the top of a tower for long periods of time, tend to get very expensive. You should also budget for repairs, they will happen. Parts may be free under warranty, your installer’s time is not. | http://affordsolartech.com/green-energy-business.html |
When it comes to obtaining approval for solar panels for a house in Sag Harbor, the question is in two parts. Is the house inside the village’s historic district, or outside? There you’ll find your answer.
According to Anthony Brandt, chairman of Sag Harbor’s Board of Historic Preservation and Architectural Review (BHPAR), the rules that that board follows — which are set by the U.S. Secretary of the Interior — prohibit solar panels in the historic district if they are visible from the street or from neighboring properties.
U.S. Secretary of the Interior guidelines specifically cite “roof-top mechanical or service equipment” that “damages or obscures character-defining roof features or is conspicuous on the site or from the public right-of-way.”
“People generally don’t realize that and they get very upset when we explain that to them,” Mr. Brandt said this week. “They will go to great lengths to figure out how to hide them, but it’s very hard to do.”
RELATED: Express Sessions Panel Tackles Renewable Energy
In recent years, the BHPAR has said “no” to solar panels at houses on Latham, Howard and Garden streets — all in the historic district. But outside the district, Mr. Brandt said, they are often approved.
“We generally don’t have a problem with it. Who’s not going to approve of solar panels?” he said. “I wish I could put them on my own house, but I can’t. There’s too much shade around my house.”
Building inspector Tom Preiato said he has issued permits for just four solar panel systems in his more than three years with the village, and estimates there are 20 such systems in Sag Harbor.
“We are green,” Mr. Preiato said. “Well, as green as we can be. There is no prohibition on solar.”
Unlike the efforts being made in Southampton Town and East Hampton Town, Sag Harbor doesn’t have any current initiatives promoting energy efficiency or renewable energy within village limits.
“I don’t know of any, but it would be a good idea,” Mr. Preiato said.
“I don’t think the village needs to do it,” Mr. Brandt said. “I think that it’s just going to happen over time. Except for the historic district, [the village] is not standing in the way, either.”
How Can Residents Amp Up Their Energy Game?
Southampton Town and East Hampton Town both have options that can help people increase efficiency and even take advantage of renewable energy options. Here are a few.
– Both towns participate in the Long Island Green Homes program, which starts off with a free energy audit, then connects homeowners to resources like PSEG rebates and other financial incentives.
– Both towns have announced community-wide solar power efforts in which groups of potential solar power customers can come together and choose an installation company that offers competitive and transparent bulk pricing.
– Both towns have installed electric car charging stations at various places that residents and visitors can use.
– The South Fork Peak Savers initiative encourages people to install smart thermostats, variable speed pool pumps and other energy-efficient appliances by offering rebates in partnership with PSEG.
A Guide to Modern Energy in 10 Keywords
Here’s what some of the current technical terms mean.
Battery: An electricity storage system that can be built on small scales for homes or businesses or on large scales to support entire power grids. Battery systems can automatically detect when the power goes out and begin supplying electricity; they can also support electrical grids during times of heavy power usage.
Clean energy: Power and fuel sources that do not rely on carbon-emission-heavy fossil fuels such as oil and coal.
Electrical grid: An interconnected system, frequently consisting of high voltage transmission lines, power substations and local distribution lines, through which utilities deliver power to homes and businesses.
Energy efficiency: Streamlining the consumption of power and fuel in such a way that it is reduced.
Geothermal system: An arrangement of pipes and pumps that relies on the consistent underground temperature to heat and cool a building.
Peak usage: The times of the day and the week when consumers use electricity at the greatest rates.
Rebate: A financial incentive to inspire a home or business owner to take part in some sort of energy efficiency or renewable energy program.
Renewable energy: An approach to energy production that relies on naturally occurring, continually refreshed resources such as the sun, wind, tides and geothermal temperatures.
Solar array: A system of light-responsive panels, built on top of roofs or on large, flat swaths of open land, that convert sunlight into electricity.
Wind farm: A cluster of tall, modern turbines, often installed on land or in oceans, that rely on wind to turn individual windmills that produce electricity that is then transmitted by underground wiring into the local power grid. | https://sagharborexpress.com/demystifying-solar-sag-harbor/ |
Off the Editor’s Desk – 8-8-2018
The wind is still quiet in Forest?
We have not heard any news about the proposed “Highland Wind Farm” project in the Township of Forest in St. Croix County for a long time. If my memory serves me right, I think that the plan was for 41 generating wind towers that are close to 500 feet tall placed around the entire township. An electrical substation is planned for Cylon Township to service those wind generators.
The parent company of the project is Leeward Renewable Energy who, according to Leeward Renewable Energy’s website, operate 19 wind farms across nine states.
On Thursday of last week I send off an email to that firm asking for any updated information they may have about the project. If I receive any update I will be pleased to let everyone know about it.
I recently read a piece written by Richard McCarthy, who is the director of Research at Americans for Limited Government Foundation. He discusses the cost to the taxpayers in subsidies from the federal government to the energy industry. Here is part of what he had to say about government subsidies:
“Thanks to politicians, environmentalists, and the solar industry, taxpayers and consumers are being fleeced. The federal government heavily subsidizes the solar industry, and a number of state governments have policies encouraging solar and green energy production.
“The federal government subsidizes solar energy much more generously than other sources of electricity. According to a study by the University of Texas in Austin, the coal industry received federal subsidies of $1.06 per megawatt hour in 2016; the oil and natural gas industry received $.91 per megawatt hour; the nuclear industry received $1.30 per megawatt hour; and the wind industry received federal subsidies of $12.74 per megawatt hour while the solar industry received federal subsidies of $61.31 per megawatt hour.
“Furthermore, 29 states (including Wisconsin, Minnesota, Iowa) have enacted renewable portfolio standards, which mandate the amount of green energy that must be produced. These standards have greatly increased renewable energy production. According to the National Conference of State Legislatures, ‘Roughly half of the growth in U. S. renewable energy generation since 2000 can be attributed to state renewable energy requirements.’ Eight other states have set renewable portfolio goals.
“Just how important are incentives for the solar industry? Without incentives, relatively few consumers would be interested in investing tens of thousands of dollars in solar panels when it is unclear if the panels will ever save them much money. For example, when incentives were dialed back in Nevada, the solar panel installation industry imploded.
“Because of the intermittent nature of solar energy, reserve generating capacity is needed to supply energy to the grid whenever clouds block the sun. Otherwise, grid operators must cut power to customers or risk damage to the grid. Of course, when power companies must maintain more power plants to provide backup power, consumers are stuck with the additional costs. | https://www.dewittmedia.com/2018/08/06/off-the-editors-desk-8-8-2018/ |
Introduction:
Power generation and renewable energy technologies have become increasingly important in recent years as we strive for a more sustainable and environmentally-friendly future. With climate change and the depletion of fossil fuels becoming more pressing issues, it is crucial that we find ways to generate electricity and power our homes, businesses, and industries using renewable sources. In this blog, we will explore some of the advances in power generation and renewable energy technologies that are helping to Clear the way for a cleaner and more sustainable future.
The Importance of Power Generation and Renewable Energy
Power generation is a vital part of our modern society, providing us with electricity to light our homes, power our appliances, and fuel our industries. Unfortunately, many traditional methods of power generation, such as burning fossil fuels or nuclear energy, have significant negative impacts on the environment. They contribute to climate change, air pollution, and the depletion of non-renewable resources.
Renewable energy technologies, on the other hand, offer a cleaner and more sustainable alternative. They use natural resources, such as sunlight, wind, and water, to generate electricity without emitting harmful greenhouse gases or depleting finite resources. Adopting renewable energy technologies can help to reduce our reliance on fossil fuels, lower our carbon emissions, and protect our environment for future generations.
The Need for Advancements in Power Generation and Renewable Energy Technologies
Despite the many benefits of renewable energy, there are still challenges to overcome in order to make it a viable alternative to traditional power generation methods. One of the main challenges is improving the efficiency and cost-effectiveness of renewable energy technologies. While solar, wind, and hydroelectric power have come a long way in recent years, they still need to become more efficient and affordable in order to compete with fossil fuels and nuclear energy.
Another challenge is the reliability and consistency of renewable energy sources. Solar and wind power, for example, are dependent on weather conditions, which can make them unreliable and difficult to predict. Developing technologies that can store renewable energy for use when it is not being generated, or finding ways to integrate renewable energy into traditional power grids, are crucial for making renewable energy a viable long-term solution.
Advances in Solar Power Generation
The Evolution of Solar Panels
Solar panels, also known as photovoltaic cells, are devices that convert sunlight into electricity. They have come a long way since they were first invented in the 1950s. Early solar panels were large, inefficient, and expensive, making them only practical for use in space satellites and remote locations.
However, as solar technology has developed, solar panels have become smaller, more efficient, and more affordable. Modern solar panels are made of thin layers of silicon or other materials that can absorb sunlight and convert it into electricity. They are also much more efficient than their predecessors, with some solar cells achieving conversion rates of over 40%.
The Efficiency of Modern Solar Cells
The efficiency of solar cells is a key factor in determining the overall effectiveness of solar power generation. The higher the efficiency, the more electricity a solar panel can produce given a certain amount of sunlight. There are several factors that can affect the efficiency of solar cells, including the material used, the size of the cells, and the quality of the manufacturing process.
In recent years, there have been significant advancements in the efficiency of solar cells. Researchers are constantly seeking new materials and techniques that can increase the efficiency of solar panels. Some of the most promising developments include the use of advanced materials such as perovskites and the development of multi-junction cells that can absorb a wider range of wavelengths.
Advances in Wind Power Generation
Wind power is one of the fastest-growing sources of renewable energy, and there have been many advances in the technology in recent years. These include:
The Development of More Efficient Turbines: Wind turbines have become more efficient over time, thanks to improvements in blade design and the use of more advanced materials. These advances have allowed wind turbines to generate more electricity with each rotation, making them a more cost-effective source of power.
The Use of Offshore Wind Farms: Offshore wind farms have the potential to generate a significant amount of electricity, thanks to the stronger and more consistent winds found at sea. These projects can be challenging to develop due to the high costs and technical complexities involved, but they are becoming increasingly popular as a way to generate clean energy.
The Potential for Vertical Axis Wind Turbines: Traditional wind turbines have horizontal blades that rotate around a vertical axis. However, there is also potential for the development of vertical axis wind turbines, which would be more suitable for urban environments and could potentially generate power more efficiently.
Advances in Hydroelectric Power Generation
Hydroelectric power is generated by harnessing the energy of falling water, and there have been several developments in this field in recent years. These include:
The Improvement of Dam Designs: The design of hydroelectric dams has evolved over time, with the goal of improving efficiency and minimizing environmental impacts. Modern dams are more streamlined and use advanced technologies to generate electricity with minimal impact on local ecosystems.
The Use of Micro Hydroelectric Systems: Hydroelectric power is not limited to large-scale projects such as dams. Small-scale micro hydroelectric systems can be installed in areas with a sufficient water supply, allowing communities to generate their own clean energy.
The Potential for Tidal and Ocean Energy: The tides and waves of the ocean contain a vast amount of energy that can be harnessed through the use of specialized technologies. These technologies are still in the early stages of development, but they have the potential to generate significant amounts of clean energy in the future.
Advances in Bioenergy and Biomass
Bio energy and biomass refer to the use of organic matter as a source of energy. There have been several advances in this field in recent years, including:
The Use of Waste Products as a Renewable Energy Source: Waste products such as food scraps and agricultural residues can be converted into bio energy through processes such as anaerobic digestion. This allows us to turn waste into a valuable resource and reduce the amount of material that ends up in landfills.
The Potential of Algae as a Bio fuel: Algae is a highly efficient photosynthesizes and has the potential to be converted into a variety of bio fuels. While still in the early stages of development, an alga has the potential to become a major source of clean energy in the future.
The Development of Advanced Bio energy Conversion Technologies: There have been significant advances in the technologies used to convert biomass into energy, including the use of advanced biochemical processes and advanced pyrolysis systems. These technologies are helping to make bio energy a more viable and cost-effective source
Conclusion:
At Prismecs, we specialize in providing top-quality power generation services using innovative and cutting-edge technologies. Our solutions are focused on renewable energy sources and are designed to be highly efficient and reliable, making them perfect for reducing costs and improving operations in the petroleum industry.
Our team of experts is ready to answer any questions you may have and provide more information about our services. So don’t hesitate to give us a call at 18887747632 or send us an email at [email protected] We look forward to working with you and helping your business succeed. | https://expostnews.com/overview-of-power-generation-and-renewables/ |
Small Wind could provide 3.1% of electricity demand
Small domestic wind turbines could provide the UK with 3.1% of its total electricity demand, according to a new report issued by the Energy Saving Trust (EST) powering as many as 800,000 homes. Figures produced by the EST indicated that while houses in built-up urban areas are not ideal candidates for wind power, there are 450,000 locations in the UK where turbines could justify their costs.
Photo: A Renewable Devices Swift Turbine installed in a rural setting on a wooden pole.
week ending 10 July 2009
Community Action
A fundamental behavioural change will be required of communities across the UK if legally binding targets on carbon dioxide emissions are to be met. Speaking at the launch of the Energy Saving Trust’s (EST) new Green Communities scheme, climate change minister Joan Ruddock said that community action is vital in motivating villages, towns and cities to embrace a low-carbon future.
Low Carbon Economy 10th July 2009 more >>
Anaerobic Funding
HARPER Adams will launch a new anaerobic digestion system at its Shropshire campus after winning multi-million funding. The digester will generate heat and power from farm and food waste and is projected to offset campus carbon emissions more than three times over. The university is one of three higher education institutions in England to have won a share of a pot of £10 million, set aside for ‘transformational’ projects under the new Revolving Green Fund, which was set up by the Higher Education Funding Council for England and Salix Finance.
Farmers’ Guardian 10th July 2009 more >>
Sheffield School
Seven councillors unanimously approved the proposals for a single- storey hall, including a 10m high wind turbine.
Sheffield Star 10th July 2009 more >>
Forest of Dean Turbine
STUDENTS at a Forest school are in a spin over plans for a new wind turbine on the playing fields. An application for a 17.5metre structure at Whitecross School in Lydney has been submitted to Forest of Dean District Council.
The Forester 10th July 2009 more >>
Solar Scouts
Scouts in Otley have launched a £125,000 appeal to give their base a new lease on life. The project will include an extension heated by a renewable energy and the hut’s meeting hall itself will be given a more efficient heating system that incorporates solar power.
Wharfedale Observer 10th July 2009 more >>
Croydon Turbine
With its solar panels, solar tubes and now a massive wind turbine, Virgo Fidelis is arguably Croydon’s “greenest” school. Staff and governors plan to make the popular girls-only secondary, in Central Hill, Upper Norwood, an “eco school” and make the school sustainable.
Croydon Today 10th July 2009 more >>
Solar Tower Blocks
AMBITIOUS plans to transform three crumbling 1960s tower blocks into dramatic beacons of green technology are set to be rubber-stamped this month. Giant solar panels will be installed on the towers of the Edward Woods estate, running the length of their 22 storeys, with two nine-metre wind turbines added to each roof.
London Informer 9th July 2009 more >>
Ballymena Geothermal
Ballymena could become the first town in Ireland to be powered by energy sourced from deep beneath the earth’s crust. The town is pressing ahead with plans to harness deep geothermal energy and use it to power a clean, green district heating system for the town.
Belfast Telegraph 9th July 2009 more >>
London Housing
The London Housing Design Guide draws on existing standards such as the Code for Sustainable Homes and The Mayor’s Supplementary Planning Guidance on Sustainable Design and Construction. The Guide’s vision for green housing made the following notable points: All new publicly funded homes to meet at least level 3 of the Code for Sustainable Homes; All new housing developments to provide low carbon and renewable energy generation, provided on-site where feasible.
H&V News 9th July 2009 more >>
24 Dash 9th July 2009 more >>
Peak Grants
Community groups and businesses in the Peak District have won £1,000s to develop renewable energy, organic gardening, energy efficiency and wildlife projects.
The Peak District Sustainable Development Fund has handed out grants to organisations as part of its community work. Recent grants include £41,600 to Parwich Memorial Hall Committee to help develop its new village hall with renewable energy.
Bakewell Today 9th July 2009 more >>
Small Wind
Small domestic wind turbines could provide enough clean electricity to power more than 800,000 UK homes, according to the Energy Saving Trust (EST). Previous studies have suggested that small turbines in residential areas fail to generate enough power to justify their installation. While the new work still suggests houses in dense urban areas are poor sites, it identifies 450,000 suitable domestic locations across the nation. There are currently just 2,000 such turbines. The research, which provides the most accurate picture of wind speeds in the UK yet, is available to the public via (est.org.uk) where householders can enter their postcode.
Guardian 9th July 2009 more >>
BBC 9th July 2009 more >>
BWEA Press Release 9th July 2009 more >>
Low Carbon Economy 9th July 2009 more >>
New Energy Focus 10th July 2009 more >>
The largest field test of domestic wind turbines in the UK has found that fewer locations are suitable for home installed wind turbines than previously predicted - with wind turbines in urban areas yielding particularly poor results.
Which? 9th July 2009 more >>
Small wind power is going mainstream. According to the American Wind Energy Association (AWEA), the US small wind market grew by 78% last year with many new turbines hitting the market. But more options don’t make finding the right wind power solution easy. If you are interested but not sure how to even get started, here are 9 things to know as you consider wind power.
Green by Design 9th July 2009 more >>
Turbines located in Scotland are more effective than those in the rest of the UK.
Press & Journal 10th July 2009 more >>
CHP Complexity
A complex mish-mash of UK energy policies is threatening to stall the development of combined heat and power in the UK, a top legal expert warned. Speaking at a German-British Chamber of Industry and Commerce event in London entitled ‘The Use of biomass and biogas in Combined Heat and Power Systems’, James Elwen, senior associate at law firm McGrigors, said: “There is too much strategy in the UK.” Mr Elwen went on to produce a list of 11 policies and consultations affecting CHP which included a Strategy for CHP to 2010, the Biomass Strategy, the Renewable Energy Strategy and the Carbon Energy Saving Programme.
New Energy Focus 8th July 2009 more >>
Biomass CHP
Work is set to begin on a biomass-fuelled combined heat and power (CHP) plant on the university’s campus this September which will be used as a demonstration centre to showcase the exciting work going on at Aston.
Birmingham Post 8th July 2009 more >>
Solar Campaign
A motion for solar power in the UK recently became the most supported in Parliament. 240 MPs have signed a Commons motion (EDM 689) in support of solar PV in the UK, making it the most popular Commons motion out of over 1,600 tabled to date in this Parliamentary session. The weight of MP support for the motion reflects the views of 1000s of individuals and 100s of organisations signed up to the ‘We Support Solar’ campaign.
Electrical Times 7th July 2009 more >>
Leicester – time for action
An MP has endorsed research which shows how Leicester could cut carbon dioxide emissions by 40% within 10 years. Leicester South MP Peter Soulsby is supporting research commissioned by Friends of the Earth showing how local authorities, including Leicester City Council, could meet the target by 2020 while also creating new jobs. The survey aims to find out how many jobs could be created by councils which implement green measures such as insulating homes and businesses, installing low-carbon district heating systems and fitting renewable energy sources to buildings.
Leicester Mercury 7th July 2009 more >>
Tesco Turbine
TESCO plans to build two 35ft-tall wind turbines at a superstore in south Essex. Electricity generated by the towers will be fed directly into the Tesco Extra store, at the Mayflower Retail Park, in Gardiners Link, Basildon, in a bid to cut about seven tonnes of carbon dioxide emissions a year.
Basildon Recorder 7th July 2009 more >>
Glasgow Nursery
A new nursery in the East End of Glasgow will use cutting-edge technology to make it eco-friendly. Milnbank is developing an energy-saving and efficiency programme across its 1161 properties to reduce carbon emissions by changing the attitudes of individuals and organisations towards waste reduction, energy efficiency and lifestyle. It has designed a carbon-reduction programme for the new nursery to save 40% of carbon produced during construction and 80% in running costs. An electric mini-bus, powered by renewable energy from the building, will be used to pick up and drop off children across the neighbourhood. The service will also be extended to members of the local community.
Herald 6th July 2009 more >>
Glasgow Evening Times 6th July 2009 more >>
24 Dash 7th July 2009 more >>
Best practice in harnessing microgeneration technologies
There is wide variability in the attractiveness of individual microgeneration technologies and subsidy support schemes. Solar photovoltaic shows very low levels of uptake in the absence of strong capital or energy-based support subsidies. Solar thermal accounts for the majority of all microgeneration kits now installed in Europe, but micro-CHP is a new challenger. In a supportive policy environment, heat pumps are poised to grow rapidly and deliver meaningful energy and CO2 savings. The wide-scale uptake of micro-biomass is unlikely and could only ever be driven by subsidy policy or very high retail power prices. Without a generous ‘deemed’ feed-in tariff, micro-wind can actually be detrimental to the environment. Gas-fired micro-CHP is the most acceptable alternative to conventional heating systems, especially for mains gas users.
Live PR 4th July 2009 more >>
Ainsworth Bill
The Private Member’s bill, put forward by Conservative MP Peter Ainsworth, aims to support the development of green energy by requiring a revision of the government’s microgeneration strategy, including feed-in tariffs. The bill seeks a change to permitted development rights to remove the need for planning permission to be sought for air source heat pumps, domestic-scale wind turbines and other forms of renewable technology being installed in domestic properties. The bill now goes forward to the House of Lords.
Heating & Ventilating.net 4th July 2009 more >>
Another Tesco Turbine
Bosses at the Tesco store on East Lane, Paisley, have been given planning permission to build a new wind turbine in their car park. The turbine will stand 10.6 metres high, similar to a lamppost, and is a unique design with six aluminium blades on the rotor on a vertical axis as opposed to the more traditional horizontal axis.
Paisley Daily Express 3rd July 2009 more >>
Inverclyde Academy
The building incorporates a 50kw wind turbine (the first in the UK on a monopole tower) and a 5 sq. m Photovoltaic array to provide power to the school. | http://www.microgenscotland.org.uk/news-archive/?news=2009/28 |
What incentives are available for businesses in Ontario (Canada) to help the transition to renewable energies?
What if you were paid for the transition of your building to renewable energy?
October 25, 2021
This article is the second of a series of articles presenting the various programs and incentives available for businesses across Canada and around the world to help them fully or partially transition to renewable energy. In our first article, we presented the various programs available in the Atlantic provinces of Canada and we are now moving west, to central Canada, starting with Ontario.
Stay tuned as we continue our tour of all Canadian provinces over the next few weeks.
First let’s look at the province of Ontario’s energy profile.
Ontario Energy Profile
In 2019, the combined emissions from Alberta and Ontario, the largest emitters of Greenhouse Gas, represented 60% (38% and 22%, respectively) of the national total.
In 1990, Ontario's GHG emissions were higher than those from the other provinces because of its large manufacturing industry. Alberta's emissions subsequently surpassed Ontario's, with an increase of 61% since 1990, primarily due to the increase in the oil and gas industry. Ontario's emissions decreased between 1990 and 2019 primarily because of the closure of coal-fired electricity generation plants.
Table 1: Greenhouse gas emissions by province and territory, Canada, 1990, 2005 and 2019
The largest emitting sectors in Ontario are transportation at 35% of emissions, heavy industries (including iron, steel, and chemicals) at 24%, and buildings (residential and commercial) at 22%.
Based on 2018 data, Ontario is the 2nd largest producer of electricity in Canada and home to over 98% of Canada’s solar installations. Ontario currently ranks 5th in the list of provinces for solar potential in Canada by energyhub.org. In 2018, about 96% of electricity in Ontario was produced from zero-carbon emitting sources: 60% from nuclear, 26% from hydroelectricity, 7% from wind, and 2% from solar.
But Ontario’s total energy demand is still one the largest in Canada (2nd largest in 2017) with the Industrial and Commercial sectors combined accounting for more than half of the demand (53% in 2017). In terms of fuel types, Natural Gas accounted for 28% of the demand, behind Refined Petroleum Products (RPPs) at 48% and in front of electricity at 16%. Ontario natural gas demand represented 24% of total Canadian demand in 2017, making it the largest natural gas consuming province after Alberta.
Available Programs and Incentives in Ontario
Now that you have a better understanding of Ontario’s energy profile and GHG emission sources, let’s look at the various programs and incentives available for businesses in Ontario to help the transition to renewable energy.
Even if Ontario has largely improved its GHG emissions since 1990, a lot of work is still required to reach the various targets set by the federal and provincial governments as well as the city of Toronto. And as we can see from the data presented above, the commercial and industrial sectors can play a big role in reducing GHG emissions in Ontario (and around the world). Renewable energy systems can also increase building resiliency (just like an emergency generator) and even reduce your energy costs.
Here’s a few programs and incentives available in Ontario as of October 1st, 2021. It’s important to note that although the province has many programs and incentives for energy efficiency such as the Retrofit Program, this article will focus on programs helping commercial, industrial and institutional organisations fully or partially transition to renewable energy.
RENEWABLE ENERGY TAX SAVINGS AVAILABLE ACROSS CANADA
As presented in our review of Atlantic Canada programs, the Canadian government offers attractive tax savings to make the energy transition. Under classes 43.1 and 43.2 described in Schedule II of the Income Tax Regulations, certain capital costs associated with systems that produce energy from renewable energy sources or from fuels derived from waste or who save energy by using fuel more efficiently are eligible for an accelerated capital cost allowance.
To be eligible as Canadian renewable and conservation expenses (CRCE), expenses must be incurred in respect of a project for which it is reasonable to expect at least 50 percent of the capital costs incurred for the project would be the capital costs of equipment described in Class 43.1 or 43.2.
According to the technical guide for categories 43.1 and 43.2, here are some categories that are eligible for these tax savings for renewable energy:
- Geothermal pump
- Wind energy conversion systems
- Photovoltaic electricity production equipment
- Geothermal energy equipment
- Equipment for producing electricity from wave, tidal or tidal energy
- District energy networks / district energy network equipment
- Electrical energy storage equipment
- Charging stations for electric vehicles.
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Source: Tax Savings for industry https://www.nrcan.gc.ca/science-data/funding-partnerships/funding-opportunities/funding-grants-incentives/tax-savings-industry/5147
RENEWABLE ENERGY TAX SAVINGS AVAILABLE IN ONTARIO
1 - Net Metering
Replacing the previous FIT (feed-in Tariff) Program, the new Ontario Net Metering program allows individuals and businesses to lower their electricity bill by generating power with wind, solar or other renewable energy sources.
Once approved and connected to the grid, you can receive a credit directly on your electricity bill for electricity that is sent back to the grid.
Net metering may not be available for all buildings and all regions. For more information, contact your local distribution company.
2 - TransformTO
TransformTO is Toronto’s ambitious climate action strategy. Unanimously approved by City Council in July 2017, it includes a set of long-term, low-carbon goals and strategies to reduce local greenhouse gas emissions and improve our health, grow our economy, and improve social equity.
On October 2nd, 2019, City Council voted unanimously to declare a climate emergency and accelerate efforts to mitigate and adapt to climate change, adopting a stronger emissions reduction target of net zero by 2050 or sooner. Toronto’s greenhouse gas (GHG) emissions reduction targets are now as follows (based on 1990 levels):
- 30% by 2020
- 65% by 2030
- Net zero by 2050, or sooner
Here’s a list of incentives and programs derived from this initiative and available to businesses in the Toronto area.
2.1 – Grants, by TAF (The Atmospheric Fund)
You are eligible for funding if:
- You are a municipality, non-profit organization, or a registered charity based in the Greater Toronto and Hamilton Area (GTHA).
- Your project has the potential to generate large-scale carbon reduction in the GTHA.
More information : https://taf.ca/grants/
2.2 – Project Financing, by TAF (The Atmospheric Fund)
Cleantech companies and projects are generating low-carbon solutions to power the next economy. TAF is investing in these high-quality opportunities and bringing other investors along with them.
More information : https://taf.ca/impact-investing/
2.3 - Energy Retrofit Loans
Through its Energy Retrofit Loan program, the City offers low-interest loans to help building owners improve the energy efficiency of their buildings. All buildings located in Toronto are eligible.
The City offers financing for up to 100% of project costs, at a rate equal to the City’s cost of borrowing, with repayment terms up to 20 years.
Eligible projects include:
- Lighting retrofits
- High-efficiency boilers, chillers and HVAC
- Building envelope improvements
- Building automation systems and controls
- Heat pumps
- Renewable energy projects
- Energy storage
- Fuel switching
- Other retrofit measures/technologies
3 - SolarTO
The City of Toronto offers complimentary consultations and guidance to residents and businesses to support the installation of solar PV systems on Toronto’s homes and buildings.
SolarTO offers the following services, at no cost, for commercial buildings and properties located in Toronto:
- Solar PV (rooftop)
- Online visual check to determine opportunity.
- Zoning verification and conceptual layout/system sizing and budgetary estimates.
- Assistance with completing the preliminary Toronto Hydro Distributed Energy Resource (DER) application.
- Solar Carport (Parking Lot)
- Online visual check to determine opportunity
- Zoning verification and conceptual layout/system sizing and budgetary estimates
- Assistance with Toronto Hydro DER application, assistance with geotechnical analysis and EASR/REA guidance.
- Energy Storage
- Options and high-level consultation (cost and capacity), briefing on Class A.
- Conceptual size and output, budget estimates.
- Assistance with Toronto Hydro DER application. Guidance on completing a feasibility report with a third party.
CONCLUSION
If you own or have a long-term lease on a commercial, industrial or institutional building in Ontario, we invite you to explore the benefits of renewable energy.
Transitioning your building(s) to renewable energy is easier than ever and can help you reduce your GHG Emissions, increase your resiliency and even reduce your energy costs.
And with solutions like vadiMAP, you can easily find out the potential of renewable energy and receive a personalized energy and thermal system prescription for a fraction of the cost normally charged by traditional engineering firms.
Contact us now to learn more or visit our website. Together, we can make a difference.
What's next?
Start your transition now in a few clicks with the vadiMAP prescription! | https://www.vadimap.com/blog/what-incentives-are-available-for-businesses-in-ontario-canada-to-help-the-transition-to-renewable-energies-a17 |
4th September, 2015
Renewable energy in Cornwall now generates 30% of our electricity, according to the South West Renewable Energy Progress Report 2015 by Regen SW. Across the south west, the average is 14% – enough to power approximately one million homes and employ 12,800 people.
So how do people and businesses in Cornwall feel about renewable energy – is it seen as an environmental imperative, or only if it makes sense financially? PFA Research analysed the local market to see how growth in the sector is affecting businesses and our local micro-renewable suppliers.
Cornwall’s renewable energy market
Cornwall and Devon continue to lead the way in renewable energy in the south west and Cornwall has overtaken Devon on total capacity for the first time since 2011/12, having seen an 81% increase over the year.
|Number of projects||Electrical Capacity||Thermal Capacity|
|MW||% of total||MW||% of total|
|Solar PV||13550||486.93||81%||0||0%|
|Heat pumps||1413||0||0%||12.69||18%|
|Solar thermal||952||0||0%||2.82||4%|
|Biomass||584||0||0%||51.44||73%|
|Onshore wind||367||100.06||17%||0||0%|
|Hydro||27||1.76||0%||0||0%|
|Landfill gas||5||13.87||2%||0||0%|
|Sewage gas||3||0.5||0%||0.96||1%|
|Anaerobic digestion||2||1.5||0%||3||4%|
|TOTAL||16903||604.62||100%||70.91||100%|
(Source: Regen SW – South West Renewable Energy Progress Report 2015)
The growth in 2014/15 was dominated by solar Photo Voltaic (PV), which has benefited from falling prices, short installation times and the availability of capital.
The sun still beats the wind
The popularity of solar energy is corroborated by a July/August 2015 PFA Research renewable energy survey amongst Cornish homeowners, which found that 22% of respondents had already installed Photo Voltaic (PV) solar panels and a further 7% were planning to install them, whilst 8% have solar thermal heating and another 4% were planning to install it. In comparison, just 2% have a ground source heat pump, 2% an air source heat pump and 1% had a wind turbine, with only 2-3% citing plans to install at least one of these forms of renewables.
PV solar panels also leads micro-renewables in perceptions of adding value to property – 54% of respondents to the PFA survey say they believe this renewable energy technology adds value to their property, closely followed by ground source heat pumps (53%), solar thermal water heating (50%) and air source heat pumps (46%). Wind turbines were believed to detract value from property (43%) more than adding to it (22%).
Energy efficiency
Cornwall is also leading the South West in volumes of energy efficiency measures. Volumes of Energy Company Obligation (ECO) measures and Green Deal assessments in Cornwall top the south west, with 18 Green Deal assessments per 1,000 households (4,256 in total) and 35 ECO measures per 1,000 households (8,395 in total) in 2014-15. In light of low take-up and concerns about industry standards, however, the Government has recently announced that there will be no further Green Deal funding and it will work with the building industry and consumer groups on a new value-for-money approach.
Money the key driver and barrier to adoption
The main reasons Cornish homeowners responding to the PFA Research survey give for installing a renewable energy system at home are ‘to save money on energy’ (81% of respondents), ‘to be more environmentally friendly’ (57%), ‘to take advantage of a Government grant/initiative’ (47%), ‘to add value to property’ (28%) and ‘to support a local community energy project’ (17%).
The main reasons for not installing a renewable energy system are:
This follows the national picture where price is still key: 45% of people want energy from the cheapest source possible. (Source: Mintel Renewable Energy report, December 2014.)
Fragmentation of supply
A proliferation of micro-renewable suppliers were used to install the energy-saving technologies, with Cornish homeowners using everything from multinational companies to regional specialists and local one-man-band electricians – there are no clear market leaders in Cornwall.
The PFA Research findings also suggest that more education from local micro-renewable suppliers and promotion of government grants/incentives would immediately expand demand, but the nature of how micro-renewables are sold needs upheaval, as one respondent summarises:
“Difficult to find out the truth about different renewable energy sources when all sources of information seem to have a sales agenda.”
Business’s attitude to the environment
In Cornwall Chamber’s ‘A Business Plan for Cornwall’, businesses were keen to point out that commerce and economic development should not happen at the expense of environment and community:
“I don’t think that business should be at the heart of local growth, our environment and community should be. It should be about business sustainability, not constant growth.”
“Growth is not the answer – we live on a small planet. It seems to have escaped the minds of most people that the planet is round and is limited, therefore growth has to stop at some point. We already consume 1.7 planets worth EVERY year, and have passed several tipping points for continuing to live on this planet. It is time to stop growth, go for a steady state economy and focus on prosperity measured in local happiness not in our consumption of an ever shrinking resource.”
PFA Research’s commercial property survey conducted in March this year, found that only 25% of local businesses have dedicated premises that they own, a fact that somewhat limits the market for renewable installations. Only one of the 100 survey respondents cited an environmental consideration; ‘zero carbon footprint’ as the most important thing about choosing business premises. | https://www.pfa-research.com/2015/09/cornwall-leading-the-sw-renewable-energy-market/ |
Findings from the most in-depth field trial to date on Micro-CHP (combined heat and power) were released today by the Carbon Trust, showing that Micro-CHP technology has significant potential to deliver CO2 savings in small commercial environments and certain types of homes.
Green
Tech for the Home 7th Dec 2007
more >>
Voltimum 6th Dec 2007
more >>
Conservative Policy
Britain's power generators have reacted sharply to Tory proposals to boost micro-generation, saying that the plans represented a call for a "revolution". "Are they actually suggesting that the companies that plan to spend £20bn to £30bn in the next 12 years on new power projects should stop and think again?" said the Association of Electricity Producers' chief executive, David Porter. "Will new gas-fired power stations, clean coal schemes and marine renewables somehow be made redundant by community and domestic power production? If so we need to know immediately.
Guardian 7th Dec 2007
more >>
Letter: While we firmly believe the government should quickly introduce a German-style feed-in tariff for solar photovoltaics in particular, this is no excuse for downgrading the large-scale renewable energy programme. What the Tory proposals do not mention is that most of Germany's renewable energy (the 12% mentioned) in fact comes from the very large-scale wind turbines, from which the Tories want to withdraw or limit financial support.
Yvette Cooper MP Housing minister says your report (December 3) once again misrepresents the government's position on the Merton rule, to promote renewables through the planning system. We have set a world-leading timetable for all new homes to be zero-carbon from 2016. That is why we need local councils to do far more to promote the use of decentralised renewable and low-carbon energy, looking at community energy schemes like combined heat and power plants, as well as microgeneration.
Guardian 7th Dec 2007
more >>
Philip Wolfe, Executive Director of the Renewable Energy Association, says these Conservative proposals build on measures which have proved to be highly successful overseas. On-site renewables will be a huge contributor to the 20% EU renewables target - and it is a sector that policies don't currently reach. The innovative approach to defining and financing the tariffs could also be extended to renewable heat - another neglected area.
Renewable Energy Association 6th Dec 2007
more >>
At least 1m households and businesses in Britain could be generating large amounts of electricity for the grid within a decade, but it will need an overhaul of the electricity supply industry, the Conservative party said yesterday. The party would create a mass market for decentralised "micro-energy" by encouraging everyone to invest in their own solar power and other renewable electricity generating schemes. A guaranteed price for the electricity generated in homes would be paid, with a further guarantee to run the scheme for at least 20 years.
Guardian 6th December 2007
more >>
FT
7th Dec 2007
more >>
Business Green 6th Dec 2007
more >>
BBC 6th Dec 2007
more >>
Daily Express 6th Dec 2007
more >>
Daily Mail 6th Dec 2007
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At the Greenpeace offices on Thursday, David Cameron launched a policy paper which set out plans for a decentralised energy revolution in Britain.
Conservative Party Press Release 6th Dec 2007
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Cameron’s Speech 6th Dec 2007
more >>
Homeowners who generate their own electricity would supply 5 per cent of the nation’s needs in little more than a decade under plans to be announced by the Conservatives today.
Times 6th Dec 2007
more >>
Previewing the plans on the Today programme, environment spokesman Greg Barker said the UK is "really being left behind" in the move to greener energy. Mr Barker continued: "If you look at the Netherlands they produce about 40 per cent of their electricity from decentralised sources, primarily combined heat and power.
Politics.co.uk 6th Dec 2007
more >>
Conservative plans to oblige electricity suppliers to purchase surplus energy from green consumers who generate their own power, have been applauded by Friends of the Earth (FoE).
Politics.co.uk 6th Dec 2007
more >>
Ceredigion Biomass
A Ceredigion scheme which provides four large buildings with heating and hot water from woodchip has so far saved 21 million pounds and cut carbon emissions by 400 tonnes. Ceredigion County Council was today given the Consortium of Local Authorities in Wales sustainability award for its Renewable Energy Facility at Penmorfa in Aberaeron which was set up with the aid of Objective 1 funding.
News Wales 6th Dec 2007
more >>
Trafalgar Square
The Mayor of London's temporary green showhome in Trafalgar square has attracted comments from the building industry as well as green groups. Ken Livingstone launched the Mayor of London's 'green homes' service, from outside the specially built eco house in London this week. The initiative has attracted mainly favourable comment, but it seems clear that the government needs to do far more in the way of financial support for homeowners to make their properties more efficient.
New Builder 6th Dec 2007
more >>
Scilly Isles
The Scilly Isles could be on course for a greener future as a result of an action plan being published by the Council of the Isles of Scilly, which outlines a plan to get the islands developing their own renewable energy supply and lowering dependence on energy from the mainland, while also reducing the islands' carbon footprint.
Western Morning News 6th Dec 2007
more >>
Kilmarnock
BUILDING of the all-new Galston Primary School and Nursery is on track as the hi-tech project nears completion. The new school will be one of the most modern design concepts in the UK, incorporating a number of renewable energy features which will ensure a low carbon footprint.
Kilmarnock Standard 6th Dec 2007
more >>
Blackpool
BOSSES in charge of the revamp of Cleveleys Promenade are hoping to turn to the breeze to help make a brew. Wyre Council is looking at ways to use wind power across the borough and the new landmark Prom could be the first location chosen to pilot the scheme.
Blackpool Today 6th Dec 2007
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Rotherham
Eco-homes which were built in Rotherham this year will be put to the test as part of a new project. A study, funded by the Economic and Social Research Council, will determine how much energy the homes on Henley Rise are saving, as well as looking at the behaviour of residents. The homes were developed by South Yorkshire Housing Association and are fitted with solar panels and 'super-insulation'.
Berwick Advertiser 6th Dec 2007
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South Tyneside
GREEN campaigners today welcomed news that plans for a controversial riverside wind turbine will be resurrected. A&P Tyne at Hebburn was forced to scrap its original plans for the turbine –following objections from residents, the Ministry of Defence (MoD) and Newcastle International Airport. But now new plans are set to be submitted to South Tyneside Council for a redesigned wind turbine.
Shields Gazette 5th Dec 2007
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Solar Birmingham
More private home owners in North West Birmingham will receive cheaper fuel bills as a result of the installation of solar panels and other energy saving measures, part of an Eco Neighborhood project set up by Family Housing Association. The scheme has provided over 250 homes with solar panels and has now secured an extra £704,000 to extend the project further, providing another 73 homes with solar panels and other measures including super insulation and energy efficient lighting, by the end of March 2008.
Midlands Housing 5th Dec 2007
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Feed-in Tariffs
The introduction of feed-in tariffs would be a cheap and ecologically sound element of energy policy. So why the reluctance to adopt them?
Guardian 5th Dec 2007
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Norfolk
A plan to build a £9bn eco-town creating 10,000 homes and 2,000 jobs on the old airfield has been shot down in flames by the jail plan. And the developer behind the ambitious green venture, which included a brand new broad, today branded the decision to build cells rather than homes as “crazy.”
East Anglian Daily Press 5th Dec 2007
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Woking
A report published by the Local Government Association (LGA) puts into context the excellent work that the Borough has been doing to reduce its carbon footprint and urges other councils to join in the battle against climate change. Produced by the LGA's Independent Climate Change Commission, the report draws attention to the significant role that councils can play in cutting carbon emissions and achieving the 2020 reduction targets that have been set by central government. It identifies four key areas that local authorities need to work on to make the necessary carbon emission cuts - transport, planning, housing and procurement.
Woking Borough Council 5th Dec 2007
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Fallon Bill
MPs back policy, pioneered by Merton council, for developments to have on-site renewable sources of energy. A bill to give councils the right of councils to implement so-called “Merton rule” on renewable energy is to be put forward by MPs today.
Building 5th Dec 2007
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Having recently topped the Private Members' Bill ballot Michael Fallon MP has decided to use his slot to encourage renewable energy at a local level. His Planning and Energy Bill will will enable local authorities to set renewable and low carbon energy targets for new development, reinforcing the "Merton rule" under which over 100 councils have followed the London Borough of Merton in setting onsite renewable energy targets for new housing.
Conservative Home 4th Dec 2007
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Home Truths
Mayor Livingstone's new initiative to improve the energy efficiency of London homes, launched today, is being welcomed by Friends of the Earth. The environmental group revealed new research last week which showed that it is possible to reduce the emissions produced by UK homes by 80 per cent, saving householders as much as £475 a year.
Croydon Guardian 4th Dec 2007
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Feed in tariffs
There is a bitter dispute at the heart of UK energy policy development, in which support for new nuclear build, gas and carbon capture is pitted against support for renewables (in which a feed-in law should have a rightful place). The lobbying battle has been led by the conventional energy industry giants and the nuclear industry. These companies have successfully nobbled both BERR (the Department for Business, Enterprise and Regulatory Reform) and the Treasury.
Guardian 4th Dec 2007
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Bracknell Forest
Residents are being invited to comment on plans to make sure all new buildings in Bracknell Forest are as environmentally friendly as possible.The draft Sustainable Resource Management Supplementary Planning Document calls on developers to design new buildings with high levels of energy efficiency, conserve water and incorporate renewable energy sources like solar panels.
Bracknell Forest Borough Council 3rd Dec 2007
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Green School
Innovative plans for a groundbreaking sustainable primary school which will be carbon neutral, using solar panels and wind turbines.
Building 3rd Dec 2007
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Haringey
Haringey Council's efforts to tackle climate change have won international acclaim after it was selected as an official partner in a European Union (EU) sustainability campaign. The first of the two projects centres around new planning policies adopted by the council in July 2006. These mean at least 10 per cent of energy for major developments must come from renewable energy on site. Under the new policies, all developers of major projects must also include in their planning applications energy statements setting out how they will reduce energy use and carbon emissions.
Haringey LBC Press Release 3rd Dec 2007
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Eastbourne
There was a charged atmosphere at Ocklynge Junior School when pupils officially switched on their £20,000 solar panels, installed with funding from The Co-operative Group.
Eastbourne Herald 3rd Dec 2007
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Southend
Residents have objected to a proposed block of flats on prime seafront land. Overall, the design detail is considered to be of high architectural quality. The proposed inclusion of renewable energy sources through solar panels is also a welcome element.
Southend Echo 3rd Dec 2007
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Romford
A NEW multi-million pound housing, hotel and shops development is on the cards for a Romford town centre site. The company plans for 10 per cent of the building's energy to be supplied by wind turbines and for the construction of a grassy rooftop garden, which will create a habitat for wildlife.
Romford Recorder 3rd Dec 2007
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Lincolnshire
The Epic centre, which is due to be finished in May next year, will have exhibition halls, conference facilities and offices. It will feature cutting-edge renewable energy systems, including biomass heating and photovoltaic panels.
Lincolnshire Echo 3rd Dec 2007
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Tesco
Tesco's Swansea city centre store plans to put three wind turbines on its roof to power checkouts and lights. The 10.6-metre high, 6kW units would generate enough power to supply the equivalent of four households for a year.
Swansea Evening Post 3rd Dec 2007
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Hospital Turbine
An 80-metre wind turbine could be built to provide energy for Derby City General Hospital.
Derby Evening Telegraph 3rd Dec 2007
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Setting the example
Teachers from across the world visited a Colindale school last week to be taught more about how to develop their own environmental policies, and teaching on renewable energy.
This is Local London 3rd Dec 2007
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Solar Expansion
Electronics giant confirms plans for huge expansion in thin-film solar cell manufacturing capacity in response to soaring European demand.
Business Green 3rd Dec 2007
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Merton Bill
A group of MPs led by the Conservative Michael Fallon will introduce a private member's bill to parliament this week in a bid to prevent the government back-pedalling on rules that require construction companies to fit renewable energy sources to new buildings. The bill is designed to support the so-called Merton Rule.
Guardian 3rd Dec 2007
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Consumer Spending
Britain’s consumers are splurging more on “ethical” goods than ever before – the average household now spends £664 a year, according to the Coop, but only £6 of that is spent on renewable energy sources.
Times 3rd Dec 2007
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Manchester
Evening News 30th Nov 2007
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Irish Fund
AIB Corporate Banking Ireland has announced the launch of the new €350 million AIB Sustainable Energy Fund for companies operating in the energy sector.
Enviro Solutions 2nd Dec 2007
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Solar payback
A study by the Royal Institute of Chartered Surveyors (RICS) shows that solar panels to heat water could cost £5000 to install in the typical three-bedroom terraced house. But they would knock only £24 a year off the average energy bill, which means it could take about 208 years to get a return on the investment.
Sunday Herald 2nd Dec 2007
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Forest Centre
THE Dalby Forest Visitor Centre near Pickering has won a top national award. The £2.6 million centre has been dubbed one of the north's most eco-friendly structures, using wood chip power generation, solar panels, wind turbines.
Gazette & Herald 2nd Nov 2007
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Solar School
A SCHOOL is to harness the sun's rays to light up its classrooms. In a £20,000 move that will make it one of the greenest schools in the country, Middlewich Primary School is to install solar panels to reduce its carbon footprint. It is expected that the 4kilowatt system will provide enough energy to light the whole school.
This is Cheshire 2nd Dec 2007
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Turbine attack
Adored by environmentalists and endorsed by David Cameron, they have become a green status symbol. But researchers say wind turbines on the sides of houses often cause more pollution than they prevent.
Daily Mail 1st Dec 2007
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Business Green 30th Nov 2007
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New Consumer 30th Nov 2007
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Southern Housing 3rd Dec 2007
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Energy Saving
Making your home more carbon neutral might sound too costly or too tedious to contemplate, but according to Alliance & Leicester Personal Loans you will get your money back.They reckon that splashing out up to nine grand on the average three bed semi will ultimately save the owner both energy and money.
Total Essex 1st Dec 2007
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Bootle
PLANS to build an £11m 80,000 sq ft office development in Bootle have been submitted to Sefton Council.The scheme, will incorporate 10% on site renewable energy through the use of ground source heat pumps.
Liverpool Daily Post 1st Dec 2007
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Shetland Wind
Shetland Wind Power, which installs small wind turbines for domestic use, has opened a new distribution and training centre in Stirling. The company was established in the 1990s when its founder and company director, Michael Anderson, became dissatisfied with the amount of money he was paying for his own domestic energy supply. Since then the organisation has gained experience distributing and installing turbines manufactured by Kilmarnock-based Proven Energy Products in Shetland and beyond.
Shetland Today 30th Nov 2007
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Eastleigh
A HAMPSHIRE council leader has pledged to make his authority carbon neutral
by the 2012 Olympics - but admitted he had no idea how many emissions had
to be cut.
Southern Daily Echo 30th Nov 2007
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Wigan
St James' Catholic Primary School officially switched on their solar panels donated by the The Co-operative Group.
Wigan Today 30th Nov 2007
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Cumbria
Pupils at a Cumbrian secondary school have applied for planning permission to build a 0 metre high turbine in the school grounds.
Cumberland News 30th Nov 2007
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Rotherham
Rotherham Civic Society members this week gave their backing to a pioneering eco-friendly housing development. The development of 23 properties on Henley Way in Masbrough is one of 14 green projects across the UK funded by more than £1.3 million of government cash.
Rotherham Advertiser 29th Nov 2007
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Sheffield
Star 3rd Dec 2007
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Northumberland
A GREEN action plan aimed at urgently tackling climate change issues is to go before Northumberland County Council. The draft Climate Change Action Plan will be considered at a meeting of the Executive on December 3, while a full report setting detailed targets will be submitted in Spring 2008 following full consultation.
Northumberland County Council 30th Nov 2007
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Eco-experiment
Barratt Developments today publishes preliminary findings from its pioneering ‘eco village’ project in Chorley, Lancashire – a 15 month experiment into how effectively ‘green’ technologies can be incorporated into new homes.
Easier Property 30th Nov 2007
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When it comes to building a carbon-neutral home, wind turbines don’t work, so far, but bore holes and solar panels do. That is the conclusion that can be drawn from the first detailed working trials by the University of Manchester of energy-saving devices used on the next generation of carbon-friendly homes built by Barratt Developments, one of Britain’s largest housebuilders.
Times 3rd Dec 2007
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Networks
The Conservative leader speaking to the CBI talked about the vitally important role for energy infrastructure. He addressed head-on the twin challenges of the ‘need to secure our energy supplies while meeting environmental obligations.’ He signalled that decentralised energy would be at the heart of Conservative energy policy. | http://www.microgenscotland.org.uk/news-archive/?news=2007/48 |
Meghdadi, Seyedali (2015) Study of stand-alone and grid-connected setups of renewable energy systems for Newfoundland. Masters thesis, Memorial University of Newfoundland.
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Available under License - The author retains copyright ownership and moral rights in this thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author's permission.
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Abstract
Decreases in the cost of renewable energy systems such as solar panels and wind turbines, increasing demand for renewable energy sources to provide a sustainable future, and worldwide regulations to reduce greenhouse gas emissions have made renewable energy sources (RES) the strongest candidate to substitute for oil/gas power plants. Rich natural resources in Newfoundland and Labrador have established the province as a resource-based powerhouse. Hence, study of renewable energy setups for this region is of prominent importance. Renewable energy systems are chiefly categorized into the small-scale stand-alone and large-scale grid-connected systems. Generally, the term “large-scale renewable energy” refers to any large renewable energy projects (e.g. 100 KW or greater) which can make a significant contribution to energy needs. However, in this thesis it refers to wind farms due to the small amount of annual solar radiation in the Newfoundland region. The term “small-scale or local scale renewable energy” refers to personal and communal renewable energy harnessing systems mainly located in rural areas far from the grid. The largest differences between local scale and large scale systems are installation and maintenance costs, the magnitude of the energy harnessing systems, resilience ability (the capacity of a system to absorb disturbance and still retain its basic function), and energy storage capabilities. These differences mean that system design and analysis will be different for each category. This thesis aims to model, simulate and analyze the stand-alone and grid-connected setups of renewable energy systems customized for Newfoundland in order to meet current and future electricity needs with environmentally friendly, stable, and competitively priced power. It details potential design improvements as follows: (1) Small-scale renewable energy systems can be combined with conventional generators and energy storage devices in Hybrid Power Systems (HPS) to overcome the intermittency and uncontrollability issues of renewable power generators. Proper design of such a system is crucial for reliable, economic, and eco-friendly operation. In this thesis, a unique methodology for optimally sizing the combination of wind turbine, solar panel, and a battery bank in a Wind-PV Hybrid system is introduced. This method allows 2% lack of power supply in a year. Two off-grid systems are detailed and modeled in Matlab code and the sizing results of both systems are then compared to the results of the Homer software. Proposed method of sizing results in 30% of reduction to the initial cost of the system. (2) Solar panels are often installed in climates with a considerable amount of snowfall and freezing rain in winter. For instance, St. John’s on the Avalon Peninsula received more than three meters of snow in 2014. The optimal sizing objective of the solar panel in all renewable energy systems is to harness the maximum energy from solar insolation. Since snow accumulation poses an obstacle to the performance of solar panels, reducing their efficiency, it is essential to remove snow from panels as soon as possible. The design of a system that can accurately detect snow on panels and sends alerts in case of snow cover can play a significant role in the improvement of solar panel efficiency. This system was designed, built, and then tested for three months during the winter of 2014 in the engineering building at Memorial University of Newfoundland (47°34'28.9"N 52°44'07.8"W) using solar panels, a battery, a load, a microcontroller, a voltage and a current sensor, and a light dependent resistor. This system proves capable of precisely identifying more than 5 cm of snow accumulation on solar panels and sending alerts. (3) In large-scale renewable energy systems, proper investigation of the grid connection impact of wind farms is essential for the following reasons: Firstly, in wind turbines, generating systems are different from conventional grid coupled synchronous generators and interact differently with the power system. Secondly, the specific type of applied wind turbine has some aspects of interaction with the grid, particularly for wind turbines with and without power electronic converters. Analyzing connection of large-scale wind farms, simulating 500MW of wind capacity to the isolated grid of Newfoundland with the purpose of probing stability and reliability of the grid is conducted in “phasor simulation type” using Matlab/ Simulink. As a case study, the impact of the Fermeuse wind farm (46ᵒ58′42′′N 52ᵒ57′18′′W) on the isolated grid of Newfoundland is explored in “discrete simulation type” for three permissible scenarios, which are constant wind speed, variable wind speed, and reconnection of the wind farm to the grid. Results indicate that variable wind speeds cause very small fluctuations in the frequency and the current injected into the grid, meaning the grid is quite stiff. Also, system trip and reconnection will result in a frequency variation of 0.35 Hz, where some harmonics coming from the converter can be noticed, and voltage variation of less than 5%. | https://research.library.mun.ca/8473/ |
Environmental impact of wind power includes effect on wildlife, but can be mitigated if proper monitoring and mitigation strategies are implemented. Thousands of birds, including rare species, have been killed by the blades of wind turbines, though wind turbines contribute relatively insignificantly to anthropogenic avian mortality. For every bird killed by a wind turbine in the US, nearly 500,000 are killed by each of feral cats and buildings. In comparison, conventional coal fired generators contribute significantly more to bird mortality, by incineration when caught in updrafts of smoke stacks and by poisoning with emissions byproducts (including particulates and heavy metals downwind of flue gases). Further, marine life is affected by water intakes of steam turbine cooling towers (heat exchangers) for nuclear and fossil fuel generators, by coal dust deposits in marine ecosystems (e.g. damaging Australia's Great Barrier Reef) and by water acidification from combustion monoxides.
Using 100% renewable energy was first suggested in a Science paper published in 1975 by Danish physicist Bent Sørensen. It was followed by several other proposals, until in 1998 the first detailed analysis of scenarios with very high shares of renewables were published. These were followed by the first detailed 100% scenarios. In 2006 a PhD thesis was published by Czisch in which it was shown that in a 100% renewable scenario energy supply could match demand in every hour of the year in Europe and North Africa. In the same year Danish Energy professor Henrik Lund published a first paper in which he addresses the optimal combination of renewables, which was followed by several other papers on the transition to 100% renewable energy in Denmark. Since then Lund has been publishing several papers on 100% renewable energy. After 2009 publications began to rise steeply, covering 100% scenarios for countries in Europe, America, Australia and other parts of the world.
This items including : 2pcs 400W wind turbine with grid tie controller ,2pcs waterproof grid tie inverter ! Why Off Grid Systems Should Include Wind? Wind provides power at night. Wind is strongest during the winter months when solar resources are limited. Wind provides power during poor weather conditions. Air density is higher in colder weather and maximizes power production.
When energy is purchased from the electricity network, the power reaching the consumer will not necessarily be generated from green energy sources. The local utility company, electric company, or state power pool buys their electricity from electricity producers who may be generating from fossil fuel, nuclear or renewable energy sources. In many countries green energy currently provides a very small amount of electricity, generally contributing less than 2 to 5% to the overall pool. In some U.S. states, local governments have formed regional power purchasing pools using Community Choice Aggregation and Solar Bonds to achieve a 51% renewable mix or higher, such as in the City of San Francisco.
The stator is the “stationary” (hence its name) part of the machine and can have either a set of electrical windings producing an electromagnet or a set of permanent magnets within its design. The rotor is the part of the machine that “rotates”. Again, the rotor can have output coils that rotate or permanent magnets. Generally, generators and alternators used for wind turbine generators are defined by how they make generate their magnetism, either electromagnets or permanent magnets.
“California Looks to Stationary Energy Storage as a Solution to Peaker Plants” • Central California electric utility Pacific Gas & Electric is planning to replace three old natural gas power plants in its network with stationary energy storage installations from Tesla. California is looking to add 1.3 GW of storage to its power grid by 2020. [CleanTechnica]
Biomass is biological material derived from living, or recently living organisms. It most often refers to plants or plant-derived materials which are specifically called lignocellulosic biomass. As an energy source, biomass can either be used directly via combustion to produce heat, or indirectly after converting it to various forms of biofuel. Conversion of biomass to biofuel can be achieved by different methods which are broadly classified into: thermal, chemical, and biochemical methods. Wood remains the largest biomass energy source today; examples include forest residues – such as dead trees, branches and tree stumps –, yard clippings, wood chips and even municipal solid waste. In the second sense, biomass includes plant or animal matter that can be converted into fibers or other industrial chemicals, including biofuels. Industrial biomass can be grown from numerous types of plants, including miscanthus, switchgrass, hemp, corn, poplar, willow, sorghum, sugarcane, bamboo, and a variety of tree species, ranging from eucalyptus to oil palm (palm oil).
Coal is our dirtiest source of energy. It releases more harmful pollutants into the atmosphere than any other energy source and produces a quarter of the nation’s global warming emissions. If we are going to effectively reduce air pollution and address global warming, we need to shut down the oldest, dirtiest coal plants—and not build new ones to replace them.
It is unfortunate to see how well marketing for small wind turbines is working: I often see people post questions on forums, where they are looking for a wind turbine “with a low cut-in wind speed”. Depending on whom you ask, the cut-in wind speed is either the wind speed where the turbine starts turning, or the wind speed where it starts to produce some power. For most wind turbines it is around 2.5 – 3.5 m/s (5.5 – 8 mph), and it is an utterly meaningless parameter.
A solar power tower uses an array of tracking reflectors (heliostats) to concentrate light on a central receiver atop a tower. Power towers can achieve higher (thermal-to-electricity conversion) efficiency than linear tracking CSP schemes and better energy storage capability than dish stirling technologies. The PS10 Solar Power Plant and PS20 solar power plant are examples of this technology.
Anaerobic digestion, geothermal power, wind power, small-scale hydropower, solar energy, biomass power, tidal power, wave power, and some forms of nuclear power (ones which are able to "burn" nuclear waste through a process known as nuclear transmutation, such as an Integral Fast Reactor, and therefore belong in the "Green Energy" category). Some definitions may also include power derived from the incineration of waste.
“Hurricane-Broken Air Power Base Has an Alternative to Rebuild for Resilience” • Rebuilding the hurricane-wrecked Tyndall Air Force Base in Florida will come with a massive price tag, but experts say it offers a chance to make the base more resilient to the effects of extreme weather. Hurricane Michael hit Tyndall as a Category 4 storm. [Infosurhoy]
However, it has been found that high emissions are associated only with shallow reservoirs in warm (tropical) locales, and recent innovations in hydropower turbine technology are enabling efficient development of low-impact run-of-the-river hydroelectricity projects. Generally speaking, hydroelectric plants produce much lower life-cycle emissions than other types of generation. Hydroelectric power, which underwent extensive development during growth of electrification in the 19th and 20th centuries, is experiencing resurgence of development in the 21st century. The areas of greatest hydroelectric growth are the booming economies of Asia. China is the development leader; however, other Asian nations are installing hydropower at a rapid pace. This growth is driven by much increased energy costs—especially for imported energy—and widespread desires for more domestically produced, clean, renewable, and economical generation.
Advertising Architecture Art Business City College programs Community Design Ecovillage Education for Sustainable Development Fashion Gardening Geopark Green marketing Industries Landscape architecture Living Low-impact development Sustainable market Organizations Packaging Practices Procurement Tourism Transport Urban drainage systems Urban infrastructure Urbanism
The most significant barriers to the widespread implementation of large-scale renewable energy and low carbon energy strategies are primarily political and not technological. According to the 2013 Post Carbon Pathways report, which reviewed many international studies, the key roadblocks are: climate change denial, the fossil fuels lobby, political inaction, unsustainable energy consumption, outdated energy infrastructure, and financial constraints.
Outline of energy Energy Units Conservation of energy Energetics Energy transformation Energy condition Energy transition Energy level Energy system Mass Negative mass Mass–energy equivalence Power Thermodynamics Quantum thermodynamics Laws of thermodynamics Thermodynamic system Thermodynamic state Thermodynamic potential Thermodynamic free energy Irreversible process Thermal reservoir Heat transfer Heat capacity Volume (thermodynamics) Thermodynamic equilibrium Thermal equilibrium Thermodynamic temperature Isolated system Entropy Free entropy Entropic force Negentropy Work Exergy Enthalpy
However, it has been found that high emissions are associated only with shallow reservoirs in warm (tropical) locales, and recent innovations in hydropower turbine technology are enabling efficient development of low-impact run-of-the-river hydroelectricity projects. Generally speaking, hydroelectric plants produce much lower life-cycle emissions than other types of generation. Hydroelectric power, which underwent extensive development during growth of electrification in the 19th and 20th centuries, is experiencing resurgence of development in the 21st century. The areas of greatest hydroelectric growth are the booming economies of Asia. China is the development leader; however, other Asian nations are installing hydropower at a rapid pace. This growth is driven by much increased energy costs—especially for imported energy—and widespread desires for more domestically produced, clean, renewable, and economical generation.
“Volkswagen Converting Zwickau Automotive Plant to Produce Electric Vehicles” • In a move that it believes is the first of its kind in the world for a major car factory, VW is converting its auto factory in Zwickau, Germany from internal combustion vehicle production to manufacture of electric vehicles. The plant makes 330,000 cars per year. [CleanTechnica]
From the end of 2004, worldwide renewable energy capacity grew at rates of 10–60% annually for many technologies. In 2015 global investment in renewables rose 5% to $285.9 billion, breaking the previous record of $278.5 billion in 2011. 2015 was also the first year that saw renewables, excluding large hydro, account for the majority of all new power capacity (134 GW, making up 53.6% of the total). Of the renewables total, wind accounted for 72 GW and solar photovoltaics 56 GW; both record-breaking numbers and sharply up from 2014 figures (49 GW and 45 GW respectively). In financial terms, solar made up 56% of total new investment and wind accounted for 38%.
One issue that has often raised concerns is the use of cadmium (Cd), a toxic heavy metal that has the tendency to accumulate in ecological food chains. It is used as semiconductor component in CdTe solar cells and as buffer layer for certain CIGS cells in the form of CdS. The amount of cadmium used in thin-film PV modules is relatively small (5–10 g/m²) and with proper recycling and emission control techniques in place the cadmium emissions from module production can be almost zero. Current PV technologies lead to cadmium emissions of 0.3–0.9 microgram/kWh over the whole life-cycle. Most of these emissions arise through the use of coal power for the manufacturing of the modules, and coal and lignite combustion leads to much higher emissions of cadmium. Life-cycle cadmium emissions from coal is 3.1 microgram/kWh, lignite 6.2, and natural gas 0.2 microgram/kWh.
Heat pumps and Thermal energy storage are classes of technologies that can enable the utilization of renewable energy sources that would otherwise be inaccessible due to a temperature that is too low for utilization or a time lag between when the energy is available and when it is needed. While enhancing the temperature of available renewable thermal energy, heat pumps have the additional property of leveraging electrical power (or in some cases mechanical or thermal power) by using it to extract additional energy from a low quality source (such as seawater, lake water, the ground, the air, or waste heat from a process).
The reliability of small wind turbines is (still) problematic. Even the good ones break much more frequently than we would like, and none will run for 20 years without the need to replace at least some part(s). Despite their apparent simplicity, a small wind turbine is nowhere near as reliable as the average car (and even cars will not run for 20 years without stuff breaking). If you are going to install a small wind turbine you should expect that it will break. The only questions are when and how often.
Small-scale turbines are expensive (one manufacturer says a typical system costs $40,000 to $60,000 to install), though some of that outlay can be offset by federal and local tax credits. Experts recommend that you buy one certified by the Small Wind Certification Council. Turbine manufacturers include Bergey Wind Power, Britwind and Xzeres Wind; look on their websites for local dealers.
At the end of 2014, worldwide PV capacity reached at least 177,000 megawatts. Photovoltaics grew fastest in China, followed by Japan and the United States, while Germany remains the world's largest overall producer of photovoltaic power, contributing about 7.0 percent to the overall electricity generation. Italy meets 7.9 percent of its electricity demands with photovoltaic power—the highest share worldwide. For 2015, global cumulative capacity is forecasted to increase by more than 50 gigawatts (GW). By 2018, worldwide capacity is projected to reach as much as 430 gigawatts. This corresponds to a tripling within five years. Solar power is forecasted to become the world's largest source of electricity by 2050, with solar photovoltaics and concentrated solar power contributing 16% and 11%, respectively. This requires an increase of installed PV capacity to 4,600 GW, of which more than half is expected to be deployed in China and India.
Floating solar arrays are PV systems that float on the surface of drinking water reservoirs, quarry lakes, irrigation canals or remediation and tailing ponds. A small number of such systems exist in France, India, Japan, South Korea, the United Kingdom, Singapore and the United States. The systems are said to have advantages over photovoltaics on land. The cost of land is more expensive, and there are fewer rules and regulations for structures built on bodies of water not used for recreation. Unlike most land-based solar plants, floating arrays can be unobtrusive because they are hidden from public view. They achieve higher efficiencies than PV panels on land, because water cools the panels. The panels have a special coating to prevent rust or corrosion. In May 2008, the Far Niente Winery in Oakville, California, pioneered the world's first floatovoltaic system by installing 994 solar PV modules with a total capacity of 477 kW onto 130 pontoons and floating them on the winery's irrigation pond. Utility-scale floating PV farms are starting to be built. Kyocera will develop the world's largest, a 13.4 MW farm on the reservoir above Yamakura Dam in Chiba Prefecture using 50,000 solar panels. Salt-water resistant floating farms are also being constructed for ocean use. The largest so far announced floatovoltaic project is a 350 MW power station in the Amazon region of Brazil.
If you want to purchase a rooftop solar system for your home, federal tax credits and other state, local, or utility incentives can offset some of the upfront cost. There are also several financing options available for homeowners, including energy-saving mortgages, home equity, Property Assessed Clean Energy Loans, and more traditional bank loans.
There is one more area where buyers may get a false sense of security: Several states in the US have lists of “approved” wind turbines for their rebate programs. An example of this is the California list. The problem is that approval for this list, and the performance data provided (such as rated power and energy production) are essentially self-certified. The less-scrupulous manufacturers can ‘manufacture’ data and submit it under the pretence that it was measured. The only value of those lists is in telling you what rebates are available, they do not provide reliable turbine information.
In Texas, the top energy sources had long been coal, natural gas and nuclear. But, perhaps surprisingly, the Lone Star State also leads the nation in wind power; capacity doubled between 2010 and 2017, surpassing nuclear and coal and now accounting for nearly a quarter of all the wind energy in the United States. Solar production has been increasing, too. By the end of last year, Texas ranked ninth in the nation on that front.
Solar power - The most prevalent type of renewable energy, solar power is typically produced using photovoltaic cells, which capture sunlight and turn it into electricity. Solar energy is also used to heat buildings and water, provide natural lighting and cook food. Solar technologies have become inexpensive enough to power everything from small hand-held gadgets to entire neighborhoods.
The energy number that is left over should be a good approximation of what you can expect from that VAWT. Compare the resulting numbers with those mentioned in just about all sales brochures of VAWT type turbines and it should be immediately clear that their marketing people are smoking The Good Stuff. There is no relation to physical reality in their numbers, they are consistently much too high. Keep in mind that the energy production numbers calculated here are ‘best case’; for a turbine in nice, smooth air. Most VAWTs are placed very close to the ground, or on buildings, where there is little wind and lots of turbulence. Under those conditions they will do much, much worse than predicted.
By Ellen Coleman—As an American of non-specific cultural identity, I look with envy at families with strong cultural tradition. I wonder who "my people” are. What family traditions will my children (now grown) want to pass on to their own children? Their exposure has been such a mixed bag of “ritual”—making tamales for Thanksgiving, potstickers for family reunions, fried eggplant for Fourth of July. What will be their choice of comfort music? What kinds of homes will they make, what spiritual paths will they take?
The Solar updraft tower is a renewable-energy power plant for generating electricity from low temperature solar heat. Sunshine heats the air beneath a very wide greenhouse-like roofed collector structure surrounding the central base of a very tall chimney tower. The resulting convection causes a hot air updraft in the tower by the chimney effect. This airflow drives wind turbines placed in the chimney updraft or around the chimney base to produce electricity. Plans for scaled-up versions of demonstration models will allow significant power generation, and may allow development of other applications, such as water extraction or distillation, and agriculture or horticulture. A more advanced version of a similarly themed technology is the Vortex engine which aims to replace large physical chimneys with a vortex of air created by a shorter, less-expensive structure.
The energy in the wind goes up with the cube of the wind speed. Double the wind speed and you have 2 * 2 * 2 = 8 times the energy! Sit back and let the full weight of that sink in for a moment: It means that even a small difference in annual average wind speed will make a BIG difference in how much your wind turbine will produce: Putting that turbine in a place that has just 10% more wind will net you 1.1 * 1.1 * 1.1 = 1.33 = a full 33% more energy!
Climate change and global warming concerns, coupled with high oil prices, peak oil, and increasing government support, are driving increasing renewable energy legislation, incentives and commercialization. New government spending, regulation and policies helped the industry weather the global financial crisis better than many other sectors. According to a 2011 projection by the International Energy Agency, solar power generators may produce most of the world's electricity within 50 years, reducing the emissions of greenhouse gases that harm the environment.
Features:Low wind speed start-up(2m/s), high wind power utilization, light,cute, low vibration.Human-friendly design,easy to install and maintain.Blades using reinforced glass fiber, helped with optimized structure and aerodynamic shape, it enhanced wind power coefficient and power generating capacity.Using patented permanent magnet generator and special stator, it effectively reduces torque resistance and guarantees the stability.The 24V DC 400W wind turbine is an eco.
We harness the earth’s most abundant resources – the strength of the wind, the heat of the sun and the force of water – to power the world’s biggest economies and the most remote communities. Combining onshore and offshore wind, hydro and innovative technologies, GE Renewable Energy has installed more than 400+ gigawatts capacity globally to make the world work better and cleaner.
At GE, product evolution is at our core, and we are continuously working to develop the next generation of wind energy. Beginning in 2002 with one wind turbine model, we now offer a full suite of turbines created for a variety of wind environments. We offer increased value to customers with proven performance, reliability, and availability. Our portfolio of turbines feature rated capacities from 1.7 MW to 5.3 MW (Onshore) and 6 MW to 12 MW (Offshore), we are uniquely suited to meet the needs of a broad range of wind regimes. | http://affordsolartech.com/solarenergy/solar-power-keywords.html |
The Trump Administration’s pro-fossil, anti-climate agenda means states must lead renewable energy development in the near term, but will barriers to siting solar and wind in land-constrained regions impede growth?
Large-scale renewables are key to decarbonization, but siting projects is tricky even in leader states. For instance, New York and Massachusetts have ambitious renewables targets, but many potential locations for solar and wind in each are on private or preserved land — so where can developers build the generation required for clean energy goals?
New research, Siting Renewable Generation: The Northeast Perspective, seeks to solve the challenge of siting renewable energy and connecting it to the grid. Eleanor Stein, a former New York Public Service Commission (NY PSC) Administrative Law Judge and NY-REV Project Manager, led the effort for America’s Power Plan (APP).
Ambitious Renewable Goals Across the Most Constrained Lands
Seven northeastern U.S. states in the Regional Greenhouse Gas Initiative (RGGI) maintain emissions reduction goals and renewable energy standards which would increase regional renewables supply (mostly wind and solar) to at least 42 percent by 2030. This would more than double 2015’s 20 percent installed generation capacity, but requires major capacity additions within a short period without identifying ideal project sites.
For example, the NY PSC estimated achieving New York’s 50 percent by 2030 renewable generation goal would necessitate 3,500 MW of onshore wind and 6,800 MW of utility-scale solar — requiring approximately 700 square kilometers (km) for wind turbines and 136 square km for solar arrays, using NREL land-use estimates.
“We all live in a land-constrained environment — as the old joke goes, they’re just not making any more land,” said Stein. “But the Northeast lacks the vast tracts of federal land that characterize the West, where nearly half the land is federally owned.”
New York’s 50 by ’30 goal depends on timely regulatory approvals and private landowners willing to host projects, but a history of siting renewables daunts investors. According to the Alliance for Clean Energy-New York, four years is the best-case scenario for new wind farm construction, but obtaining permits can require up to eight years.
Figure 1: Northeast U.S. state renewable energy goals.
Regional Coordination May Be Key to Success
The aggressive renewable energy goals in the Northeast U.S. require substantial land areas for wind and solar in rural regions as well as meaningful offshore wind and solar near urban areas. In this context, regional planning and coordination can balance demand with siting.
“The Northeast should consider a regional mapping exercise to identify lowest-conflict areas for renewable development and transmission, which has been effective in the West,” said Stein, noting potential applications of the Energy Zone Mapping Tool. This collaboration of DOE’s national labs identifies areas suitable for renewable power in a searchable GIS format, including topography, proximity to water, nearest population centers, and environmental conflict areas.
The Challenge Facing Onshore Wind
Local landowner concerns are increasingly relevant to wind farm proposals across the Northeast. While farming communities welcome leasing revenue and tax incentives, opposition from homeowners and environmentalists can impede projects.
Opponents often use local zoning regulations to circumvent state-backed certification processes, delaying or preventing new wind farms. Several towns in New York have adopted six-month moratoriums on siting turbines and the meteorological towers needed to assess wind resources, frustrating state efforts to site utility-scale generation.
“Local government opposition to siting a project or organized community opposition can strongly influence state regulatory commission decisions,” said Stein. “That means political pressure on town councils from local residents that support renewables can make or break a proposal.”
Communities often lack ordinances to deal with turbine siting, so when a new project is proposed, the most vocal opponents can lead local action, and state-siting preemption can overlook solutions benefitting local communities. But if local governments create ordinances dealing with siting or developers build local support before projects are proposed, all sides can benefit.
Wind developers should also explore land trust or other conserved properties to site new generation. One approach under consideration in New York is encouraging local land trusts to review their inventories and aid in identifying suitable sites for wind turbines, while designing new conservation easements to include wind energy.
Offshore Wind’s Role Moving Forward
Offshore wind can, and likely must play a larger role in Northeast renewable energy goals. Massachusetts’ Cape Wind experience reminds us that offshore wind is not immune from siting challenges, but new projects are faring better with more state support and better site identification.
Massachusetts’ Act Relative to Energy Diversity encourages offshore wind while reducing developer risks by establishing pre-reviewed project siting areas and requiring utilities to procure 1,600 MW of new offshore wind. In New York, the state’s Offshore Wind Blueprint and Offshore Wind Master Plan will support 2,400 MW of projects through stakeholder input and environmental studies.
State or regional transmission planning, similar to the proposed New Jersey-Virginia Atlantic Wind Connection offshore transmission project, can also drive new project development and dramatically reduce offshore development cost. Organizing coastal interconnections and undersea transmission networks can lead to faster and cheaper solutions linking offshore wind farms with onshore load centers — often at previously developed industrial areas along the coast.
Offshore wind could also tap grid infrastructure left behind as generation along coastlines is retired, especially substations and interconnection points currently servicing aging or uneconomic nuclear or coal plants. These could help balance supply and demand as the market pushes older fossil fuel generation offline. “Coastal power plants such as large nuclear plants slated for retirement may serve as ideal low-conflict terminals for new clean electricity to flow onto the grid,” said Stein.
Uncovering New Locations for Solar in Overlooked Places
Solar faces different challenges than wind, as arrays require 5-10 acres covered with panels per megawatt, eliminating agricultural and recreational use. But reconsidering underutilized land and infrastructure could open significant locations for solar. “More and more creative investors are identifying viable sites for solar in crowded cities, suburbs, and rural areas,” said Stein.
“Brightfields,” or solar on brownfields/contaminated sites and capped landfills, could restore former industrial sites and factories to productive use in proximity to communities without requiring significant new transmission. The EPA’s RE-powering program has identified 80,000 potential sites nationwide, and many local governments provide tax incentives and streamlined permitting processes for brightfield developments.
Prison lands are another promising option, as most correctional institutions are surrounded by vacant land and are large electricity consumers. Several states have made open land surrounding prisons available for solar — in 2015 New York State issued a request for proposals to site arrays on state-owned land surrounding upstate prisons and sell power to correctional facilities under 20-year contracts.
Community solar also holds potential in urban areas, for low-income customers or renters who can’t install rooftop solar, and for rural communities where resilience to outages is low. These customers contribute to renewable generation financing through electric bills, and community solar provides equitable solar access with bill savings through net metering credits, at locations close to demand. Community solar also can drive solar prices down by pooling demand from individual rooftop systems into larger centrally located projects — median costs for non-residential solar is 13-38 percent less than average residential systems.
“No Reason to Scale Back”
Despite siting challenges, regional renewable goals shouldn’t be abandoned. | https://www.renewableenergyworld.com/wind-power/how-to-site-wind-solar-and-transmission-projects-in-the-landconstrained-northeast-us/ |
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State Energy Program (SEP)
The State Energy Program (SEP) promotes energy efficiency and conservation and is supported by financial and technical assistance through the U.S. Department of Energy. Community Services makes SEP funds available to applicants for a variety of energy efficiency related activities. These include energy education, installation of energy efficient measures (building audits, lighting retrofits, HVAC upgrades, etc), transportation initiatives (alternative fuel vehicles and fueling systems) and renewable energy technologies (small scale wind turbines and solar technologies).
Community Development Loan Fund (Lewis & Clark)
The Community Development Loan Fund (CDLF) is available to businesses located in all cities and counties within the Region (except the City of Bismarck) for economic development infrastructure or to make loans to businesses creating or saving jobs for low and moderate income persons. | https://vaultnd.com/program/beginning-entrepreneur-loan-guarantee-program/ |
Nepal is still reeling under the impact of the earthquake in April, which may have pushed up to 800,000 below the poverty line. The blockade may have pushed another 700,000 or so under the poverty lines as shortages of food, fuel and medicine push prices up.
Only about 12 megawatts —about 2% of the country’s total energy production — has been produced from solar and less than 20 kilowatts from wind, according to the Alternative Energy Promotion Center (AEPC), a government agency responsible for alternative energy. Most of the remaining energy comes from firewood and hydropower.
But Prime Minister K.P Oli, in his first televised speech in November, said that the government will generate 200 megawatts — about one third of the current national production — from solar energy within a year. Other initiatives using biogas and renewable will also be introduced, Oli said.
But many people are sceptical that this goal can be achieved. The pace of development since this announcement has not been encouraging. The government appears to be waiting to see if the borders will be opened to allow fuel imports from India, said Sanot Adhikari, director of Youth Alliance for Environment, an NGO working on environmental issues.
There have been some small-scale initiatives. The government has decided to install a one-megawatt set of solar panels to power its administrative offices in Singha Durbar in Kathmandu. In addition, the department of mines and geology will extract methane gas in Kathmandu to provide cooking gas to about 20,000 households.
A few methane gas deposits have already been identified in Kathmandu and a tender issued for interested companies to extract and supply the gas, said Sarbjit Prasad Mahato, director general of the department of mines and geology.
The private sector has started some positive initiatives as well. Banks are providing subsidised loans to install solar panels. Last week, the Himalayan Bank, one of the biggest private banks, launched its own initiative to provide low-interest loans for installing solar panels.
These changes are most visible at the household level. Solar panels used to be common in rural areas, but have now spread to urban areas as well. The growing number of photos of solar installations posted on social media channels such as Facebook and Twitter suggests a significant increase. “Newly installed solar system on my roof, no problem even if there is power cut,” wrote Saurav Dhakal posting hissolar panel pictures on Facebook.
Solar installation companies have also indicated a growing demand. “Getting even a day off at the weekend has not been possible over the past couple of months, demand is pretty high,” said Rajesh Shrestha, who installs solar systems in Kathmandu.
Will these green initiatives make a difference?
Despite all the activity, these small-scale projects are unlikely to solve the country’s current energy crisis, where people are reeling under 14 hours of power cuts every day.
Over 80% of Nepal’s energy demand is met through traditional source of energy like fuelwood and the rest through hydropower and fossil fuels imported from India.
Nepal’s hydropower potential is estimated to be around 83,000 MW but less than one percent of it has been exploited in over a century. “Solar or other alternatives can help reduce increasing demand but it can’t be a remedy for the current crisis. The country should aggressively develop hydropower,” said Anup Upadhyay, secretary at the ministry of irrigation who worked at the energy ministry for years.
People who have bought bicycles also fear the fad might end once the situation goes back to normal and the roads become too busy and dangerous to cycle. Sanot Adhikari has started cycling but has had a horrible experience over the last few months. “I have been hit twice in the last three months. This is not a bicycle friendly city and we need to invest more in cycle infrastructures if we want people to continue what they have started to manage during blockade,” he said. | https://earthjournalism.net/stories/fuel-shortages-push-nepal-towards-renewables |
Materials for wind turbine parts other than the rotor blades (including the rotor hub, gearbox, frame, and tower) are largely composed of steel. Modern turbines use a couple of tons of copper for generators, cables, and such. Smaller wind turbines have begun incorporating more aluminum based alloys into these components in an effort to make the turbines lighter and more efficient, and may continue to be used increasingly if fatigue and strength properties can be improved. Prestressed concrete has been increasingly used for the material of the tower, but still requires much reinforcing steel to meet the strength requirement of the turbine. Additionally, step-up gearboxes are being increasingly replaced with variable speed generators, increasing the demand for magnetic materials in wind turbines. In particular, this would require an increased supply of the rare earth metal neodymium.
The Vestas V164 has a rated capacity of 8 MW, later upgraded to 9.5 MW. The wind turbine has an overall height of 220 m (722 ft), a diameter of 164 m (538 ft), is for offshore use, and is the world's largest-capacity wind turbine since its introduction in 2014. The conventional drive train consist of a main gearbox and a medium speed PM generator. Prototype installed in 2014 at the National Test Center Denmark nearby Østerild. Series production began end of 2015.
Biofuels include a wide range of fuels which are derived from biomass. The term covers solid, liquid, and gaseous fuels. Liquid biofuels include bioalcohols, such as bioethanol, and oils, such as biodiesel. Gaseous biofuels include biogas, landfill gas and synthetic gas. Bioethanol is an alcohol made by fermenting the sugar components of plant materials and it is made mostly from sugar and starch crops. These include maize, sugarcane and, more recently, sweet sorghum. The latter crop is particularly suitable for growing in dryland conditions, and is being investigated by International Crops Research Institute for the Semi-Arid Tropics for its potential to provide fuel, along with food and animal feed, in arid parts of Asia and Africa.
Wind power - Air flow on the earth's surface can be used to push turbines, with stronger winds producing more energy. High-altitude sites and areas just offshore tend to provide the best conditions for capturing the strongest winds. According to a 2009 study, a network of land-based, 2.5-megawatt wind turbines in rural areas operating at just 20% of their rated capacity could supply 40 times the current worldwide consumption of energy.
The Sunforce 44444 400 Watt Wind Generator uses wind to generate power and run your appliances and electronics. Constructed from lightweight, weatherproof cast aluminum, this generator is also a great choice for powering pumps or charging batteries for large power demands. With a maximum power up to 400 watts or 27 amps, this device features a fully integrated regulator that automatically shuts down when the batteries are completely charged. The 44444 is virtually maintenance free with only two moving parts, and the carbon fiber composite blades ensure low wind noise while the patented high wind over speed technology guarantees a smooth, clean charge. Assembly is required, but this generator installs easily and mounts to any sturdy pole, building, or the Sunforce 44455 Wind Generator 30-Foot Tower Kit. The 44444 uses a 12-volt battery (not included) and measures 27 x 44 x 44 inches (LxWxH)
Jump up ^ Faunce, T. A.; Lubitz, W.; Rutherford, A. W. (Bill); MacFarlane, D.; Moore, G. F.; Yang, P.; Nocera, D. G; Moore, Tom A; Gregory, Duncan H; Fukuzumi, Shunichi; Yoon, Kyung B.; Armstrong, F. A.; Wasielewski, M. R.; Styring, S. (2013), "Energy and environment policy case for a global project on artificial photosynthesis", Energy & Environmental Science, 6 (3): 695–698, doi:10.1039/C3EE00063J, archived from the original on 16 August 2013
Adam Schultz, a senior policy analyst for the Oregon Department of Energy, says he’s more encouraged than ever about the prospects for renewables. Because the Pacific Northwest features large-scale hydropower plants built as part of the New Deal, energy already tends to be less expensive there than the U.S. average. But solar and wind power have “gotten cheaper over the last couple years to the point that I can’t even tell you what the costs are because costs have been dropping so rapidly,” Schultz says. “We have enough sunshine,” he says (presumably referring to the eastern part of the state), “so it’s just a matter of time.”
Responsible development of all of America’s rich energy resources -- including solar, wind, water, geothermal, bioenergy & nuclear -- will help ensure America’s continued leadership in clean energy. Moving forward, the Energy Department will continue to drive strategic investments in the transition to a cleaner, domestic and more secure energy future.
Commercial concentrating solar power (CSP) plants, also called "solar thermal power stations", were first developed in the 1980s. The 377 MW Ivanpah Solar Power Facility, located in California's Mojave Desert, is the world’s largest solar thermal power plant project. Other large CSP plants include the Solnova Solar Power Station (150 MW), the Andasol solar power station (150 MW), and Extresol Solar Power Station (150 MW), all in Spain. The principal advantage of CSP is the ability to efficiently add thermal storage, allowing the dispatching of electricity over up to a 24-hour period. Since peak electricity demand typically occurs at about 5 pm, many CSP power plants use 3 to 5 hours of thermal storage.
If you regularly find your lawn furniture blown over, or have to collect it from the neighbour’s yard, your house needs to be repainted every year or two because it constantly gets sand-blasted, and where the trees have funny shapes (and not because your power company has been doing the pruning), that is when you know you live in a windy place where a wind turbine is likely to make economic sense.
Despite these diverse developments, developments in fossil fuel systems almost entirely eliminated any wind turbine systems larger than supermicro size. In the early 1970s, however, anti-nuclear protests in Denmark spurred artisan mechanics to develop microturbines of 22 kW. Organizing owners into associations and co-operatives lead to the lobbying of the government and utilities and provided incentives for larger turbines throughout the 1980s and later. Local activists in Germany, nascent turbine manufacturers in Spain, and large investors in the United States in the early 1990s then lobbied for policies that stimulated the industry in those countries.
Biomass, biogas and biofuels are burned to produce heat/power and in doing so harm the environment. Pollutants such as sulphurous oxides (SOx), nitrous oxides (NOx), and particulate matter (PM) are produced from this combustion; the World Health Organisation estimates that 7 million premature deaths are caused each year by air pollution. Biomass combustion is a major contributor.
Above this rated speed, the wind loads on the rotor blades will be approaching the maximum strength of the electrical machine, and the generator will be producing its maximum or rated power output as the rated wind speed window will have been reached. If the wind speed continues to increase, the wind turbine generator would stop at its cut-out point to prevent mechanical and electrical damage, resulting in zero electrical generation. The application of a brake to stop the generator for damaging itself can be either a mechanical governor or electrical speed sensor.
Biofuels - Rather than burning biomass to produce energy, sometimes these renewable organic materials are transformed into fuel. Notable examples include ethanol and biodiesel. Biofuels provided 2.7 percent of the world's fuels for road transport in 2010, and have the potential to meet more than 25 percent of world demand for transportation fuels by 2050.
I wouldn’t consider myself a creative type. Never painted a picture, never felt confident in color or fabric choices. But I did get a real creativity boost living off-grid in northern New Mexico, raising children on one income in a home with caught water, gardening at 7600 feet in a climate that gets REALLY cold. We built a house called an earthship from recycled materials and earth.
One- to 10-kW turbines can be used in applications such as pumping water. Wind energy has been used for centuries to pump water and grind grain. Although mechanical windmills still provide a sensible, low-cost option for pumping water in low-wind areas, farmers and ranchers are finding that wind-electric pumping is more versatile and they can pump twice the volume for the same initial investment. In addition, mechanical windmills must be placed directly above the well, which may not take advantage of available wind resources. Wind-electric pumping systems can be placed where the wind resource is the best and connected to the pump motor with an electric cable. However, in areas with a low wind resource, mechanical windmills can provide more efficient water pumping.
If you do install an anemometer and measure the wind over one or more years, you should compare the annual average wind speed obtained from your anemometer data to the annual average of the nearest airport or meteo-station for that same year. This will tell you if your site is more or less windy than that airport or meteo-station, and by how much. Then compare that year’s data to the long-term annual average wind speed, and you will know what to expect over the long term, corrected for your particular site. It will not be exact, but it will make your short-term anemometer data much more useful.
Markets for second-generation technologies are strong and growing, but only in a few countries. The challenge is to broaden the market base for continued growth worldwide. Strategic deployment in one country not only reduces technology costs for users there, but also for those in other countries, contributing to overall cost reductions and performance improvement.
Over $1 billion of federal money has been spent on the research and development of hydrogen and a medium for energy storage in the United States. Both the National Renewable Energy Laboratory and Sandia National Laboratories have departments dedicated to hydrogen research. Hydrogen is useful for energy storage, and for use in airplanes and ships, but is not practical for automobile use, as it is not very efficient, compared to using a battery — for the same cost a person can travel three times as far using a battery electric vehicle.
In cases of self consumption of the solar energy, the payback time is calculated based on how much electricity is not purchased from the grid. For example, in Germany, with electricity prices of 0.25 €/kWh and insolation of 900 kWh/kW, one kWp will save €225 per year, and with an installation cost of 1700 €/KWp the system cost will be returned in less than seven years. However, in many cases, the patterns of generation and consumption do not coincide, and some or all of the energy is fed back into the grid. The electricity is sold, and at other times when energy is taken from the grid, electricity is bought. The relative costs and prices obtained affect the economics. In many markets, the price paid for sold PV electricity is significantly lower than the price of bought electricity, which incentivizes self consumption. Moreover, separate self consumption incentives have been used in e.g. Germany and Italy. Grid interaction regulation has also included limitations of grid feed-in in some regions in Germany with high amounts of installed PV capacity. By increasing self consumption, the grid feed-in can be limited without curtailment, which wastes electricity.
Prior to the development of coal in the mid 19th century, nearly all energy used was renewable. Almost without a doubt the oldest known use of renewable energy, in the form of traditional biomass to fuel fires, dates from 790,000 years ago. Use of biomass for fire did not become commonplace until many hundreds of thousands of years later, sometime between 200,000 and 400,000 years ago. Probably the second oldest usage of renewable energy is harnessing the wind in order to drive ships over water. This practice can be traced back some 7000 years, to ships in the Persian Gulf and on the Nile. Moving into the time of recorded history, the primary sources of traditional renewable energy were human labor, animal power, water power, wind, in grain crushing windmills, and firewood, a traditional biomass. A graph of energy use in the United States up until 1900 shows oil and natural gas with about the same importance in 1900 as wind and solar played in 2010.
Several refineries that can process biomass and turn it into ethanol are built by companies such as Iogen, POET, and Abengoa, while other companies such as the Verenium Corporation, Novozymes, and Dyadic International are producing enzymes which could enable future commercialization. The shift from food crop feedstocks to waste residues and native grasses offers significant opportunities for a range of players, from farmers to biotechnology firms, and from project developers to investors.
Cleaner air and water: Burning fossil fuels releases greenhouse gases (GHG) into the atmosphere. GHG contribute to global climate change, rising sea levels and unpredictable weather patterns that can be costly in terms of human and economic losses. Burning fossil fuels also releases contaminants in to the air and water near the power generation source. Alternative energy sources can produce the same electricity in a greener way. You can shrink your carbon footprint, help curb climate change and reduce air and water pollution when you choose renewable electricity.
Enhanced geothermal systems (EGS) are a new type of geothermal power technologies that do not require natural convective hydrothermal resources. The vast majority of geothermal energy within drilling reach is in dry and non-porous rock. EGS technologies "enhance" and/or create geothermal resources in this "hot dry rock (HDR)" through hydraulic stimulation. EGS and HDR technologies, such as hydrothermal geothermal, are expected to be baseload resources which produce power 24 hours a day like a fossil plant. Distinct from hydrothermal, HDR and EGS may be feasible anywhere in the world, depending on the economic limits of drill depth. Good locations are over deep granite covered by a thick (3–5 km) layer of insulating sediments which slow heat loss. There are HDR and EGS systems currently being developed and tested in France, Australia, Japan, Germany, the U.S. and Switzerland. The largest EGS project in the world is a 25 megawatt demonstration plant currently being developed in the Cooper Basin, Australia. The Cooper Basin has the potential to generate 5,000–10,000 MW.
The first three are active solar systems, which use mechanical or electrical devices that convert the sun's heat or light to another form of usable energy. Passive solar buildings are designed and oriented to collect, store, and distribute the heat energy from sunlight to maintain the comfort of the occupants without the use of moving parts or electronics.
The trouble with rated power is that it does not tell you anything about energy production. Your utility company charges you for the energy you consume, not power. Likewise, for a small wind turbine you should be interested in the energy it will produce, for your particular site, with your particular annual average wind speed. Rated power of the turbine does not do that. To find out about energy production take a look at the tables presented earlier.
The key disadvantages include the relatively low rotational speed with the consequential higher torque and hence higher cost of the drive train, the inherently lower power coefficient, the 360-degree rotation of the aerofoil within the wind flow during each cycle and hence the highly dynamic loading on the blade, the pulsating torque generated by some rotor designs on the drive train, and the difficulty of modelling the wind flow accurately and hence the challenges of analysing and designing the rotor prior to fabricating a prototype.
Although not permitted under the US National Electric Code, it is technically possible to have a “plug and play” PV microinverter. A recent review article found that careful system design would enable such systems to meet all technical, though not all safety requirements. There are several companies selling plug and play solar systems available on the web, but there is a concern that if people install their own it will reduce the enormous employment advantage solar has over fossil fuels.
Setting up a solar electric system is easy. The new source of power will integrate seamlessly with your existing utilities. Apart from settimg up the solar energy equipment, there will be no need to reconfigure or rewire your home. Our offerings include several pre-engineered, packaged systems for both residential and commercial applications, so there’s sure to be something that fits the needs of your home or business. Most solar panels last about 30 years, which means you will see the benefits of this new source of energy for decades to come.
A high-capacity light-weight portable power source for juicing A high-capacity light-weight portable power source for juicing up your personal and household electronic devices power tools appliances and more. Whether you're you an outdoor enthusiast/field professional operating in off-the-grid locations or a home-owner worried about power outages the Bayoutech Mobile Power is your perfect solution that charges up on-the-go ... More + Product Details Close
Solar contractors face many decisions when it comes to finding the best solar design. One important consideration is determining whether to use module-level power electronics (microinverters or DC optimizers). Once costly specialty products, module-level power electronics have made great strides in the last decade and are rapidly growing in popularity. And there’s good reason for…
As of 2018, American electric utility companies are planning new or extra renewable energy investments. These investments are particularly aimed at solar energy, thanks to the Tax Cuts and Jobs Act of 2017 being signed into law. The law retained incentives for renewable energy development. Utility companies are taking advantage of the federal solar investment tax credit before it permanently goes down to 10% after 2021. According to the March 28 S&P Global Market Intelligence report summary, "NextEra Energy Inc., Duke Energy Corp., and Dominion Energy Inc.’s utilities are among a number of companies in the sector contemplating significant solar investments in the near-term. Other companies, including Xcel Energy Inc. and Alliant Energy Corp., are undertaking large wind projects in the near-term, but are considering ramping up solar investments in the coming years."
The British Energy Savings Trust report titled “Location, location, location”: This requires some reading-between-the-lines as the Trust is rather closely aligned with the small wind industry. They looked at 57 turbines for a year, a number of them building mounted, others tower mounted, and concluded that building mounted turbines did very poorly.
What is a small wind turbine? Anything under, say, 10 meters rotor diameter (30 feet) is well within the “small wind” category. That works out to wind turbines with a rated power up to around 20 kW (at 11 m/s, or 25 mph). For larger wind turbines the manufacturers are usually a little more honest, and more money is available to do a good site analysis. The information in this article is generic: The same applies to all the other brands and models, be they of the HAWT (Horizontal Axis Wind Turbine) or VAWT (Vertical Axis Wind Turbine) persuasion.
“Volkswagen Converting Zwickau Automotive Plant to Produce Electric Vehicles” • In a move that it believes is the first of its kind in the world for a major car factory, VW is converting its auto factory in Zwickau, Germany from internal combustion vehicle production to manufacture of electric vehicles. The plant makes 330,000 cars per year. [CleanTechnica]
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Solar power - The most prevalent type of renewable energy, solar power is typically produced using photovoltaic cells, which capture sunlight and turn it into electricity. Solar energy is also used to heat buildings and water, provide natural lighting and cook food. Solar technologies have become inexpensive enough to power everything from small hand-held gadgets to entire neighborhoods.
One 50 Amp 1000 Volt - 3 Phase Rectifier ---Intended for wind turbine rated for 50 amps continuous usage. ---This item is used to convert 3 phase AC to DC. ---Rectifier has spade terminals which will make for a clean and secure installation. No wondering if your wiring is going to come loose. ---One mounting hole to secure the body of the rectifier to your mounting box ---This item is not to me confused with a blocking diode to be used in DC motor applications or with solar. Powered by [eBay Turbo Lister] (http://pages.ebay.com/turbo_lister/) The free listing tool. List your items fast and easy and manage your active items. Froo www.froo.com | Froo Cross Sell, Free Cross Sell, Cross promote, eBay Marketing, eBay listing Apps, eBay Apps, eBay Application [FREE! Sellers: Add a FREE map to your listings. FREE!] (http://newage.mystoremaps.
Besides getting a working product, the one measure you are after as a small wind turbine owner is how much electrical energy it will produce for your location. Hopefully by now you know the annual average wind speed for the height that you are planning to put your turbine at, and you have selected a site with little turbulence. Forget about the manufacturer’s claims; it turns out that the best predictors for turbine energy production are the diameter and average wind speed. Here is an equation that will calculate approximate annual average energy production for a grid-tie horizontal axis turbine of reasonable efficiency:
Third-generation technologies are not yet widely demonstrated or commercialised. They are on the horizon and may have potential comparable to other renewable energy technologies, but still depend on attracting sufficient attention and RD&D funding. These newest technologies include advanced biomass gasification, biorefinery technologies, solar thermal power stations, hot dry rock geothermal energy and ocean energy.
Dale Ross, the mayor of Georgetown, Texas, has a big smile, a big handshake and a big personality. In last year’s election, he won big, with 72 percent of the vote. The key to his success? “Without being too self-reflective,” he says, “I just like people.” He’s a Republican, and his priorities are party staples: go light on regulation, be tough on crime, keep taxes low. But the thing that is winning him international renown is straight out of the liberal playbook—green power. Thanks to his (big) advocacy, Georgetown (pop. 67,000) last year became the largest city in the United States to be powered entirely by renewable energy.
A Darrieus type vertical axis wind turbine (the egg-beater type) can in theory work almost as good as a horizontal axis turbine. Actual measurement of one of the better designs out there, the UGE VisionAir5, does not bear that out though: It measures in at a pitiful 11% efficiency at 11 m/s wind speed, while a Bergey Excel-6 HAWT clocks in at 22% efficiency for that same wind speed, twice as much. You can read about it in Paul Gipe’s article. Besides efficiency issues, a Darrieus VAWT unfortunately has a number of inherent issues that put them at a disadvantage: Since they are usually tall and relatively narrow structures the bending forces on their main bearing (at the bottom) are very large. There are similar issues with the forces on the blades. This means that to make a reliable vertical axis turbine takes more material, and more expensive materials, in comparison to a horizontal type turbine. For comparison, that same UGE VisionAir5 weighs 756 kg vs. the Bergey Excel-6 at 350 kg. Keep in mind that the UGE turbine only sweeps about half the area of the Bergey, the latter is a much larger turbine! This makes VAWTs inherently more expensive, or less reliable, or both.
There are two main reasons for this, according to Kevin Haley, BRC program manager. First, there’s been strong continued support from major tech companies with large electricity loads. Facebook and AT&T, for instance, have procured the most new renewable energy capacity in 2018, with other large deals from Microsoft, Apple and Walmart. The second reason is that the pool of corporate customers is starting to expand.
As the section above shows, anything under 5 m/s annual average wind speed is not going to be worth-while if you want any economic benefit out of a wind turbine. Even with government incentives, you would be better off with solar for most places. Let us take this a bit further, and assume your backyard is pretty windy, a full 6 m/s (13.4 mph) annual average wind speed at 100′ height. You get a 6 kW wind turbine installed, and shell out $50,000 for that privilege. If the installer did her job properly, the turbine is spinning in nice, clean, laminar air, and it will produce around 13,000 kWh per year. You are the kind of person that wins the lottery on a regular basis, marries a beauty queen (or king), and has kids that all go to ivy-league universities; your wind turbine never breaks and you do not have to shell out a single buck for maintenance over 20 years. Now your turbine has produced around 260,000 kWh of electricity, which works out to 19.2 cents per kWh in cost. Maybe you pay more than for electricity and it is worth it, but your are likely not getting rich, and any repairs and maintenance will drive that price up in a hurry.
Green energy is commonly thought of in the context of electricity, mechanical power, heating and cogeneration. Consumers, businesses, and organizations may purchase green energy in order to support further development, help reduce the environmental impacts of conventional electricity generation, and increase their nation’s energy independence. Renewable energy certificates (green certificates or green tags) have been one way for consumers and businesses to support green energy.
Small wind turbines may be used for a variety of applications including on- or off-grid residences, telecom towers, offshore platforms, rural schools and clinics, remote monitoring and other purposes that require energy where there is no electric grid, or where the grid is unstable. Small wind turbines may be as small as a fifty-watt generator for boat or caravan use. Hybrid solar and wind powered units are increasingly being used for traffic signage, particularly in rural locations, as they avoid the need to lay long cables from the nearest mains connection point. The U.S. Department of Energy's National Renewable Energy Laboratory (NREL) defines small wind turbines as those smaller than or equal to 100 kilowatts. Small units often have direct drive generators, direct current output, aeroelastic blades, lifetime bearings and use a vane to point into the wind.
As of 2011, small solar PV systems provide electricity to a few million households, and micro-hydro configured into mini-grids serves many more. Over 44 million households use biogas made in household-scale digesters for lighting and/or cooking, and more than 166 million households rely on a new generation of more-efficient biomass cookstoves. United Nations' Secretary-General Ban Ki-moon has said that renewable energy has the ability to lift the poorest nations to new levels of prosperity. At the national level, at least 30 nations around the world already have renewable energy contributing more than 20% of energy supply. National renewable energy markets are projected to continue to grow strongly in the coming decade and beyond, and some 120 countries have various policy targets for longer-term shares of renewable energy, including a 20% target of all electricity generated for the European Union by 2020. Some countries have much higher long-term policy targets of up to 100% renewables. Outside Europe, a diverse group of 20 or more other countries target renewable energy shares in the 2020–2030 time frame that range from 10% to 50%.
A typical house usually requires a home wind turbine with a 5 kW generating capacity to meet all its energy requirements. A turbine that offers this much power would have to be around 13 to 18 feet in diameter and positioned in an area where strong winds often pass through. There are also plenty of smaller, cheaper turbines, but these variants produce less power and are less reliable than their more expensive counterparts.
Many companies are taking the push for 100 percent renewables seriously because they see it as good business — not just today, but for the long term. At the time of publication, 152 companies of various sizes have made a commitment to go 100 percent renewable through RE100. Big names like Apple and Google have already met their targets, while other companies are looking out further into the future, some as far as 2040. That timeline indicates companies are looking beyond today’s prices and present-day marketing benefits.
Solar power is produced by collecting sunlight and converting it into electricity. This is done by using solar panels, which are large flat panels made up of many individual solar cells. It is most often used in remote locations, although it is becoming more popular in urban areas as well. This page contains articles that explore advances in solar energy technology.
✅ FEATURES: Integrated automatic braking system to protect from sudden and high wind speed. Easy DIY installation methods with all materials provided. Can be used in conjunction with solar panels. MPPT Maximum power point tracking built into the wind turbine generator. Made with high quality Polypropylene and Glass Fiber material with a weather resistant seal.
The key disadvantages include the relatively low rotational speed with the consequential higher torque and hence higher cost of the drive train, the inherently lower power coefficient, the 360-degree rotation of the aerofoil within the wind flow during each cycle and hence the highly dynamic loading on the blade, the pulsating torque generated by some rotor designs on the drive train, and the difficulty of modelling the wind flow accurately and hence the challenges of analysing and designing the rotor prior to fabricating a prototype.
This sets sustainable energy apart from other renewable energy terminology such as alternative energy by focusing on the ability of an energy source to continue providing energy. Sustainable energy can produce some pollution of the environment, as long as it is not sufficient to prohibit heavy use of the source for an indefinite amount of time. Sustainable energy is also distinct from low-carbon energy, which is sustainable only in the sense that it does not add to the CO2 in the atmosphere.
United Nations' Secretary-General Ban Ki-moon has said that renewable energy has the ability to lift the poorest nations to new levels of prosperity. In October 2011, he "announced the creation of a high-level group to drum up support for energy access, energy efficiency and greater use of renewable energy. The group is to be co-chaired by Kandeh Yumkella, the chair of UN Energy and director general of the UN Industrial Development Organisation, and Charles Holliday, chairman of Bank of America".
With advanced technology being developed, cellulosic biomass, such as trees and grasses, are also used as feedstocks for ethanol production. Ethanol can be used as a fuel for vehicles in its pure form, but it is usually used as a gasoline additive to increase octane and improve vehicle emissions. Bioethanol is widely used in the United States and in Brazil. The energy costs for producing bio-ethanol are almost equal to, the energy yields from bio-ethanol. However, according to the European Environment Agency, biofuels do not address global warming concerns. Biodiesel is made from vegetable oils, animal fats or recycled greases. It can be used as a fuel for vehicles in its pure form, or more commonly as a diesel additive to reduce levels of particulates, carbon monoxide, and hydrocarbons from diesel-powered vehicles. Biodiesel is produced from oils or fats using transesterification and is the most common biofuel in Europe. Biofuels provided 2.7% of the world's transport fuel in 2010.
How accurate are these numbers? This is the energy production a good horizontal-axis wind turbine can reach, if installed at the perfect site and height. These are the upper limit though, if your turbine produces anywhere near the number predicted by this table you should be doing your happy-dance! Most small wind turbine installations underperform significantly, in fact, the average seems to be about half of the predicted energy production (and many do not even reach that). There can be many reasons for the performance shortfall; poor site selection, with more turbulent air than expected often has much to do with it. The reports in the ‘real world’ section following below illustrate this point. Many small wind turbines do not reach 30% overall efficiency, some are close to 0% (this is no joke!), so these numbers have only one direction to go. For off-grid battery charging wind turbines you should deduct 20 – 30% of the predicted numbers, due to the lower efficiency of a turbine tied to batteries, and the losses involved in charging batteries.
Green energy is commonly thought of in the context of electricity, mechanical power, heating and cogeneration. Consumers, businesses, and organizations may purchase green energy in order to support further development, help reduce the environmental impacts of conventional electricity generation, and increase their nation’s energy independence. Renewable energy certificates (green certificates or green tags) have been one way for consumers and businesses to support green energy.
Floating solar arrays are PV systems that float on the surface of drinking water reservoirs, quarry lakes, irrigation canals or remediation and tailing ponds. A small number of such systems exist in France, India, Japan, South Korea, the United Kingdom, Singapore and the United States. The systems are said to have advantages over photovoltaics on land. The cost of land is more expensive, and there are fewer rules and regulations for structures built on bodies of water not used for recreation. Unlike most land-based solar plants, floating arrays can be unobtrusive because they are hidden from public view. They achieve higher efficiencies than PV panels on land, because water cools the panels. The panels have a special coating to prevent rust or corrosion. In May 2008, the Far Niente Winery in Oakville, California, pioneered the world's first floatovoltaic system by installing 994 solar PV modules with a total capacity of 477 kW onto 130 pontoons and floating them on the winery's irrigation pond. Utility-scale floating PV farms are starting to be built. Kyocera will develop the world's largest, a 13.4 MW farm on the reservoir above Yamakura Dam in Chiba Prefecture using 50,000 solar panels. Salt-water resistant floating farms are also being constructed for ocean use. The largest so far announced floatovoltaic project is a 350 MW power station in the Amazon region of Brazil.
Green-e is a voluntary certification program for renewable electricity products. The Green-e program establishes consumer protection and environmental standards for electricity products, and verifies that these products meet the standards. The Green-e logo certifies that at least half the power supplied is from renewable sources. Many products will carry the Green-e logo, and the best way to find the most environmentally sensitive providers is by doing some comparison research. To find out which Green-e certified products are available in your state, visit Green-e's electric choices page. Questions about particular providers can be directed to the Center for Resources Solutions, which administers the Green-e program, at (415) 561-2100.
The Sunforce 44444 400 Watt Wind Generator uses wind to generate power and run your appliances and electronics, helping to produce electricity at cabins and worksites far from existing power lines. Constructed from lightweight, weatherproof cast aluminum, this generator charges 12-volt batteries for large power demands in both land and marine environments. With a maximum power up to 400 watts, this device features a fully integrated regulator that automatically shuts down when the batteries are completely charged. | http://affordsolartech.com/solar-powered-electric-car.html |
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