A 190gram high-white instant-dry satin paper with a specific high-quality ink receiver layer and double-sided polyethylene coating that help to create excellent photo-realistic prints. This paper is suitable for digital photographic prints and proofing applications.
Range: Rocket Photo Paper PE Satin.
A lot of technological know how goes into making high performance photo paper. The starting point is a high quality ink receiver layer which ensures ink hitting the surface is accurate and stays where it is supposed to be. This is vital if you wish to print photo quality images, fine details and smooth half tones. Papers for traditional toner based machines typically have a very flat surface (giving a flat image) unlike high quality instant dry satin papers where the surface is made up of tens of thousands of tiny pyramids. Problems such as metamerism or bronzing occur when a lower performance paper is unable to withstand heavy ink saturation when the droplets of ink bleed into one another. This results in colours appearing to shift under different lighting conditions or small colour variations being lost completely. Our 190gram 36" 914mm x 60m satin photo paper performs impeccably.
Sihl's 190 gram 914mm x 60m satin photo paper works equally well with dye based or pigmented inks, if you need your photo quality images to be fade resistant we would always suggest using pigmented (see our HP Z range of machines) where there is no compromise on quality but all the benefits of an ink designed to look as vibrant year after year. When you buy our 190gsm 36" satin white photo paper rolls you can be assured that tonal quality and dynamic colour accuracy will be highly impressive. Our rolls are also ideal for proofing.
We make huge investments in printer hardware to try and produce the highest quality prints for our customers but without high performance paper results are less than impressive. We have 13 inkJet printers across our four print operations in the North West and have tested a number of different 190 gsm 36" 914mm x 60m satin photo papers and have found SIHL's Rocket Photo paper to be outstanding.
Advances in printing technology now means we are closer than ever to being able to produce photo-realistic prints. Considering that digital printing uses a totally different technique to that employed by photographers, this is quite an achievement!
Where developing photographic film is concerned, this involves the use of chemicals and the process creates a print with completely solid areas of colour, or black and white.
Instead, inkjet technology uses a printer head with miniscule jets which leave individual tightly packed dots on the paper. If you were to look at this with a microscope, you would be able to see small areas of white between the dots. Because these areas of white are so infinitesimally small, when we look at a digital print our eyes compensate and join together each dot so the areas of white become totally imperceptible, leaving the impression of solid colours, as in a traditional photograph.
There is a two-pronged approach required for producing the very best results. Firstly, those printers able to print the highest number of dots within a given area (DPI) means the areas of white will be at a minimum and therefore the resulting print will look much closer to a real photograph.
Secondly, the role of paper in this process is equally as critical as a high-quality satin or gloss photo paper ensures that not only will more ink to be used (greater depth and richness) but it will also be absorbed more quickly, ensuring there is no bleed (no fuzzy edges).
Providing orders are received before 3 pm they will be dispatched for next-day delivery to the UK mainland. Our online ordering system couldn't be simpler but if you would prefer to talk to one of our sales team and place the order by phone, we are here to help.


text:
NGC 2541 és una galàxia espiral no barrada situada a 24 milions d'anys llum. Es troba en el grup NGC 2841, juntament amb les galàxies NGC 2500, NGC 2537 i NGC 2552.

Referències

Enllaços externs

 Galaxy Catalogue, Princeton University

Galàxies espirals
Linx
2541
04284
23110

redpajama_set_name: RedPajamaWikipedia


text:
The art of patience Winnipeg's creative community waits out pandemic – and wonders what the art world will look like after it By: Randall King, Jen Zoratti, Frances Koncan, Alan Small and Ben Sigurdson Posted: 7:00 PM CDT Thursday, Apr. 9, 2020
Actors. Musicians. Authors. Theatre-makers. Dancers.
This article was published 09/04/2020 (1035 days ago), so information in it may no longer be current.
Collectively, we celebrate them in Winnipeg as the "creative community."
So what happens when the "community" part is taken out of the equation? What happens when a segment of the population that tends to thrive on interaction, whether with audiences or with each other, is suddenly forced to sequester itself in response to the demands of isolation in the face of the COVID-19 pandemic?
We reached out to a sampling of Winnipeg's creative types to check in on how they're coping with weeks of isolation — and an unprecedented degree of uncertainty about the future of the arts.
Rodrigo Beilfuss
Starting a new job and moving into a new home are two of the acknowledged Top 10 stressors in the average lifetime.
Keep in mind that such lists were created before the COVID-19 pandemic.
RUTH BONNEVILLE / WINNIPEG FREE PRESS Shakespeare in the Ruins artistic director Rodrigo Beilfuss with his wife, Elizabeth Holl, and their four-year-old son, Zeke. Holl is expecting the couple's second child on June 5.
But those two items are recent facts of life for Rodrigo Beilfuss, 36, the newly minted artistic director of Shakespeare in the Ruins. He can look around the second-storey office at his River Heights home and still see books he has yet to unpack since moving here in September from Ontario, where he spent the previous four years working at the Stratford Festival.
Other sources of stress: his wife Elizabeth Holl, an interior designer for MMP Architects Winnipeg, is 71/2 months pregnant and is due June 5. (Curiously, childbirth doesn't seem to make the lists. It should.)
The icing on the stress cake: On March 31, not long after taking the helm of SiR in its 26th year at Trappist Monastery Provincial Heritage Park, Beilfuss had to announce his inaugural production, A Winter's Tale — a collaboration with Théâtre Cercle Molière and the company's first bilingual production — was officially cancelled due to the pandemic.
"Last week was one of the worst worst weeks I've ever had professionally," he says of phoning everyone contracted to work on the show to tell them it was postponed to 2021.
Collectively, that might be enough to make most mortals roll up into the fetal position in a cosy closet. But the Brazilian-born Beilfuss bears it all with admirable equanimity, although he acknowledges it is all worrying.
"It's hard to really understand how much of a toll it's taking," he says. "I think I may only understand what I went through once I'm through this whole thing."
At least he's not alone. His fellow artistic director Ari Weinberg of Winnipeg Jewish Theatre started an email chain — with the heading "AD Therapy" — that allows all the ADs in town to commiserate.
"Many of us, we're not really sleeping well," Beilfuss says. "We're basically working in our heads non-stop.
"Having said that, I'm very lucky. I'm doing OK. Being up at home with a four-year-old, in a way, keeps me distracted when I play with him because I actually have to completely unplug and be in his world. There's that beauty about it." – Rodrigo Beilfuss
"Having said that, I'm very lucky. I'm doing OK," he says, acknowledging his young son Zeke. "Being up at home with a four-year-old, in a way, keeps me distracted when I play with him because I actually have to completely unplug and be in his world. There's that beauty about it.
"The other side of having small kids with you is that you kind of have to shut off part of your brain and pretend really that everything is fine. It's exhausting," he says. "The biggest impact I'm feeling right now is this blending of the personal and professional. That's what all of us are feeling right now, not just theatre people.
"Our personal and family lives are blending in with work lives," he says. "In many ways, we never stop working because we are checking our emails while we're also putting our kids to bed."
Yet in a way, a theatre professional has practice bearing up under stress. After all, any given opening night is no cakewalk.
"We are kind of built to roll with the punches and be improvisational by nature," he says.
Theatre can be an ephemeral affair, especially at an outdoor site-specific theatre like SiR, with success or failure riding on the vagaries of weather, mosquito counts or reviews. But now, everybody feels the fragility of it all, he says.
"The rest of the world is kind of understanding what it's like suddenly when you rely on help from the government and you don't know when your next paycheque will be coming in next," Beilfuss says. "That was already a reality for theatre workers.
"Now everybody is kind of living the same uncertainty — the same precariousness of life," Beilfuss says. "Literally, we're all in this together."
Donations to SiR can be made via the company's website at shakespeareintheruins.com. "With so much uncertainty in the air, community support and donations are hugely important and vital right now," Beilfuss says.
— Randall King
Jaimi Deleau
MIKAELA MACKENZIE / WINNIPEG FREE PRESS Royal Winnipeg Ballet company dancer Jaimi Deleau strikes a pose outside her parents' Westwood home Wednesday. Since the RWB studio closed its doors, Deleau has rearranged furniture in her condo to create a dance space.
Jaimi Deleau was warming up in a dance class at the Royal Winnipeg Ballet when artistic director André Lewis came in with bad news: he was sending the company dancers home and the studio would be closing its doors.
It was another heartbreak in a growing list: first, the U.S. tour of Wizard of Oz was scrapped, then the rest of the season — which was to include a celebratory retrospective commemorating the RWB's 80th anniversary — was cancelled.
"Doing our performances is what we train all those hours and rehearse all those hours to do, so it's been extremely difficult to cancel everything we've been working so hard for," says Deleau, a member of the corps de ballet. "It's been a whole lifestyle adjustment."
MIKAELA MACKENZIE / WINNIPEG FREE PRESS "Going from that to having a few feet of space to dance at home, it's a huge adjustment — but we're all just making the best of it," Deleau said.
That was nearly four weeks ago, but Deleau hasn't exactly hung up her pointe shoes.
"When I was first sent home, I rearranged all the furniture in my condo to create a workout/dance space for myself," she says. "I think staying active is super important, not only because I'm a dancer, but just in general to move your body every day."
In addition to her Instagram Live and boxing workouts, Deleau has started doing ballet classes the RWB is offering via Zoom.
"It's been really great just to see all the dancers and have one of our ballet masters give us what we've been calling 'kitchen classes' just to sort of be able to do some sort of dancing and keep our bodies doing what we're normally doing."
Still, it's not the same.
"We're used to dancing eight-plus hours a day," Deleau says. "So, going from that to having a few feet of space to dance at home, it's a huge adjustment — but we're all just making the best of it."
Being a dancer — and, more specifically, a RWB company dancer — is a fundamental part of Deleau's identity. She's been dancing since she was three, and came up through Royal Winnipeg Ballet School Professional Division, which she was accepted into at the age of 10. So there's been some grief, too.
"Being a dancer is part of who we are. It's what makes us the people that we are," she says. "It's definitely been difficult to accept that part of my life has to be put on hold right now. I've been trying to look forward instead of dwelling in the upsetting situation now. We will get through this, and we will dance again. That's been what's keeping me going right now."
She's using this time to connect with family and friends virtually as well as to work on other passions, including taking a university course towards a degree in kinesiology she otherwise wouldn't have had time for. She's also using it to reflect.
"There's certain things we take for granted, like maybe I did take for granted that every day I got to go into the studio and do what I love all day," she says. "Now, having that taken away from me, it's reminded me how much I love what I do and how happy I am I get to do it. And hopefully, very soon, I'll get to do it again."
— Jen Zoratti
Daniel Raiskin
MIKAELA MACKENZIE / FREE PRESS FILES Daniel Raiskin is usually on the road 250 to 275 days a year — working and performing with the WSO takes up half of that time.
For Winnipeg Symphony Orchestra music director Daniel Raiskin, being in isolation in Amsterdam with his wife, two teenagers and a bookcase filled with orchestral scores just waiting to be played has been frustrating.
"Like everywhere around the world, dealing with the impact of COVID-19 is a stressful and demanding affair, also here in Amsterdam," the Russian-born Raiskin writes in an email interview.
"Amsterdam, one of the busiest tourist attractions in the world, looks more like a ghost town now, with all non-essential businesses, restaurants, cafés, all public venues being closed," he says. "We are allowed to walk outside, but no groups of more than two persons are allowed and we try to strictly maintain 1.5-2 metres physical distancing. This is awkward and unpleasant."
Raiskin is usually on the road 250 to 275 days a year — working and performing with the WSO takes up half of that time. The rest of those days are with orchestras throughout Europe and Asia, and all of those concerts have been cancelled due to the pandemic.
Living with all the spare time is an adjustment, he says.
"Though I am blessed being with my family during these troubling and unsettling times, all of us, we miss social contacts, and even spending so much time together in the space of our home in Amsterdam is something we need to get used to," he says.
Raiskin has also turned to his musical past — he was a concert violist before he turned to conducting orchestras — but putting bow to strings has proven to be no simple task.
"My own viola is in Winnipeg, as lately I started to practise a little and even play occasionally, like last year at our annual WSO spring gala," he says. "So after two weeks here in Amsterdam I really had a very strong urge to play something and was able to borrow an instrument and a bow from a very good friend here in the Netherlands."
PHIL HOSSACK / WINNIPEG FREE PRESS files Raiskin is in isolation with his family in Amsterdam.
Raiskin's last performances with the WSO were two Back-to-Back Beethoven concerts, with pianist Alexei Volodin, held March 6-7. Raiskin said he had no trouble returning to Amsterdam, has no symptoms of COVID-19, and was not asked to be tested for the novel coronavirus.
He had planned to come back to Winnipeg in the middle of March, but the WSO told him to stay safely in Amsterdam. Concerts for the rest of the 2019-20 season were cancelled and the WSO announced layoffs in March, including the entire orchestra.
"The news of all the musicians of WSO, 30 staff and 14 Sistema Winnipeg teachers being laid off as of March 29 was one of the most devastating things I had to accept in my life," Raiskin writes. "Knowing how much hardship all of us have to endure and not being able to get together and comfort and support each other through simply playing great music is really hard. I am heartbroken and think every day about the ways we can as an organization, community, city and province help each other to get back to our normal operations as soon as possible."
Raiskin says musicians will be called upon once again to recharge people's "spiritual batteries," once the pandemic fades, but he recognizes the tough financial times awaiting all arts groups, not just the WSO.
"I'd like to share with you my grave concern about an obvious lack of attention to the cultural sector, performing arts organizations and all others that have been actually hit the hardest by the current COVID-19 pandemic, as they were the first to be shut down," he says.
"Most cultural organizations around Canada, Manitoba, Winnipeg face an uncertain future with large deficits to solve, and unless provincial and federal governments step in and offer serious relief programs, I do not know if the public has the capacity to carry us through this crisis.
"WSO is a keystone, a linchpin of the performing arts ecosystem in Winnipeg: Manitoba Opera, RWB and our highly valued Sistema programs are all depending on our well-being and operational and artistic success."
— Alan Small
Jane Testar
JESSE BOILY / WINNIPEG FREE PRESS Jane Testar, a Winnipeg actor and comedian has seen a decrease in work.
Quietly nestled in the West End, 36-year-old Jane Testar is keeping busy.
A writer, comedian and actor best known for her work in musical improv troupe Outside Joke, sketch comedy troupe Hot Thespian Action and the host of the CBC Comedy Factory Podcast, Testar has been sharing snippets from her life of social distancing online, most recently with her exceptionally dramatic — and increasingly intoxicated — viewing of the Netflix documentary series Tiger King.
She's been holed up alone since March 17, and it's going "mostly fine, with a few five-minute bouts of really not fine."
"I've grown to really appreciate 'me time' as I've gotten older," she says. "But this is a lot of me time. It is getting a bit tougher. I'm running out of things to clean and I'm a social person, so it has been difficult being so cut off."
For Testar, her 2020 plans included taking classes at the National Theatre School in Montreal, working on a show, and — as a self-described "baby-crazy person" — spending a lot of time with her friends who have recently had or are expecting children. Now, all those plans have been postponed.
In lieu of travel and spending time with adorable babies, Testar has been keeping busy with reading, cooking and streaming TV.
"I've been comfort-watching," she says. "Mostly sitcoms I love and have seen 100,000 times like Parks and Recreation, 30 Rock and Brooklyn Nine-Nine. But I recently watched Tiger King.
"That was a mistake. Now I'm worried about COVID and the tigers. And the whole state of Oklahoma. What is going on there?"
"For an actor, your next gig is everything. I've had to fight back thoughts of 'I'm never going to get another acting job again,' or 'The government will cancel the arts forever.' The unknown can make you pretty loopy." – Jane Testar
The documentary provided a much-needed break from dwelling on the new reality of her life and work.
"As an artist/performer, you tend to live a more precarious life as opposed to the nine-to-fivers," she says. "But I had a really exciting gig coming up that was cancelled for this year. And for an actor, your next gig is everything. I've had to fight back thoughts of 'I'm never going to get another acting job again,' or 'The government will cancel the arts forever.'"
"The unknown can make you pretty loopy."
Though she's not baking sourdough bread ("going to leave it to the professionals") or making TikTok videos ("In my day we danced around like an idiot in front of a mirror with a hairbrush in private. And that's how we liked it") as many millennials are currently doing, she does believe in naps ("the secret elixir of life") and has a strong opinion on one of the hottest Winnipeg debates of recent history: Should Prime Minister Justin Trudeau have bought his doughnuts from Oh Doughnuts or Tim Hortons?
"Tim Hortons is not a Canadian company, people," she says. "Justin Trudeau did the right thing."
She's also spending as much time as possible connecting with friends and family virtually.
"I have some amazing groups of friends and we've been pretty good at organizing group FaceTime/Zoom get-togethers," she says. "Those have been really special and make me feel normal."
As for toilet paper, the unofficial currency of COVID-19, Testar currently has three rolls, and is starting to get a little anxious about being able to get more. She's even considering getting a bidet.
"I'm pretty disgusted by the people who are hardcore hoarding the stuff," she says. "There's nothing wrong with stocking up but keeping huge amounts for yourself is just plain un-Canadian."
— Frances Koncan
David A. Robertson
MIKE DEAL / WINNIPEG FREE PRESS Author David A. Robertson on his front porch in Charleswood.
With five kids home from school, you'd think Winnipeg's David A. Robertson would be having trouble finding time to write. The Swampy Cree author, however, has managed to make the most of his time at home — and, it turns out, has been more productive on the page than ever.
Like many writers, Robertson holds down a day job — he manages publishing and communications for the Manitoba First Nations Education Resource Centre, a job he continues to do from home during these times of social distancing.
"I'm lucky to have it — we've had no layoffs and we're able to do most of the stuff we need to do from home," he says by video call.
Before the COVID-19 pandemic shifted so much work from offices to homes, Robertson — who won the Governor General's Award in 2017 for the picture book When We Were Alone (illustrated by Julie Flett) — would spend a good three or more hours writing and editing. "I'd get up around 5 or 5:30 a.m., write until around 6:30 or 7, get the kids up and get them ready for their day. At night, I'd usually write once all the kids except the two older ones are in bed.
"I'd plan my projects based on word count; for a book I'd write 1,500 words a day; if it's editing I'd do three chapters a day."
Robertson has two books slated to be published this September — The Barren Grounds, the first book of the Misewa Saga, a middle-grade fantasy coming from Puffin Canada, and a memoir, Black Water: Family, Legacy, and Blood Memory, coming from HarperCollins.
"Stories will always be important. I think they'll be even more important than they were before because of how we'll have to interact." – David A. Robertson
The recent increase in Robertson's productivity is thanks in large part to the daily schedule his wife Jill has created for the entire family while the seven of them (including the five kids, ranging from five to 16 years of age) are all at home.
"I do what the boss says," he explains, laughing. The five to six hours a day he now spends writing are plotted out around his day job and managing the kids: "It's 'You're writing between three and five,' then 'You're researching between eight and nine at night,' 'You're writing between nine and 11,'" he says.
During the current social-distancing scenario, Robertson has written 30,000 words — including the second book of the Misewa Saga, which he's also managed to edit — and has completed the final edit of his memoir. "I think getting this work done is almost a distraction technique," he says.
In addition to the financial ramifications of having three forthcoming book tours or events cancelled, Robertson has felt the sting of not being able to connect face-to-face with readers, which has always been an important component of his writing life.
"For what I want to do in terms of reconciliation, it's really important. Not being able to do that has been difficult," he says.
He's taken to posting online videos on platforms such as the Instagram's live component of its stories feature, where he's been reading from his published and upcoming books and connecting with readers. "I've been answering questions, letting people get to know me a bit. Those things have been important — I'm a social person, and it's a way for me to feel like we're in a community together, connected in some way," he says, adding, "and if parents want to let their kid listen to me read for 20 minutes, it gives them a bit of a break as well."
While no one knows what the literary world will look like on the other side of the COVID-19 pandemic, Robertson is certain it will remain just as vital. "Stories will always be important. I think they'll be even more important than they were before because of how we'll have to interact," he says. "We'll need more of them — they teach us, connect us, create community, do all these things we'll need.
"And they document. There will be a lot of stories written about all of this. That's important too."
— Ben Sigurdson
Stephen Borys
Michael Maltzan Architecture An artist's rendering of the Inuit Art Centre at the Winnipeg Art Gallery. A three-storey pillar, which will house the vault, will be visible to visitors.
Galleries, museums and artists will to need to rethink how they present works to the public once the pandemic fades.
Those that are able to engage and connect with longtime members and gallery visitors, as well as devise new ways to attract the next generation of art lovers, will continue to survive, says Stephen Borys, the director and chief executive officer of the Winnipeg Art Gallery.
"If we don't, we won't be relevant and we won't be there," he says.
However, he says art won't vanish once the pandemic threat subsides, people return to their regular lives and the economy regains its footing after a sharp downturn. He says art is part of surviving.
"I cannot think of a time when we need art more," Borys says. "Art — whether it's a musical work, a painting or a drawing, has often been produced in the most difficult situations."
Like virtually every arts and cultural group in Winnipeg, the WAG has been affected significantly by COVID-19. The gallery closed on March 14, with staff members working from home and leaving a new exhibition on the works of Group of Seven painter L.L. FitzGerald all set up but without anyone to see them.
"We have that until September. That may be a show that will never be seen," Borys says.
'I cannot think of a time when we need art more,' says Stephen Borys, director of the Winnipeg Art Gallery.
Two other upcoming exhibitions, Kwaata-nihtaawakihk — A Hard Birth, which features Métis art (May 30), and To Draw Water, which will include Indigenous works from North America, Australia and New Zealand (Sept. 30), have been postponed. Many regular art programs and events WAG also hosts have been set aside for another day.
Plans to open the Inuit Art Centre in the fall remain as scheduled, Borys says. Construction — an essential service under provincial guidelines — continues with workers following social-distancing rules, but the gallery director says plans can change in an instant and delays can happen, depending on the pandemic's progress in Winnipeg and across Canada.
In the meantime, the WAG — and Borys himself — have taken to social media to show off some of the countless pieces of art the gallery has either on display or in its vault. WAG@Home offers visitors to the gallery's website, wag.ca, a chance to interact with different pieces, while Borys, who is working from home, has taken to Facebook, Twitter and Instagram for My Daily Art.
"It's been a huge benefit," he says. "My Daily Art — it's in Week 3 — and each day I take an object connected to the WAG and write about it. It has become my go-to moment of meditation and a way to connect with others."
Most people are either resigned to life in isolation to prevent the spread of the novel coronavirus or are chafing against restrictions and social-distancing guidelines. Borys has found a silver lining, though.
"I've had more time to reflect, meditate, write and think," he says. "I'm amazed with how much I've used art for comfort, for entertainment, for enjoyment and learning. It's reassuring (to remember) that art plays a critical role in our lives."
Society is turning to scientific studies and medical reports on COVID-19 to be informed about the pandemic, Borys says. When Borys goes online, he sees recitals from people's living rooms, photographs of scenery and friends and others sharing their favourite pieces of art. They're encouraging others or giving themselves an emotional lift, he says.
"And it's not just artists posting — everyone is turning to art to share their thoughts and stories," Borys says. "I don't know if people realize they are using art to communicate."
If you value coverage of Manitoba's arts scene, help us do more.
Your contribution of $10, $25 or more will allow the Free Press to deepen our reporting on theatre, dance, music and galleries while also ensuring the broadest possible audience can access our arts journalism. BECOME AN ARTS JOURNALISM SUPPORTER Click here to learn more about the project.
Alan Small
Alan Small has been a journalist at the Free Press for more than 22 years in a variety of roles, the latest being a reporter in the Arts and Life section.
Ben Sigurdson
Literary editor, drinks writer
Ben Sigurdson edits the Free Press books section, and also writes about wine, beer and spirits.
Frances Koncan
Arts reporter
Frances Koncan (she/her) is a writer, theatre director, and failed musician of mixed Anishinaabe and Slovene descent. Originally from Couchiching First Nation, she is now based in Treaty 1 Territory right here in Winnipeg, Manitoba.
Jen Zoratti
Jen Zoratti is a Winnipeg Free Press columnist and author of the newsletter, NEXT, a weekly look towards a post-pandemic future.
Randall King
In a way, Randall King was born into the entertainment beat.
Mayor, premier say health orders will be enforced
We can't let up now
ICU patient urges public to take social distancing seriously
Flood preparations amid pandemic prove difficult
Manitoba sees more than 25,000 job losses in March
Church doors closed, but spiritual leaders connecting with congregants virtually
Winnipeg's creative community waits out pandemic
Artists capture moody Manitoba moments
Penalties await health-order scofflaws
Giant crossword
Keeping the faith Through the disquieting looking glass

redpajama_set_name: RedPajamaCommonCrawl


This easy care villa in Bomaderry has a bus stop right out front and is located close to childcare, 2 x schools, shopping and sporting fields.
This lovely villa offers open plan lounge, dining & kitchen with reverse cycle air conditioning.
Fully fenced private rear yard with natural light.
This property is available to lease NOW and pets may be considered upon application. For further information please contact our office.
2. Download paper copy of our application from https://www.nowrafn.com.au/rental-application-form and submit by email or in person at our agency.


I was honoured to photograph Lauren and Ryan's wedding in Woodbridge, Ontario at Chateau Le Jardin last year. So when I heard that Lauren was expecting, I was beyond excited to have her over to do her maternity photographs. Lauren was open to whatever I had in mind, so I decided to do a mix of outdoors and studio, as long as my model was going to be warm enough. We got a beautiful sunny day with cool temps but totally manageable. So we started outside in Ajax, Ontario near Carruthers Creek Conservation Area, capturing some beautiful soft images that replicate the look of film. I have been playing around with fine art edits lately, so Lauren and I worked together and came up with some timeless looks that could translate to a Renaissance inspired painted portrait and 1920s film portraiture. I had such a blast. We ended the session off with some soft, and natural shots, giving her folio a diverse look and feel. Thanks so much Lauren, you were such a trooper out in the woods with me and then helping me create some art in studio, it was such a treat working with you. I can't wait to meet the little man…5 weeks and counting.
Life is beautiful. Capture it.


text:
Aqqikkol Hu (kinesiska: 阿其克库勒湖) är en sjö i Kina. Den ligger i den autonoma regionen Xinjiang, i den nordvästra delen av landet, omkring 760 kilometer söder om regionhuvudstaden Ürümqi. Aqqikkol Hu ligger  meter över havet. Arean är  kvadratkilometer. Trakten runt Aqqikkol Hu består i huvudsak av gräsmarker. Den sträcker sig 21,9 kilometer i nord-sydlig riktning, och 24,1 kilometer i öst-västlig riktning.

Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är juni, med i genomsnitt  mm nederbörd, och den torraste är december, med  mm nederbörd.

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Insjöar i Xinjiang
Insjöar i Kina större än 100 kvadratkilometer
WP:Projekt Kina


text:
More in Alumni & Parent Programs
Alumni & Parent Programs
San Juan, Gulf Islands and Victoria B.C. - Sailing with Stephen Dow Beckham - Click here for more information!
Schooner Zodiac
Cruising the Gulf Islands and Victoria B.C. with Stephen Dow Beckham
Dates: July 19-25, 2019
Led by Stephen Dow Beckham, Northwest Historian and Professor Emeritus of History
accompanied by Ginger Moshofsky '83, Associate Director of Alumni and Parent Programs
Feel the wind in your hair on a Two-Masted Gaff Topsail Schooner, while Professor Emeritus of History, Stephen Dow Beckham, describes the history of the Gulf Islands and Victoria, British Columbia. Join Stephen Dow Beckham, and other Lewis & Clark alumni, parents, and friends, exploring the magnificent waters of the San Juan and Gulf Islands and on to Victoria B.C. aboard the historic Schooner Zodiac!
Guests are encouraged to join the crew, helping to hoist the 7000 feet of sails, or just relax in the Zodiac's 1920s style elegance. Try out the Zodiac's kayaks or grab the binoculars to see a passing orca. Share stories from your time at Lewis & Clark or compare notes from the day's adventures while enjoying a delicious meal as the sun sets over the Olympic Mountains.
The Schooner Zodiac, a 160 foot long, two-masted gaff topsail schooner, originally launched in 1924. While aboard, passengers stay in spacious berths (48 inch bunks) or private staterooms and socialize in common areas for meals and other gatherings. The Zodiac is heated and well ventilated.
Being a vintage craft, guests share close quarters on the lower deck. On the top deck guests enjoy the fresh air, starry skies and more open spaces. The 26 guests, plus the crew share three restrooms. Please take the virtual tour here.
While there are showers aboard the Zodiac, for water conservation purposes, guests are not encouraged to use the showers. There will be two opportunities during the course of the voyage, to take showers on land.
Standard berths are 48 inch bunks in the ship's salon and feature a heavy curtain.
There are two and three person staterooms on the Zodiac. The ship's staterooms are located both forward and aft and contain multiple bunks, a sink, a mirror and a door for privacy.
One must be able to negotiate stairs and narrow walkways in order to navigate the living areas on the Schooner Zodiac. See the virtual tour here.
See the Schooner Zodiac photo gallery here. See pictures from the 2018 Lewis & Clark voyage on the Zodiac.
26 participants.
Possible Itinerary (subject to change)
July 19th: About 11 am, board the Schooner Zodiac in Bellingham, Washington and begin the journey. Begin the sail and watch rotations, capped off with a happy hour and a delicious evening meal.
July 20 and 21: Sail through the San Juan Islands and up to the Gulf Islands.
July 22: Spend the day in Victoria, British Columbia. Professor Beckham is looking forward to visiting the Royal BC Museum. Also proposed, is tea time at the Empress Hotel. You may also choose to visit the Maritime Museum or check out Victoria's Chinatown. Also in Victoria, the Emily Carr House which is scheduled to re-open in June, 2019, home of B.C.'s most renown Impressionist artist and author.
July 23: Watch for orcas and Steller sea lion as we sail through the Gulf Islands.
July 24: Continue our sailing adventures with maybe a stop for kayaking, paddling the row boat or taking a swim.
July 25th: Set sail back to Bellingham for an afternoon return to our dock in the Fairhaven District.
Note- It is important when taking a sailing voyage that you remain flexible to take advantage of the wind for sailing. Should the wind be uncooperative, we will take hikes, kayak, see historic and significant sights, and more.
Travelers on this voyage will need a passport that is valid through July 25, 2019.
While there are showers aboard the Zodiac, for water conservation purposes, guests are not encouraged to use the showers. There will be two opportunities during the course of the voyage to take showers on land.
****The two- and three-person staterooms are sold out for this trip. Please fill out this form to be put on the waiting list.****
Standard Berth: $1600 per person. (We are currently working through the waiting list as a result of a last minute cancellation. Please fill out this form to be put on the waiting list.)
2-Person Stateroom: $3600 for two people. (Sorry, we are sold out of the 2-person staterooms. Please fill out this form to be put on the waiting list.)
3-Person Stateroom: $5400 for three people.
Fill out an interest form here.
For those who have already reserved their spot with the $500 deposit, the balance must be paid in full by May 1, 2019.
Six nights aboard the Schooner Zodiac.
While aboard the Schooner Zodiac, all meals and snacks are prepared by the ship's professional chef using the freshest Northwest ingredients.
Use of kayaks and sailing dinghy.
Shore excursions to state parks and quaint island towns.
Roundtrip flights and transportation from home city to Bellingham, WA
Hotel accommodations and dinner on Friday, July 18
Tip for the Zodiac crew
Any items of a personal nature
Cancellation & Change Penalties
For cancellations made prior to May 1, 2019 all but a $500.00 per person administration fee will be refunded. No refund can be paid for cancellations made on or after May 1, 2019. No refund will be given for services voluntarily not taken or for cancellations during the group itinerary. TRAVEL INSURANCE IS STRONGLY RECOMMENDED and often must be purchased within seven days of making your trip deposit. It is available for a modest fee from most insurance companies and travel agents.
Learn More about Stephen Dow Beckham:
Stephen Dow Beckham is the Pamplin Professor of History, Emeritus, having taught at Lewis & Clark from 1977 to 2012. Over the years, he taught at the undergraduate college, the graduate school's teacher education program, and the law school's Indian law program.
He is known for his work with Native Americans and the American West, especially the Pacific Northwest and the Lewis and Clark Expedition. Beckham is a leading authority on Indian law and has been called as an expert witness in many cases nationally involving Indian treaty rights, casinos, reservation resources and boundaries.
Beckham has been honored as the Oregon Professor of the Year, and has been the recipient of the American Historical Association's Asher Distinguished Teaching Award, and the Earle A. Chiles Award for "contributions to the understanding of the high desert interior of the American West."
Beckham has authored over a dozen books including:
Requiem for a People: The Rogue Indians and the Frontiersmen (1971)
Tall Tales from Rogue River: The Yarns of Hathaway Jones (1974)
Indians of Western Oregon: This Land Was Theirs (1977)
Lewis & Clark College (1991)
Many Faces: An Anthology of Oregon Autobiography (1993)
Lewis and Clark in Oregon Country: From the Rockies to the Pacific (2002)
Literature of the Lewis and Clark Expedition (2003)
Oregon Indians: Voices from Two Centuries (2006)
Beckham earned his bachelor's degree in history and biology at the University of Oregon. He earned a master's degree and PhD in history/anthropology at University of California, Los Angeles.
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I have been writing in this blog about Deleuze and Guattari's rhizome since 2009 and over the past two years with some rhizo scholars in Dave Cormier's MOOCs. Several times I have tried to apply the rhizome to higher education in general and to my discipline, writing and rhetoric, in particular. I think this may be a fine time to try that again as a number of scholars have gathered online for #rhizo16, but that class has been postponed. So what I propose is an exploration of the six characteristics of the rhizome in terms of higher education with a special emphasis on each of our various disciplines.
My good rhizo friend Simon Ensor recently posted a link to a short video entitled Three Minute Theory: What is the Rhizome?, which I think is worth embedding here even though I take issue with a few statements that I will get to in later posts.
D&G bundle the first and last two characteristics together, which should not be ignored, but I start with their framing, such as it is and as if anyone could frame a rhizome. There's a Zen task for you: go frame a rhizome.
Actually, frame is the wrong term—I should use intensity. For me, the most conspicuous intensity in their writing the rhizome is writing itself. Writing and language, in its various forms and expressions, especially the book, resonate with great intensity in "Introduction: Rhizome". As they are restructuring the hierarchies of Western philosophy, D&G are also rewriting Western rhetoric. I suspect this is not an accident; rather, restructuring requires rewriting because the structures that we use to arrange our lives are bound closely to and are co-evolutionary with our language. They are co-emergent—not the same thing, but one is not possible—at least not as it is—without the other. The culture we have constructed depends on our language, which in turn depends on our culture. And like any rhizome, we cannot extricate one bit from the other. For thousands of years, we have been quite adept at writing the hierarchical, tree structures we have lived by. If we are to write the rhizome, then we must write differently—a different language for a different structure. I suspect this writing differently is one of the reasons most people find D&G so difficult to read.
Since the Greeks began laying the groundwork of Western rhetoric some three thousand years ago, a coherent author and a coherent subject matter have been assumed core principles of effective rhetorical practice. It's still taught in college writing classes today: a clear, coherent voice with a thesis, a point to make about some single topic. This makes sense to us. D&G don't make sense. So who wrote this, D or G? Neither, not even both, but more—a rhizome, a swarm. So to whom do we send the check? assign the blame? award the credit? No one, even though we do anyway "because it's nice to talk like everybody else". What are we talking about? "Everything that came within range, what was closest as well as farthest away". Well, okay … but I'm a coherent reader with a coherent set of beliefs, and I don't know who is talking or what they are talking about.
If you are coherent, you probably won't understand D&G, or worse, you will misunderstand them—mainly because you will insist on making them coherent. If you want to read the rhizome, then you as reader must be as smashed as the authors and topic. You must assume a clever pseudonym—your own name will work—to make yourself unrecognizable in turn and to render imperceptible what makes you act, feel, and think—even to yourself.
Now look over the edge. It's a long way down. Or maybe it's just inches. Distance is such a slippery concept in the rhizome. Jump.
Of course, the rhizome is not the point of "Introduction: Rhizome". It can never be the point. To write the rhizome, the writer, the reader, and the shared topic must all be acentered. Though not mentioned directly in the first paragraph as the authors and topic are, the reader is still there and all three are being acentered—author and topic by inflection, readers by innuendo. Most readers do not respond well to dissolution and loss of identity. Most everything in society points us away from dissolution. We want, need, and demand a clear, self-actualized identity, and we resist attempts to dissolve that identity. We do not want to reach the point where one no longer says I or even the point where it is no longer of any importance whether one says I. We do not want to lose ourselves. We have a huge investment here, and this could be worse than the Crash of '29.
And anyway, D&G say/s, "We are no longer ourselves. Each will know his own." Isn't this a contradiction? No, not in the rhizome.
When the writer and subject are acentered, then they can assume no position, or can assume any position, right? If you've read D&G, then you see where this is going: "any point of a rhizome can be connected to anything other, and must be" (7).
Here, subject clearly means the author. Or does it? I don't know if French subject/suget carries this ambiguity, but when we English writing teachers speak of the subject we are referring to the topic of a piece of writing. Perhaps D&G were playing with this ambiguity when they say a few paragraphs later: "There is no difference between what a book talks about and how it is made. Therefore a book also has no object" (4). Or no subject. It also has no author, or subject. It also has no reader. Well, any point can connect to any other point in a rhizome and must.
Well, this lands us in a difficult place, especially if we want to make sense of the rhizome for higher education, or any education. And D&G note that we have worked hard over the millennia to avoid this place. We have rather studiously avoided writing the rhizome, the voice in the whirlwind, the acentered voice of God and the cosmic microwave background radiation. That way lies insanity and enlightenment—usually indistinguishable. The stars must have patterns, logical patterns about sensible stories that explain things.
We have abstracted the world to create a better image, an image that we can control and use, and we thereby split the world in two. We did God better. God created one world, we created two. And we made ourselves "the beneficent God to explain geological movements" (3). Language was the technology that allowed us to become as gods. It is what separated us from our creation. One view, one position, one author, one topic, one reader.
We don't like this semi-being. We want a coherent individual who is a member of a coherent group. We want a unity. We want a unified discipline that we can teach to students we can identify, but as Serres wryly notes, "Nevertheless, we are as little sure of the one as of the multiple" (3). We want the one root or the radicle, but the world keeps presenting us with something else: the rhizome, the cosmic background radiation, the noise, God. Damn.
So here's what I'm proposing: let's frame the rhizome within higher education. What are the implications for our very classes, our curricula, if we take this acentering seriously?
And let me say that I don't think D&G mind us framing the rhizome at all. The rhizome includes tubers and bulbs. It's expected. It's how we make sense of things—we frame it. The issue for D&G, I think, certainly the issue for me, is when we think our frame is all that there is—that the frame is the Truth. It isn't. It's just a frame, a device to help us see better. But we make a big mistake if we forget that the rhizome stretches far beyond and "whistles far and wee".
I want to summarize my thoughts about object oriented ontology (OOO) before returning to the rhizome.
First, I'm pleased with my little side trip, having gained many useful insights, but I am also disappointed. I find at the heart of OOO a concept that stops me: the notion that objects are withdrawn from each other, bound up and isolated in an unapproachable, unknowable substance. This idea has disturbed me since first reading it in Levi Bryant's The Democracy of Objects (2011), and after rereading the book, I was no happier with it, but I couldn't quite say why. I had run up against my lack of training in philosophy.
Fortunately, Terence Blake left a comment on one of my OOO posts pointing me to his own critiques of OOO. As a trained philosopher, Blake is clearer about the problems with withdrawn objects, and I lean on his work in this post. First, let's look at what Levi Bryant has to say about withdrawn objects.
It seems to me that Bryant is so interested in preserving the integrity of the objects in his object oriented ontology that he is willing to isolate objects as absolutely discrete entities and to post signs that say Don't touch! This is a trick that does very little for me.
Bryant is claiming a coil of volcanic powers (to use his terms) that forms the hidden substance of any object. Other objects, including humans, cannot access this substance directly. Rather, they can only infer this substance from the perturbations that emanate from the object. For me, this is somewhat like the early astronomers who inferred the existence of Pluto "after analyzing perturbations in the orbit of Uranus" (Wikipedia), even though they could not see Pluto. In some sense, then, Pluto was at that time withdrawn from the astronomers, but not in the sense that Bryant seems to say. For Bryant, the real substance of Pluto is always withdrawn. The result is that even as we get closer to Pluto through our technology, OOO can claim that the real Pluto always recedes from us, somewhere into its core, like a squid into its inky depths, as Timothy Morton says it.
Of course, I cannot prove that the substance of Pluto doesn't lie somewhere inside, but if I can never access it, interact with it, or know what it is, then what have I gained by positing it? Moreover, what do I learn about the world by saying that the gravity or iciness of Pluto are some of its qualities but not its substance? If you tell me that there is some absolute reality, but I can never experience it in any way—not physically, intellectually, emotionally, or spiritually—then I am at a dead-end with a dead-end belief. Moreover, given that my substance is as withdrawn from Pluto as the substance of Pluto is from me, then Pluto and I can never really engage each other. Finally, no objects can ever engage each other. I can't engage you, you can't engage me. Not really. Rather, our qualities merely perturb one another. I can't even engage myself. Not really. I'm alone and so are you, and we can't even imagine how alone we are. End of story.
But then the end of the road with no place left to go is usually depressing and best reserved, I think, for teenagers. Fortunately, I think I can find some ways back to light. I don't think that withdrawal is a completely dark idea that always terminates in the murky depths.
While I don't think that some inaccessible substance lies at the core of all objects, I do accept that no object is completely present to any other object at any one time. Objects always exceed what we can experience or know. I've mentioned this concept before in many posts, but not quite in this way. I have usually said that there is more in the Universe than we will ever know—you know, the Universe being infinite. Now, I'm willing to say that there is more in any object than we will ever know—not because of an inaccessible core that recedes, but because an object emerges, realizing itself within an environment over the arc of its development. New features can emerge in interactions with each new environment, revealing more and more of the object as it continues to unfold. If the object lasts forever, then it will emerge forever, always revealing more.
I picked up this idea from Timothy Morton's book HyperObjects, itself an OOO book so I don't think that Morton makes this same claim about hyperobjects, but that doesn't really matter to me. I'm not so interested in understanding OOO and its various theorists as I am in understanding what I think. I think that I can really experience an object but never completely. For instance, I can really understand and experience my wife, not just the incidental qualities about her; however, I will never understand and experience her completely. I will never, ever be able to capture and reduce her to a completely known and experienced thing. Moreover, as long as I engage and attend to her, there will be more to know and to experience. This is very satisfying to me.
It also isn't object oriented ontology. For me, this idea of withdrawn objects is a show stopper, and I'm genuinely confused about what it provides the object oriented ontologists.
So what is the lesson for education? This: there is more to know and experience about anything and everything than we can ever know or experience. Keep learning. I probably have more to learn about OOO, but I doubt I will focus on it.
As the first of four theses of a flat ontology, Levi Bryant says that object oriented ontology "rejects any ontology of transcendence or presence that privileges one sort of entity as the origin of all others and as fully present to itself." So what does this mean for philosophy in general and for higher education in particular?
To my mind, this defining from the inside out is most significant, and I envision it most easily in the case of DNA, those "volcanic powers coiled within" each cell of my body and which kickstarted me some 65 years ago and have informed me ever since. My DNA is "that structure and those singularities that endure" as I have undergone "qualitative transformations at the level of local manifestations", or my DNA is the energy, information, and organization source that endured as I grew up, matured, and created a life—or became the object I am today.
I differ from Bryant and his flavor of OOO by including my ecosystem. I am comfortable starting any definition of myself with the DNA coiled within my cells, but I don't want to limit my definition to my DNA. For me, any useful definition of me as an object must include the unpacking of my DNA along a particular arc through a particular environment. Bryant distinguishes the "volcanic powers" within from the "qualitative transformations at the level of local manifestations", which I'm comfortable with, but then he seems to limit the definition of an object to its withdrawn interior. I reject that as I don't know of any object that exists independently of an ecosystem; thus, defining an object independently of its ecosystem seems ultimately pointless to me. Defining ONLY from the inside out is as problematic for me as defining ONLY from the outside in, which is what all dictionaries do.
My reading of Edgar Morin's concept of complexity convinces me that I can understand an object only if I understand the exchange of matter, energy, information, and organization between that object and the objects in its surround. Yes, an object (even a rock) has inherent, internal powers that are necessary for defining that rock, but they are not sufficient.
I think this concept of the withdrawn object may be a show-stopper for me.


text:
What gases are greenhouse gases?
The definition of a greenhouse gas is at the same time very simple and very complicated for the ordinary man (or woman !) : such a gaz is "just" a gas mixed in the atmosphere that absorbs the infrared radiation emitted by the earth's surface. We are not accustomed to these gases because neither nitrogen nor oxygen, the two most abundant gases of the atmosphere (78% and 21%, respectively), that many of us have heard of, have this ability to intercept infrared radiation. But once this is said, what are these gases exactely ? And are we the sole emitters for these gases ?
The "natural" greenhouse gases
The two main gases responsible for the greenhouse effect (and not noly its recent increase) are :
Water vapour (H2O),
carbon dioxyde (CO2).
There are others such gases, and even many others. Some of them are "natural", which means that they were present in the atmosphere before the apparition of men, and other can be called "artificial", in the sense that they are present in the atmosphere only because of us.
Beyond water and CO2, the other important "natural" greenhouse gases are :
methane (CH4), which is nothing else than the cooking gas we use in our stoves,
Nitous oxyde (N2O), the scholarly name for….. laughing gas (which is not so much amusing here),
ozone (O3), which molecule comprises 3 oxygen atoms (the molecules of the "regular" oxygen gas have only 2 atoms of oxygen).
When we say that these gases are "natural", it does not mean that men did not play a role in the amount we can find in the atmosphere today. It just means that there are also natural sources (or natural cycles). For these 3 above mentionned gases, humanity "simply" adds its part to natural emissions and therefore significally increases their concentration in the air.
All these "natural" gases are taken into account in the international negociations (like the Kyoto Protocol, for example), except ozone, because as it has no direct emissions. Ozone results from a subtle chemistry taking place in the air, involving "precursors" which are regular pollutants – NOx, hydrocarbons – with the help of sun rays. Calculating – even roughly – the amount of ozone emitted by a country is today clearly very difficult.
The "industrial" greenhouse gases
The main "industrial" greenhouse gases are halocarbons (generic formula CxHyHalz, where Hal represents any halogen) : it designates sa vast familly of gases obtained by substituting, in a hydrocarbon molecule (propane, butane, or even octane, than can be found in car gas, are hydrocarbons), all or part of the hydrogen by a halogen gas (fluorine, chlorine, iodine…). The molecules obtained that way have two important properties for our purpose :
They are generally highly efficient to absorb infrared radiation, much more than CO2 (their absorption bandwiths are large).
Some of them (perfluorocarbons par example) are very "solid" : they are extremely stable, and only the high energy ultraviolets or the cosmic rays can "break" the liaisons of these molecules once they are in the atmosphere. As these degrading processes happen slowly and far from the ground, halocarbon molecules generally have very long residence times in the air, because it is necessary to wait until they get to the stratosphere – even though they are (very) heavy molecules – before they are degraded, and that can require thousands years.
Among the halocarbons we will find a well known sub familly : the CFCs (for chloro-fluro-carbons). Not only they are potent greenhouse gases, but they also lead to a decrease in the stratospheric ozone. Their production has been progressively banned, by the way of the Montréal protocol, signed in 1987, and that does not concern the other greenhouse gases.
There is another "industrial" gas that is often mentionned among the experts, sulfur hexafluoride (SF6). It is used, for example, to fill transformers (that require gases that stay inert in extreme conditions) or…double glazings. It is not emitted in large quantities, but is even more potent than any halocarbon and its degradation requires several thousand years.
What are the gases that generate the higher greenhouse effects and where do they come from ?
If we do not bother about the origin (natural or anthropic) of the greenhouse gases, the one that generate the highest greenhouse effect is….water vapour.
Breakdown of the "natural" greenhouse effect by contributing gas. As halocarbons are industrial gases they are not represented here.
The relative importance of each gaz has not varied much today.
Source : IPCC, 1992.
But if we only consider the greenhouse effect of human origin, sometimes called "additional" greenhouse effect (because it goes on top of the natural one), or anthropic greenhouse effect, the relative importance of each gas is totally different :
anthropic water emissions are negligible. Indeed, on a planet which is covered by water for its two thirds, and taken into account that water does not accumulate in the atmosphere where its residence time is roughly a week, direct human emissions of water vapour do not have a significant impact on the global water cycle. Men can definitely cause major perturbations to the water cycle on a local scale (through deforestation, irrigation, creation of dams, etc) but that doesn't have significant repercussions on the average proportion of water vapour in the atmosphere on a global scale, and therefore on the global greenhouse effect coming from water vapour.This explains why water vapour is not taken into account when measuring the greenhouse gas emissions caused by human activities, except in some very particular cases.
CO2 generates a little over 55% of the human induced greenhouse effect. There are of course natural CO2 emissions (respiration of animals, plants and humanity, decaying of biomass, natural forest fires, ocean emissions…). The anthropic CO2 comes :
from fossil fuels use (coal, oil, natural gas) for the largest part,
from industrial processes for a small part (when referring to these processes we exclude combustion, but only take into account other chemical reactions), for example cement production,
from deforestation for a non negligible part, particularly between the tropics (see the page on the sinks for explanations).
Methane generates a little over 15% of the human induced greenhouse effect. Methane is nothing else than the main component of "natural gas" (and also the cooking gas of most people, and…the firedamp so feared by coalminers) and is formed as soon as any organic compound decays (through putrefaction or fermentation) in the absence of air (actually in the absence of oxygen), for example under water or under the ground. Natural gas reserves were formed exactely that way, by the decay, a long time ago, of terrestrial or marine biomass. Finding methane in the atmosphere is therefore totally normal, as a result of the existence of swamps, and…termites ! But man has added its part, through :
biomass combustion, especially in the tropical zone. Wood burning is almost always an imperfect combustion, that releases in the atmosphere various unburnt or partially burnt hydrocarbons, including methane,
cattle raising (cows, sheep, goats, yaks, and more generally any ruminant), because the food they ingest ferments in theur stomachs, and that leads to methane emissions in the atmosphere (another conclusion is that all ruminants burp but that horses, that are not ruminants, just fart). It might interest the reader to know that there are roughly 1,4 billion cows on earth : they weight more than humans ! And their methane emissions are far from marginal.
rice paddles, that are humid zones just as swamps (where bits of dead plants fall under water, and decav there in the absence of oxygen),
dumpyards (putrefaction once again) and compost production,
fossil fuels production, because of leaks (oil and gas production) or ventilation of mines (coal).
halocarbons generates a little over 10% of the human induced greenhouse effect (no natural sources). These gases are used :
as fluids for filling fridges and more generally any device that generate cold (air con, domestic or in a car, freezers, etc). Emissions then happen because of leaks during use (almost any cold device leaks at least a little) or when dumped.
as propellants in sprays : the all too famous CFC constitue a subset of halocarbons ; the Montreal Protocol has decided their progressive ban because, in addition to being potent greenhouse gases, they are also responsible of the destruction of high altitude ozone,
in a number of industrial processes (manufacturing of plastic foams, but also…of semiconductors : anybody who reads this sentence or used a cellular phone is indirectly at the origin of halocarbon emissions).
Nitrous oxide (N2O) generates roughly 5% of the human induced greenhouse effect. This gas is a by-product of microbian activity in the soil (and is obviously to the nitrogen cycle), and therefore also has natural sources, mostly humid zones. The human part comes from :
the use of fertilizers in agriculture,
some chemical industries (no surprise : nitric acid production is among them).
Ozone (O3) generates roughly 10% of the human induced greenhouse effect. Ozone is a variant of the "regular" oxygen molecule (it has 3 atoms of oxygen instead of 2 for the "regular" oxygen gas) and is naturally pressent in the atmosphere. We like it (a lot) or not, depending on where we find it :
in the higher atmosphere, were it is named stratospheric ozone (the stratosphere is the layer of the atmosphere comprised between 10 and 50 kms above the ground), it stops the ultraviolet radiation coming from the sun, which have the ability to break down some weak chemical liaisons in the organic molecules. In this place we therefore like it a lot, because its apparition allowed advanced life forms to come out of the oceans (and if this ozone suddently disappeared, it is questionnable whether advanced life forms could remain for long on emerged land),
in our cities, it is a very aggressive pollutant, and we'd rather not see it there ! The tropospheric ozone (the troposphere is the lowest layer of the atmosphere, the one that "touches" the ground) is a classical component of air pollution, and indirectly comes from hydrocarbon combustion. The contribution coming from tropospheric ozone is therefore mostly a consequence of road and air transportation.
Since the beginning of the industrial age, that is 1750, all the additionnal greenhouse gases that we have poured into the atmosphere have created a "radiative forcing" that amounts to roughly 1% of the incoming solar energy.
In other words, through its greenhouse gases emissions, man has modified his environment "exactely as if" the incoming solar energy had increased by 1%. 1%, that may seem very little. But, given the considerable energies that are at play, the fragile balance of many subsystems of the climate machine, and the fact that this enhancement, once made, remains for very long periods of time, it is very significant for our future, as we will see later on.
How long do greenhouse gases stay in the atmosphere ?
Thoses gases, once in the atmosphere, do not remain there forever. They can be removed by various means :
it can be the consequence of a physical process. For example rain, which is the consequence of condensation (a physical process), removes water vapour from the atmosphere.
it can be the consequence of a chemical reaction happening in the atmosphere. It's the case for methane, for example, which is essentially removed from the atmosphere by reacting with OH radicals, resulting in CO2 among other things. It's also the case for ozone, a very reactive gas that disappears from the atmosphere in a matter of hours or days, being able to combine with many other compounds (including our lungs !),
the removal process can be a physico-chemical reaction, at the border of the atmosphere and of another compartment of the planet. CO2, for example, is reduced by photosynthesis (atmospheric/ground border), or is dissolved in the ocean then converted into bicarbonate and carbonate ions (CO2 is chemically stable in the atmosphere),
as a consequence af a radiative process. For example, the cosmic rays and the most energetic ultraviolet radiations emitted by the sun are able to breack down the laisons of many molecules in the higher atmosphere. Part of the halocarbons and part of the nitrous oxide "disappear" that way. Halocarbons being heavy molecules, it takes a long time for them to diffuse to the stratosphere, so this way of removal only concerns those that are chemically stable in the lower atmosphere (saturated halocarbons, practically). When halocarbons keep enough hydrogen, they generally get removed like methane, through chemical reactions with hydroxile radicals.
But there is a very bad surprise here : as opposed to water vapour, which is removed pretty quickly after being emitted, other gases take a very long time to go away once emitted. It is not easy to know accurately how much time is necessary for a given gas to be removed, because the atmosphere is a very complex system, involving a tremendous number of physical and chemical reactions (it doesn't seem so when we just look up !), with many feedbacks, and predicting the residence time with good precision for a given gas is a tricky exercise.
That being said, it is nevetheless possible to give a rough estimate of the residence time (called atmospheric lifetime sometimes), that is the time necessary for a surplus of gas to be removed. Of course this time is valid today, but may well cease to be if the conditions change much tomorrow.
Durée de séjour approximative dans l'atmosphère
CO2 100 years
Methane (CH4) 12 years
Nitrous Oxyde (N2O) 120 years
Halocarbons (CnHalp) from several weeks up to 50.000 years
We can immediately see above that the vast majority of the greenhouse gases that we emit today, including the CO2 that we just emitted this morning while commuting in car, or while turning on the central heating (coal, fuel oil or natural gas), will remain above our heads and that of our kids and grandkids in one century or two. All that time that they will remain in the atmosphere, they will enhance the greenhouse effect.
How do they compare ?
In order to be able to compare them (what is essential for mitigation : as long as we don't know if it's better to prevent the emission of one kg of CO2 or of one kg of methane, priorities difficult to establish and therefore our hands are a little tied up…), it is possible to calculate, for each of team, a "global warming potential", or GWP in short, that allows to know how much additional greenhouse effect we generate when we emit one kg of a given gas.
The GWP (Global Warming Potential)
The global warming potential of a gas is defined as the "radiative forcing" (that is the additionnal radiative power that the gas is sending back to the ground) of a given quantity of gas, cumulated over a given period, generally 100 years.
In short it is a notion that enables to apprehend at the same time the "instant power" of the gas, that is the ability to intercept infrared and transmit heat to the atmosphere (which varies with the number of frequencies the gas can intercept), and its lifetime in the atmosphere.
This value is actually never given as an absolute figure, but relatively to CO2. The GWP of a gas is therefore "how much more" (or how much less) it "enhances the greenhouse effect over 100 years" (that is how much additionnal energy it sends back to the ground) compared to a similar quantity of CO2 emitted at the same time. We then mention the "relative GWP". In mathematical terms it court be written as follows (F = radiative forcing and N is generally equal to 100 years) :
PRG = \frac{\int_0^N Fgaz(t) , \mathrm{d}t } {\int_0^N FC02(t) , \mathrm{d}t }
But it must be noticed that there are overlappings in the ranges of frequencies that the various greenhouse gases absorb. Methane and nitrous oxide, for example, absorb the same infrared around 7 microns). As a consequence, the result of the emission of a given gas in the atmosphere cannot be predicted independantly of the pre-existing quantities of the other gases that have absorbtion ranges in common.
Percentage of the radiation absorbed (vertical axis) depending on the wavelength in micrometres (horizontal axis) for methane and nitrous oxide in the atmosphere.
Source : Gérard Lambert, Revue du Palais de la Découverte.
It is also important to notice that the residence time may vary a lot depending on the conditions. For example, if the sinks that now remove CO2 from the atmosphere get saturated in the future, the residence time (of CO2) will increase, or even become infinite if the sinks turn to source. Assuming a constant rate of removal of CO2 from the atmosphere being precisely contrary to the known conclusions (this rate will change) it can be said that this GWP notion is approximative by nature.
If we wanted to be precise, each GWP should be a function not only of the absorption possibilities of the gas, and of its lifetime in the pressent conditions, but also of the concentration of all the other gases with overlapping ranges, the evolution of these concentrations in the future, and the evolution of the sinks for the given gas for the coming centuries !
This is of course impossible (not with explicit formulas, anyway). But as imperfect as it may be, an approximative comparison remains preferable, for action, to no comparison at all.
Here are the relative GWP of the 6 gases of gas famillies covered by the Kyoto protocol (Perfluorocarbons and Hydrofluorocarbons are sub-famillies of halocarbons),
relative GWP / CO2 (100 years)
Carbon Dioxyde CO2 1
Methane CH4 25
Nitrous Oxyde N2O 298
Perfluorocarbons CnF2n+2 7400 to 12200
Hydrofluorocarbons CnHmFp 120 to 14800
Sulfur hexafluoride SF6 22800
The above table means that if we emit today 1 kg of methane in the atmosphere, we will increase the cumulated greenhouse effect, for the coming century, just as much as 25 kg of CO2 (also emitted today). In short, we could say that a kg of methane "generates" 25 times the greenhouse effect that a kg of CO2 generates over a century, or that methane is a greenhouse gas 25 times more potent than CO2.
In the same idea, regarding the greenhouse effect, a kg of sulfur hexafluoride equals 22,8 (metric) tonnes of CO2, that is the annual emissions of 3 French ! (or of one American). Fortunately, the emitted quantities remain low for the moment (see below).
At last, rather than mentionning the mass of carbon dioxide, engineers and economists often use the carbon equivalent. Just as lenghts are measured in meters, greenhouse gas emissions are measured in carbon equivalent.
Carbon equivalent weight
By definition, a kg of CO2 is worth 0,2727 kg carbon equivalent, that is the weight of the sole carbon in a kg of CO2.
For the other gases, the carbon equivalent is definded as
carbon equivalent = relative GWP x 0,2727
t may seem very complicated, but actually it is very simple, because that way when we burn one kg of pure carbon, we obtain one kg of carbon equivalent in CO2. This then enables to know how much carbon equivalent a hydrocarbon will produce when burning, by simply measuring the weight of carbon per kg of hydrocarbon burnt (burning hydrogen produces water, not taken into account as explained at the top of the page).
And then the carbon equivalent of a kg of hydrocarbon that is burnt is simply the weight of carbon in this kg. Simple, I said !
For our main greenhouse gases, the carbon equivalents are therefore the following :
Carbon equivalent per kg
Carbon Dioxyde CO2 0,273
Methane CH4 6,82
Nitrous Oxyde N2O 81,3
Perfluorocarbons CnF2n+2 2.015 à 3.330
Hydrofluorocarbons CnHmFp 34 à 4.040
Sulfur hexafluoride SF6 6.220
Why go through all this pain ? If some states set up a "carbon tax", as some of them consider doing to discourage the greenhouse gas emissions, then it woud be logical to adjust this tax to each gas depending on his "potential to harm", or…its GWP. If the ton of carbon equivalent (sometimes noted tCe) is taxed 1000 euros, then the emission of one ton of CO2 would be taxed 273 euros, the emission of a ton of methane 6820 euros, the emission of a ton of nitrous oxide 81300 euros, etc.
Once we have a comparison basis (otherwise it is not possible !), we can then give a breakdown of the global human emissions by gas, except for ozone (which, as explained above, has no direct emissions) :
Breakdown of the anthropic greenhouse gas emissions by gas, in billion tons carbon equivalent, in 2004
Source: IPCC, 2007
Same as the bar graph on the right, but as a pie chart with the share of each gas.
Source : IPCC, 2007
In addition to greenhouse gases, humanity emits many other substances, including what is called aerosols or aerosol precursors.
An aerosol is basically a suspension in the air or liquid or solid particles. We can see everyday an example of aerosol : coulds. But a dust cloud also fits in this caterigy : when we sweep energically, we create an aerosol.
If we stick to humankind, aerosol emissions include :
tiny particules emitted when we burn oil or caol (the famous "black smoke" we can see coming out of the exhaust pipe of a diesel car),
tiny particles emitted when we burn wood (wood accounts for 10% of the global energy consomption on earth, in rough figures),
dust directly lifted by road trafic, or stone mining…
A precursor is something that preceeds : aerosol precursors are therefore gases that, after several chemical or physical transformations, lead to the formation of aerosols. For our climate change purpose, the most important of them are :
sulfur dioxide (SO2), a well know local pollutant that is emitted as soon as we burn something containing sulfur, the main sources being coal and oil combustion (these fossil fuels always contain sulfur when extracted from the ground). This dioxide is then transformed in little sulphate (SO4) particles, that are solid.
to a lesser degree, nitrous oxyde emissions (NOx), essentially coming from africultural practices, that will lead to the formation of nitrate particles.
Aerosols have two effects on the climate system :
they reflect or absorb light, depending on the color of the particles they are composed of,
they provide "condensation nucleus", which means that the tiny particles they are composed of helps the atmospheric water vapour to condensate into droplets and therefore modify the formation of clouds that are themselves, as we have seen, aerosols of a particular kind. Clouds haver two opposed effects on, the climatic system.
How do clouds influence the climate system ?
composed of water and water vapour, they contribute to the greenhouse effect (see above),
but, on the other side, by preventing light to reach the ground, they have a "cooling effect" on the surface.
The precise balance of these two antagonist effects is of major importance for the temperature rise that will happen in the 21st century, and an accurate representation of clouds in climate models is clearly one of the major challenges of science nowadays.
It is nevertheless established that the greenhouse effect wins over the cooling effect for high altitude clouds (cirrus, and…plane contrails), that are translucid enough to let light through in significant quantities, but allready pretty opaque to infrared, but that the cooling effect wins over the greenhouse effect for low altitude clouds (cumulus, stratus…).
As SO2 has a tendancy to favorize the formation of low coulds, in addition to the contribution of sulphate particles to light reflexion, it is considered as a "climate cooler". This being said, it is also the coumpound at the origin of acid rain, that have strong negative effects on the environment, and our lungs dont taste it that much. It is therefore difficult to consider emitting massive quantities of this pollutant to oppose the effect of greenhouse gases ! Actually all public policies in the world are generally aimed at diminishing SO2 emissions, with effective results as it can be observed….in the ice of the polar caps.
Evolution of the sulphate concentration in the ice of the polar caps (milligrams of SO4 per ton of ice ; vertical axis on the right) since 1800. The vertical axis on the right gives the deducted annual SO2 emissions, in millions of tonnes of sulfur.
As for the greenhnouse gases, nature also knows how to emit aerosols, particularly through volcanism. For example, the Pinatubo eruption, that has sent in the high atmosphere a massive quantity of dust that remained there for a long time, has generated a perceptible decrease (0,1 – 0,2 °C) of the world average temperature for a couple of years.
In short, aerosols have direct effects on the radiation exchanges, and indirect effects through favorizing the apparition of clouds. Their precise contribution, globally negative (meaning that they globally "cool" the climate), is still at the core of an intense debate in the scientific community.
Greenhouse gases against aerosols : who wins ?
Part of the "heating" caused by the greenhouse gases that we accumulate into the atmosphere is therefore offsetted by the cooling of the aerosols and aerosols precursors that we also put in the atmosphere.
But the aerosols have an important characteristic that cause their effects not to last for long after they have been emitted : their residence time into the atmosphere is only a couple weeks (the water contained in a cloud eventually turns into rain and does not stay for years in the sky ; dust falls back on the surface of earth just as the dust send upwards by our broom will fall back on the floor – and the furniture ! – pretty quickly).
As a consequence, they don't accumulate in the atmosphere (as opposed to the greenhouse gases that do).
It is therefore certain that the effects of aerosols cannot offset the effects of greenhouse gases on the long term.
In addition, the atmosphere requires only a couple months to homogeneize its composition (for gases). Greenhouse gases, wherever emitted, therefore spread to the whole atmosphere in a matter of months (what is short compared to their residence time), and as a consequence the place where they are emitted is of no importance for their effect on the climate. This explains why international negociations are non avoidable.
It is not the case for the aerosols, that have an atmospheric lifetime of a couple weeks only, and that produce most their effects over the places where they have been emitted or formed (everybody can see that a cloud over Sydney is of little influence for New-Yorkers).
The diagram below gives the "radiative forcing" (that is the additionnal energy sent to the ground) for all the modifications induced by man that influence the energy exchanges in the atmosphere (in Watts per square meter).
From to to bottom it pictures :
the contributions of CO2,
the contributions of other "long lived" greenhouse gases : CH4, N2O, halocarbons, see above,
the contributions of stratospheric (that constitutes the famous "layer") and tropospheric ozone (that causes the "pollution peaks"),
the contribution of additional water vapour in the stratosphere resulting from additional methane oxydation in the upper troposphere,
the consequence of albedo change (albedo is what measures the reflexivity of a surface : a mirror has an albedo of 1 – all incoming light is relfected – and a black body an albedo close to 0 – all incoming light is absorbed) resulting from land use change. For example, when turning a forest into an agricultural soil, the albedo increases, because a forest generally reflects less light that crops or bare ground.
the direct contributions of various aerosols : sulphate, black carbon, dust…
he indirect effects of contrail formation from aviation (that is excluding exhaust fumes other than water vapour).
though it is not anthropic, the consequences of the variations of solar activity (that is the variation of the energy the sun sends us).
For all these effects, the rectangles represent the most probable values, and the lines the error range. When the line is very streched compared to the lenght of the rectangle (or wwhen there is no rectangle at all !), it means that we have only a vague idea of the numerical value, let alone of the physical processes involved (bottom line of the diagram).
Cover Image:
OVOenergy


Commonsense & Wonder: DEA bigwig who hunted El Chapo: Sean Penn 'should be in jail'...send him to Venezuela without his money.
DEA bigwig who hunted El Chapo: Sean Penn 'should be in jail'...send him to Venezuela without his money.
The kingpin took notice. Soon, an ominous sign reading, "Welcome Jack Reilly [sic]" was hung off an overpass just across the border in Mexico. The DEA also picked up intel that Chapo had put a $100,000 bounty on Riley's head.


Layer powdered milk, cocoa powder, sugar, salt, chocolate chips, and peppermint candy.
This mix will fill a 1-quart jar (12 servings), but if your containers are different sizes, just keep the ratio of ingredients constant. On the back of the tag, write: "Mix contents in a large bowl. For each serving, place 1/3 cup cocoa mix in a mug and stir in 1 cup boiling water. Store remaining mix in airtight container."
Beautiful and unique gift idea! I purchased mason jars on sale and each gift cost about $2.50 each. I would recommend using dark chocolate powder as it makes it taste richer and less like Swiss Miss. I also added mini marshmallows at the top. I used quart sized jars and found myself using only half the ingredients (1/2c cocoa, 1/2c sugar, 1/2c powdered milk). I cut out cardstock circles and decorated them as the peppermint candies as the gift tags. As I was bringing them to work for my coworkers, tons of people stopped me in the halls and elevators telling me how cute they were. Sure win!
I started making these last night as coworkers gifts and had bought a brand new Hersheys cocoa for it. It made only 2 jars before I'd used all the cocoa. The 1c cocoa seems to be a very high amount to me as when I make myself a single cup, I use only 1 TBSP cocoa to 3 TBSP sugar. I'm concerned about the cost for continuing to make these if one container of cocoa only makes 2 jars but I'm more concerned with the taste. I saw only one other person comment on this - does anyone else have thoughts or better ratios?
This is absolutely delicious and makes adorable gifts! I followed the recipe to a tee, and I used a previous poster's suggestion to crush the candy canes finely in a mini chopper. Great recipe!!


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