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Makerere University to Host Conference on eLearning and Sustainable Development
Africa currently has one of the fastest growing demands for postsecondary education in the world. However, with many African nations still struggling to meet other basic needs, including those of K-12 education, scaling up postsecondary education continues to pose unique challenges. This is one reason why eLearning has quickly gained ground across the continent.
In July, African educational leaders will meet at Uganda's Makerere University's 1st International Conference on Open Distance and eLearning. The conference will provide an unprecedented opportunity for educators, instructional designers, and anyone else with a stake in eLearning to explore how open distance and eLearning technologies can be used to promote sustainable development.
eLearning Inside News recently talked to Godfrey Mayende of Makerere University about eLearning in Uganda and throughout Africa and the university's upcoming conference.
The Growing Demand for Online Education in Africa
Cait Etherington: There is currently a huge demand for postsecondary education in Africa. How is eLearning helping to respond to this demand?
Godfrey Mayende: Indeed, it is true, there is a huge demand for postsecondary education in Africa and the current higher education institutions lack the prerequisite infrastructure to respond. Open distance and eLearning (ODeL) are promising in bridging the gap. They can help learners learn while away from the university, which can avoid strain on the existing infrastructure. There is also a promising increase in the access and usage of mobile phones. Careful contextualization of these tools for teaching and learning can help in solving some of the region's education challenges. Online learning also caters to working adults who want to return to their studies. The available options for returning adults in Uganda are limited, but eLearning platforms give them a chance to further their education, so it's also a model that supports lifelong learning initiatives.
CE: What unique challenges do African universities face when launching open distance and eLearning programs?
GM: There are many challenges, including lack of knowledge about open distance and eLearning from top management. This can frustrate the champions for launching these programs. Internet connectivity is still a problem too, mostly in places outside capital cities. Lack of technical and student support mechanisms and lack of skills in online facilitation are both challenges because traditional facilitation is not the same as online facilitation. Online facilitation requires new skills for its effectiveness. Therefore, we need to train facilitators in online [learning] before we embark on launching a program. Another issue is a lack of continuous staff training and development and ICT integration into teaching and learning. There is always misunderstanding of this and many universities just use the learning environments as a depository for access to information. Yet learning should be authentic and interactive. Universities need a better understanding of this. Finally, lack of funding is a perennial problem at African universities, yet these programs require a heavy investment before they can take off.
eLearning at Makerere University
CE: Does Makerere University have an open distance or eLearning program and if so, when did it launch, what does it offer, and how many students does it serve?
GM: Makerere University commenced offering distance learning programs in 1991. This was in response to the restructuring program that had been recommended by the IMF where persons with limited qualifications were being displaced from their jobs. Makerere University had to respond by putting in place distance learning programs that could permit people to study as they worked. In 1991, Makerere University started with Bachelor of Commerce and Bachelor of Education degree programs. At the time, 256 students registered on these programs. In 2001, the Bachelor of Science program was enrolled onto the distance learning menu. In 2003, the Commonwealth Youth in Development Diploma Programme (CYP) joined the menu. In 2012, the Bachelor of Agricultural and Rural Innovation commenced. Other programs now include the Master of Public Health Distance, Master of Epidemiology and Biostatics, and Masters of Palliative Care. As per the University's Policy on Open, Distance and eLearning, all the ten colleges in the University are each required to have one or more programs running as open, distance, and eLearning programs. Presently, about 15% of the student population at Makerere University are distance learning students.
A number of steps have been taken by the University Council to increase the uptake of open, distance and eLearning delivered program. The University has set up the Institute of Open, Distance and eLearning to work as a one-stop support center for all other units in the University in as far as open, distance and eLearning issues are concerned. The Institute works with the rest of the university units to develop and review curricula for open, distance and eLearning delivered programs. The institute supports faculty and students in ODeL. A number of project are being executed all aimed at improving the distance learning mode of delivery. Key among these projects is the Norad funded Distance Education Leapfrogging Project aimed at increasing the integration ICTs in teaching and learning on distance learning programs. Other projects are the PEBL project aimed at using blended learning approaches to tap into the expertise of scarce faculty in the East African region. The other is the EPICA Project which is aimed at increasing the visibility of graduates' skills using an e-portfolio.
Goals for the Upcoming Conference
CE: This will be the university's 1st international conference on distance learning. Can you tell me about the goals of the conference? Also, what specific issues and challenges will presenters be discussing?
GM: Prior to the 1st International conference, the Institute of Open Distance and eLearning has organized national workshop in Open, Distance and eLearning, including DELP 2015, DELP 2016, and DELP 2017. While as these appeared national, we managed to attract international participants from Norway, Sweden, Ghana and Nigeria. This time round, we have internationalized the conference to make it a little bigger and attract both national and international actants in the field of online and eLearning. We also envisage more presentations and fruitful discussions to take open, distance, and eLearning debates forward.
DELC is a joint conference between Makerere University in Uganda and University of Agder in Norway. This is as a result of the joint collaboration project funded by Norad. The Conference will run under the Theme "Using Emerging Open Distance and eLearning (ODeL) Technologies to Promote Inclusive, Quality and Equitable Education" and in two sub-themes: Innovative Pedagogies for Inclusive, Quality, and Equitable Education; and Emerging ODeL Technologies for Inclusive, Quality, and Equitable Education
Three internationally renowned ICT in education professors will give keynote addresses at the conference. These include Professor Frank Reichert, who seres as Rector at the University of Agder, Professor Jessica Aguti from Makerere University and Professsor Maurice Ghislain Norber Isabwe from the University of Agder.
The beauty of this conference is that it will culminate in a published book. Authors with exceptionally good papers will be invited to convert them into book chapters.
Finally, I should add that the conference is also going to run at the same time as the e/merge Africa festival. Discussion are underway to have a session from e/merge Africa streamed at the conference and vice versa. This will give it a more international feel across eLearning experts in Africa and beyond.
CE: Who should attend this conference and how can they submit an abstract?
GM: Mainly this conference is targeting educational technology researchers and practitioners. If you are using technology for teaching and learning, then this is a great place for you to showcase your research. Distance learning, computer-supported collaborative learning and other topics are welcome. For more information, visit our conference website.
* Photo of Makerere University by Eric Lubega and Elias Tuheretze (licensed under Creative Commons).
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This post gives an overview of all the projects funded under the AIM Programme. It covers AIM-related projects funded just before the AIM programme started and the work that will continue now that the programme has ended. This timeline covers AIM work during my time at Jisc, from February 2009 to February 2014.
The Jisc funded AIM Programme ran from 1 January 2009 to 31 March 2011. Although the original funding phase completed by 31 March 2011, further funding was available for certain AIM projects to continue beyond this date. Jisc continued to be committed to resolving the many issues within AIM and funded further work under Digital Directions: AIM programme. This included four projects as part of the AIM strand within the larger 16/11 Digital Infrastructure call and four projects as part of the 01/12 Digital Infrastructure call. These calls funded projects in the areas of Future Directions and Raptor evaluation.
The AIM programme's first funded project was the Identity Management Toolkit (funded from January 2009 till June 2010), which was produced to help institutions deal with the issues surrounding identity management. The work undertaken by the developers of the Toolkit, and the feedback by people involved with Identity Management within institutions, has highlighted that very few institutions have efficient Identity Management processes in place. Institutions often don't put in the investment into improving these, despite the cost savings and efficiency improvements involved.
The Toolkit was piloted in two institutions – Imperial College and the UK Data Archive. Both projects undertook an audit and gap analysis and their recommendations were feed into a review of the Toolkit (in 2012). Both the pilot projects and the review satisfied the objective of raising the perception of Identity Management within institutions and helping them to implement better processes and policies.
At the end of the Identity Management project the governance group agreed that after November 2011 the Toolkit should be reviewed and updated where necessary. The review ran from February to July 2012. The project was led by Bristol University using the original toolkit developers, who were now no longer employed by LSE. The review incorporated the recommendations from the two pilot projects, a review of the whole toolkit and updates to the toolkit where necessary. During the Identity project, which ran before the toolkit project, a survey of the state of identity management in institutions was undertaken. This review also included an updated survey, providing a comparison between the state of identity management within institutions then and now and whether there has been any impact from the Toolkit. The Toolkit was converted to an infokit with the help of Infonet.
Embedding AIM solutions within institutions.
Taking the outputs of the AIM programme, or other relevant work, and making them more useable and embed them within the community.
Raising the public perception of AIM within HFE, highlighting the importance in having the correct processes and policies in place and how these lead to improvements in efficiencies and effectiveness and reduced costs.
Highlighting AIM issues across other Jisc programmes.
Of the 08/09 projects, SMART and RAPTOR received follow-on funding, particularly to standardise their work. RAPTOR also aimed to establish a small community of users. This follow-on funding extended SMART to 31/08/2011 and RAPTOR to 30/11/2011.
Support of Shibboleth moved from Internet2 to the Shibboleth Consortium (jointly funded by Internet2, Janet and SWITCH), which Jisc supported financially through the AIM Programme from 2010 to 2013. This was a transition stage as the Consortium became sustainable through membership funding and sponsorship. Funding of the Consortium continues but not through the AIM Programme.
This project was managed via the AIM Programme but was run by Jisc Collections. It was a 10 month project running from June 2010 till March 2011. The aim of the project was to create a package of materials and strategies based on Identity Management activity taking place at institutions so as to enable other institutions to extend current identity management (IdM) to Business and Community Engagement (BCE) groups. An online "how to manual" detailing the process an institution has to go through to achieve a level and quality of identity management suitable for use with existing Federated Access Management tools in order to provide Access and Identity Management to BCE and associated groups has been produced and is available from http://www.jisc-collections.ac.uk/Our-projects/EAM2BCE/.
Jisc and Janet spent the latter half of 2013 working together to develop a new draft AIM Strategy outlining the high level objectives to continue the evolution of access and identity management for the UK education and research sectors.
Both the AIM Strategy and Plan have been through a consulation process and will have an annual review to ensure we continue to meet customer requirements. The Strategy can be found at https://community.ja.net/groups/access-and-identity-management-aim/document/access-and-identity-management-strategy-draft and the Evolution and Delivery of Services Plan is at https://community.ja.net/groups/access-and-identity-management-aim/document/access-and-identity-management-evolution-and.
Although the AIM programme drew to a close in 2013, access and identity management continues to be a key part of Jisc work. As part of the new co-design process, piloted by Jisc in 2013-14, the Identity Management project was funded to address the cultural, social and political barriers to good identity management within Higher Education. This investigation explored the issue from a user's point of view and identified practical options for addressing the barriers identified. The scope for this project included library issues but also challenges related to HR and student services. It is not dealing with technical issues or solutions. A taskforce was set up to provide input and oversight to the project. It includes people with the relevant skills required to identify and address access management issues for users; people who are dealing with day to day issues, as well as those from existing relevant access and identity management groups.
The project is reaching its conclusion and planning for the second phase of the project is underway. Full details on this project are on the project's blog.
If you have managed to get this far in this post and have read all of the above then I am impressed. I apologise for the excessive use of acronyms and programme call numbers, but links have been provided to explain them all. Although the work of AIM continues under Jisc's new co-design method, the AIM programme and its way of funding is now at an end. I like to feel that the programme has provided useful tools, reports and software but nothing would have been achieved without the hard work of all the project managers who made these projects happen. Thank you.
Posted by Christopher Brown on February 28, 2014 in AIM, Projects and tagged #iam, #idm, #jiscaim.


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Panel Explains its Mandate and Operations to Civil Society, Community Representatives in Fiji
The Inspection Panel on March 16, 2021, explained its mandate and operations to civil society and community representatives in Fiji. The virtual seminar was organized with the University of the South Pacific's School of Economics and at the invitation of the non-governmental organization FRIEND, the Foundation for Rural Integrated Enterprises & Development.
Panel Chair Imrana Jalal, Panel Member Ramanie Kunanayagam, Senior External Affairs Officer Rob Doherty and Research Assistant Rupes Dalai discussed, among other things, the Panel's role at the World Bank, how to access project information on the World Bank website, who can submit a complaint to the Panel and how to do so, and the process the Panel follows once a complaint is filed. They also responded to questions from participants on a range of topics, including on when during the project cycle community consultations are conducted and complaints may be submitted, and how the Bank defines indigenous peoples.
The discussion is the latest in a series of virtual outreach events the Panel has conducted since members and staff began working from home during COVID-19 pandemic. Please contact the Inspection Panel at ipanel@worldbank.org if you are interested in taking part in a virtual workshop.
The Panel will resume in-person workshops as the pandemic eases and the World Bank permits mission travel.

redpajama_set_name: RedPajamaCommonCrawl


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If I'm doing the wrong thing, TELL ME!
English was my mother's second language, and she had a good command of it except for one word: she pronounced "crazy" as if it began with a g—"grazy." As a teenager, that drove me grazy-crazy, and finally one day I told her that. "What?!" she exclaimed. "I've been saying it wrong all these years, and … Continue reading If I'm doing the wrong thing, TELL ME!
We're past the day when we can trust the media and public figures to give us the truth. The world isn't interested in accuracy; it's interested in self-promotion. More and more, those who seek the truth will find themselves in solitary pursuits, but what better cause could there be?


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Monograph 01
Report A Line in the Andes by Felipe Correa
Editorial Mountain
Profile ZAO / standard architecture
Profile Ammar Khammash
Profile Armando Ruinelli
Idea On mountains
Found Paper Platforms and Plateaus
Report A Line in the Andes
Redescription Giacometti's Atelier in Stampa
A Line in the Andes: Quito's underground metro in extreme topography
Aerial view of Quito. Source: "A Line in the Andes" / Felipe Correa
Levitating at 10,000 feet (2,850 meters) above sea level, secluded under an equatorial sky and immured by Alexander von Humboldt's famous "Avenue of the Volcanoes", San Francisco de Quito is an urban ensemble with a unique and highly animate morphology that has resulted from a time-honored relationship between multiple forms of colonization and its incredibly robust topography. Driven by the pervasive presence of the mountains, the most salient forms of urbanism that have shaped the city have predominantly acknowledged Quito's unique sectional figure and effectively operated in between its paradoxical condition as established metropolis and new frontier. Caught within this framework, processes of infilling, leveling, bridging, and containing, among others, have been the key instruments in establishing flexible and open-ended patterns of colonization that can negotiate between the fixed prescriptions of settlement and the instability of this ground. This has allowed for dynamic forms of exchange between topology and typology, and more importantly, recognized the significant role of a highly malleable section and its inherent potential to provide a flexible, yet cohesive, urban framework: an abstract machine that can effectively adapt to the extreme vulnerability of the contour and effectively transition from the domestic scale of the clasped urban block to the unbound scale of the open territory.
If the first half of the twentieth century marked an unprecedented growth along Quito's north-south axis, the second half was defined by the rapid urbanization of the lower valleys.
With a population close to 3 million, Quito and its broader metropolitan district straddle the north–south axis of the Guallabamba River Basin. The city's historic quarter and its most consolidated urban areas occupy approximately 300 square kilometers along an upper valley most significantly defined by its acute adjacency to the Pichincha Volcano. The entire extension of the metropolitan region covers more than 10,000 square kilometers and incorporates a much larger perimeter that extends far beyond the boundaries of the central depression and agglomerates a much more extensive valley system into a single geopolitical entity. This larger extension, which registers acute sectional differences of more than 1,000 meters, includes large agricultural holdings, as well as newly developed areas along the lower valleys that flank the more compact fabrics adjacent to the colonial grid.
Map of the city of Quito, by Dionisio Alcedo y Herrera, 1734. Source: "A Line in the Andes" / Felipe Correa
This drawn-out metropolitan region could be conceived as an extended terrain composed of a series of unrelated fragments of built, natural, and heavily manipulated landscapes. Despite the inherent differences among these different urban components, they come together to assemble a quite unfurled, yet cohesive, urban system. This intrinsically complex terrain, since the deployment of the colonial grid in the early sixteenth century, has spawned unexampled settlement patterns that have actively negotiated between the rigidity of a grid that aims for an inherently flat surface and the idiosyncrasies of a topography that resists horizontality. The urban block, as a generative device, rather than as a mute type, has played a key role in the shaping and reshaping of this intricate urban ensemble. The city, throughout its 500 years of urban history, has developed a unique genealogy of blocks, which, instigated by the terrain's sectional difficulties, constitutes some of the most unique colonization patterns of any form of urbanism along the Andes.
Quito. Source: Source: "A Line in the Andes" / Felipe Correa
Today, present day Quito is investing in the city's first underground metro line. Started by former Mayor Augusto Barrera, and continued by the current administration of Mauricio Rodas, the Metro de Quito project proposes a single 22-kilometer, 15-station underground line that will act as the backbone of a much more comprehensive transportation network, effectively bringing together under a unified transportation system the three main areas of the metropolitan district, the historic core, the compact expansions along the core, and the urbanized areas along the lower eastern valleys. While the Metro de Quito is a significant initiative in its own right as a cutting edge, long-term transportation solution for the city, its greatest potential lies in its ability to go beyond an autonomous mobility infrastructure and serve as the catalyst for the most ambitious urban transformation effort in the city's history. A Line in the Andes, a one-year applied research initiative undertaken at the Harvard University Graduate School of Design, examines potential ways in which the project can bring about a renewed urban agenda for the city as it addresses its twenty-first-century challenges.
The objective of this research is twofold. First, it reconstructs through archival material and original drawings, a visual history of Quito. The material highlights the rich cultural diversity, both physical and social, interwoven throughout the city in the last 500 years. It explains the formative process of the city through a series of nested scales. The work begins with a typological and morphological reading of the historic core, followed by an analysis of the expansion of the compact city, and ends with a series of visual profiles of the metropolitan region and the new conurbation stretching between the compact city in the upper valley and newer forms of urbanization along the lower valleys. The plates clearly show the urban dynamics of the metropolitan region. And the research frames the potential of the metro project, literally a line inscribed in the Andes, to tie together the diverse parts that make up the metropolitan region through a series of new centralities affiliated to the proposed spine.
The Drapped City: Territory. Source: "A Line in the Andes" / Felipe Correa
The Drapped City: Water distribution. Source: "A Line in the Andes" / Felipe Correa
The Drapped City: Zoning (residential). Source: "A Line in the Andes" / Felipe Correa
The Drapped City: Urban flows. Source: "A Line in the Andes" / Felipe Correa
The second component of the research, more projective in nature, proposes a series of design hypotheses that envision how the metro project, a chimerical line underneath the city, can have a transformative impact upon the city's surface. Through an expanded notion of what a subway station can be, the projects conceive epicenters of new residential densities and urban services paired with the systematic introduction of high-quality public spaces. The strategies focus on rethinking the metro stations as nodal points that can, under a single design project, bring together multiple scales of mobility—from bicycles to rail—and pair them with a diversified programmatic brief in order to establish new urban centralities. The ultimate objective of the design hypotheses lies in establishing a constellation of projects that, through accretion, can exercise substantial and positive change at a metropolitan scale. The applied research and design proposals condensed in A Line in the Andes, in no way present a set of fixed prescriptions for the future of the city. On the contrary, the work presented herein serves as a series of provocations that allow the reader to imagine an infinite number of scenarios for Quito in light of its new metro project. Furthermore, this work highlights the value of the hypothetical urban project and its multiple scales of intervention as critical ingredients for well-informed, collective discussions about the city and the urban future it deserves.
A system of pedestrian and recreational rings. Source: "A Line in the Andes" / Felipe Correa
Felipe Correa
Felipe Correa is a New York-based architect and urbanist, working at the confluence of architecture, urbanism and infrastructure. He is Associate Professor in the Department of Urban Planning and Design and Director of the Urban Design Degree Program at Harvard's GSD. Through his design practice, Somatic Collaborative, he has developed design projects and consultancies with the public and private sector in multiple cities and regions across the globe, including Mexico City, New Orleans, Quito, Sao Paulo, and Seoul among many others. He is the co-founder and director of the South America Project (SAP), a trans-continental applied research network that proactively endorses the role of design within rapidly transforming geographies of the South American Continent. He is the author of multiple books including "Beyond the City: Resource Extraction Urbanism in South America" (University of Texas Press, 2016).
somatic-collaborative.com


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Q: Query for before or after the characters I am using Sqlite for a personal application and I have got a simple query
Select Name from Employees where Name (Name LIKE '%aj%')

It returns me results
Pankaj
Neeraj
Saajan

but this query
Select Name from Employees where Name (Name LIKE 'aj%')

doesn't returns anything, I guess It should returns
Pankaj
Neeraj

as they both ends with 'aj'. I want all the entries which ends with 'aj'.
Couldn't figure out whats wrong here or Sqlite doesn't support single ampersand (%) queries ?

A: Select Name from Employees where Name LIKE '%aj'

You should place your wildcard in front of the wanted chars.
A wildcard character can be used to substitute for any other character(s) in a string.

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Kraftwerksmanagement bezeichnet den ökologisch und ökonomisch sinnvollen Einsatz eines bestehenden Kraftwerkparks.

In ein elektrisches Verteilernetz muss beständig genau so viel elektrische Energie eingespeist werden, wie gerade von den Verbrauchern benötigt wird. Kleinere Abweichungen führen zur Änderung der Netzfrequenz, größere können großräumige Stromausfälle verursachen. Um dieses Ziel langfristig und kurzfristig sicherzustellen, bestimmen in einer marktbasierten Organisation der Energiewirtschaft, wie sie heute in Europa und den USA vorherrscht, Marktpreise sowohl den Einsatz bestehender Kraftwerke als auch die Planung neuer Kraftwerke (siehe Energiemarkt).

In Deutschland erfolgt dies mit dem EnWG 1998 durch die wirtschaftliche Optimierung des Kraftwerkseinsatzes auf Basis der entstehenden Kosten und der erzielbaren Preise im Energiehandel und an der EEX (Kraftwerkseinsatzoptimierung). Für die Systemsicherheit, das heißt die Aufrechterhaltung der Netzfrequenz, sind seither die Übertragungsnetzbetreiber zuständig, die hierfür eine Auktion zur Beschaffung von Regelleistung betreiben und netzseitige Steuerungsmaßnahmen (z. B. Netzschaltungen) wahrnehmen. Eine ähnliche Organisation der Energiewirtschaft findet man nunmehr auch in Europa und den USA vor.

Aus technischen Gegebenheiten unterschiedlicher Kraftwerkstypen und der Anreizwirkungen von Markt und Marktdesign ergibt sich der tatsächliche Einsatz verschiedener Kraftwerkstypen und das Zusammenspiel des Kraftwerksparks insgesamt.

Merkmale der Erzeugung

Dynamische Merkmale thermischer Kraftwerke
Die Leistungsabgabe von Kraftwerken kann nicht beliebig schnell geändert werden. Je nach Bauart sind gewisse Grenzen einzuhalten.

Kohlekraftwerke
Die Leistung von Braunkohlenkraftwerken kann etwa um 3 % der Nennleistung je Minute geändert werden, die von Steinkohlekraftwerken um etwa 4 %. Die Leistung kann je nach Bauart zwischen 40–60 % und 100 % geändert werden. Die Anfahrzeiten nach Stillstand und die anschließende Mindestbetriebszeit liegen jeweils bei über zwei Stunden.

Gasturbinenkraftwerke
Gasturbinenkraftwerke erreichen Änderungsgeschwindigkeiten bis zu 20 % der Nennleistung pro Minute und eignen sich deshalb besonders gut zur Deckung von schnellen Lastschwankungen. Außerdem zeichnen sie sich durch sehr kurze Anfahrzeiten von wenigen Minuten aus. Die Leistung kann zwischen 20 % und 100 % geändert werden. Deshalb ist dieser Typ sehr gut für Spitzenlastkraftwerke geeignet. Gasturbinenkraftwerke haben vergleichsweise niedrige Investitionskosten und hohe Grenzkosten bei der Erzeugung, so dass sich ihr Betrieb nur in teuren Stunden lohnt.

Kernkraftwerke
Bei Kernkraftwerken muss man unterscheiden:
 Moderne Druckwasserreaktoren erreichen Änderungsgeschwindigkeiten bis zu 5 % der Nennleistung pro Minute. Die Leistung kann zwischen 20 % und 100 % geändert werden.
 Bei den meist älteren Siedewasserreaktoren liegt die Mindestleistung bei 60 % der Nennleistung, die Änderungsgeschwindigkeit beträgt 4–6 % pro Minute.
 Oberhalb von 80 % der Nennleistung können bei beiden Reaktortypen Änderungsgeschwindigkeiten von bis zu 10 % der Nennleistung pro Minute erreicht werden.
 Deutsche Kernkraftwerke können pro Minute je nach Bauart und Leistungsbereich um 3,8–10 % geregelt werden und müssen mit mindestens 50–60 % der Maximalleistung betrieben werden. Bei Nutzung der Mindestlast unter Kondensatorwärmeabfuhr sinkt die Mindestleistung auf 0 %. In französischen Druckwasserreaktoren wurden Minimalleistungen von unter 30 % ohne Kondensatoröffnung erzielt.
 Ältere, vor allem auf Grundlastbetrieb optimierte Kernkraftwerke, wie beispielsweise der britische AGR oder der russische WWER-440 weisen eine deutlich geringere Flexibilität auf.
 Auch bei den flexiblen deutschen und französischen Kernkraftwerken mit Druckwasserreaktor werden im Normalbetrieb zur Vermeidung übermäßigen Verschleißes selten Änderungsgeschwindigkeiten von mehr als 1,5 % der Nennleistung pro Minute gefahren.

Kraft-Wärme-Kopplung
Kraft-Wärme gekoppelte Anlagen müssen in der Regel den Wärmebedarf nachfahren und haben somit kaum Flexibilität. Dies gilt unabhängig vom Brennstoff und auch unabhängig davon, ob es sich um eine großtechnische Anlage oder um ein Mini-HKW handelt. Die Integration von alternativen Wärmequellen, Wärmespeichern und Elektrischen Wärmeerzeugern in das Fernwärmenetz ermöglicht jedoch eine stromgeführte Fahrweise.

Merkmale anderer Kraftwerke
 Laufwasserkraftwerke sind zu einer sehr guten Leistungsregelung mit hohen Lastgradienten in der Lage, da kein aufwendiger verfahrenstechnischer Prozess wie bei thermischen Kraftwerken vorgelagert ist. Diese Fähigkeit qualifiziert sie zwar als Spitzenlastkraftwerke, allerdings würde man bei einer Drosselung Energie verschenken in Form von vorbei strömendem Wasser, sofern dieses nicht für Schwallbetrieb höher aufgestaut werden kann.
 Windkraftwerke sind sehr gut zu einer negativen Lastregelung in der Lage, das heißt sie können ohne größere Kosten steil abfahren. An das deutsche Hochspannungsnetz angeschlossene Windanlagen müssen ihre Leistung auf Abruf um 10 % der Nennleistung pro Minute auf einen vom Netzbetreiber vorgegebenen Leistungswert absenken können. Jedoch bietet das Marktdesign zur Laststeuerung von Windanlagen in der Regel keinen finanziellen Anreiz.

Kraftwerkskategorien

Die klassischen Kraftwerksbezeichnungen als Grundlast, Mittellast und Spitzenlast sind durch die hohe Einspeisung sogenannter "Fluktuierender Erzeugung" irreführend geworden. Die Aufgabe regelbarer Kraftwerke ist es nicht mehr, die Last abzufahren, sondern vielmehr die Restlast nach Abzug fluktuierender Erzeugung möglichst wirtschaftlich darzustellen.

Fluktuierende Erzeugung
Fluktuierende Erzeugung sind Stromeinspeisungen, die unabhängig von der Last, zum Beispiel dargebotsabhängig erfolgen. Hierzu gehört vorrangig die Wind- und Solareinspeisung. Eine ähnliche Kategorie sind aber auch Müllverbrennungsanlagen und andere Erzeugungseinheiten, die nicht auf Marktsignale reagieren, sondern von anderen Ereignissen gesteuert werden.

Grundlast
Kraftwerke, die als Grundlastkraftwerke betrieben werden, stellen Energie preisgünstig zur Verfügung oder haben eine geringe Leistungsänderungsgeschwindigkeit. Sie werden nach Möglichkeit rund um die Uhr mit nahezu voller Leistung betrieben. Die Leistung von Grundlastkraftwerken muss sich nicht unbedingt leicht regeln lassen. Hierzu gehören:
 Laufwasserkraftwerke
 Kernkraftwerke
 Erdwärmekraftwerke
 Biomassekraftwerke verfügen zwar über Flexibilitäten, werden jedoch wegen der Anreizsysteme des EEG vorrangig in Grundlast gefahren.
Ein Kraftwerk heißt grundlastfähig, wenn es prinzipiell in der Lage ist, durchgängig Strom zu erzeugen. Wind- und Solarkraftwerke sind nicht grundlastfähig, da sie immer auf Wind oder Sonne angewiesen sind, um zu produzieren. Mittellast- und Spitzenlastkraftwerke sind grundlastfähig, auch wenn sie aus Kostengründen nicht in Grundlast eingesetzt werden.

Mittellast
Kraftwerke, die als Mittellastkraftwerke betrieben werden, lassen sich über einen weiten Leistungsbereich regeln, die Regelung wirkt allerdings mit einer gewissen Trägheit. Zusammen mit den Grundlastkraftwerken fahren die Mittellastkraftwerke die grobe Tages- und Wochenstruktur des Stromabsatzes ab, Spitzenbedarfsstunden, steile Rampen und den Ausgleich von Überschussproduktion überlassen sie den Spitzenlast- und Regellastkraftwerken. Mittellastkraftwerke sind:
 teilweise Braunkohlekraftwerke
 Steinkohlekraftwerke

Spitzenlast und Regelleistung
Kraftwerke, die als Spitzenlast- oder Regelkraftwerke betrieben werden, müssen jeder Leistungsveränderung im Netz folgen können und somit eine sehr hohe Dynamik besitzen. Sie werden meist nur wenige Stunden pro Tag eingesetzt. Als Spitzenlastkraftwerke werden vor allem
 Gasturbinenkraftwerke und
 Pumpspeicherkraftwerke
eingesetzt. Andere Speichertechnologien werden erforscht, z. B. Druckluftspeicherkraftwerke. Flexibilität weiterhin auch von kleinen Anbietern durch Bündelung zu sogenannten virtuellen Kraftwerken oder durch Laststeuerung bereitgestellt.

Kraftwerkseinsatz (Deutschland)

Der tatsächliche Einsatz der Kraftwerke hängt nicht nur von verfügbaren Flexibilitäten, sondern auch sehr stark von wirtschaftlichen Anreizen im Rahmen des Marktdesigns der Energiewirtschaft ab.

Fluktuierende Erzeugung
Derzeit bieten die Rahmenbedingungen in Europa nur wenig Anreiz für Erneuerbare, ihre Flexibilitäten zu nutzen. Im Allgemeinen speisen somit die Erneuerbaren angebotsgesteuert ein. Der konventionelle Kraftwerkspark hat somit die Aufgabe, den Restbedarf zu decken. Die nebenstehende Grafik zeigt beispielhaft die Last, das Einspeiseverhalten von Wind und Solar und die daraus resultierende Restlast in Deutschland und Luxemburg im Januar 2020. Nach Abzug von Wind- und Solareinspeisung sinkt die mittlere Last ungefähr 38 % von 61,11 GW auf 38,19 GW. Die Maximallast wird jedoch von dieser Einspeisung nur um etwa 11 % von 78,21 GW auf 69,34 GW reduziert. Die Deckung der Restlast stellt somit hohe Anforderungen an die Flexibilität des restlichen Kraftwerksparks. Die zu deckende Minimallast sinkt durch diese Einspeisung sogar von 38,86 GW auf 9,75 GW, so dass kaum mehr Grundlast verbleibt.

Einsatz der Grund- und Mittellastkraftwerke

Auch bei dem übrigen Kraftwerkspark spiegelt der Einsatz sowohl die technische Flexibilität als auch das Anreizsystem des regulierten Marktes wider. Die Grafiken rechts zeigen beispielhaft den aggregierten Fahrplan unterschiedlicher Kraftwerkstypen im Januar 2020 im Vergleich zur abzudeckenden Restlast.

 Wie zu erwarten, fahren die Kernkraftwerke im Wesentlichen Band, reagieren jedoch sichtbar auf das Nachfragetief (und den negativen Preis) am 31. Januar.
 Auch die deutschen Biomassekraftwerke fahren einfach Band. Dies liegt nicht an mangelnder Flexibilität, sondern ist eine Folge der Fixvergütung des Erneuerbaren Energiengesetzes.

Dagegen nutzen die deutschen Stein- und Braunkohlekraftwerke alle ihnen zur Verfügung stehenden Flexibilitäten, um auf Preissignale zu reagieren und ihre Fahrweise der Nachfrage anzupassen. Der Beitrag der Steinkohlekraftwerke ist dabei ebenso groß wie der Beitrag der Gaskraftwerke.

Einsatz der Pumpspeicher

Pumpspeicher stehen nur in begrenztem Umfang zur Verfügung und haben auch nur begrenztes Ausbaupotential. Die in Deutschland und Luxemburg installierte Leistung beträgt Stand 2020 9,4 GW. Das linke Bild zeigt den aggregierten Pumpspeichereinsatz in Deutschland zusammen mit der dortigen Solareinspeisung (installierte Leistung 48,3 GW). Pumpspeicher nehmen im Wesentlichen nachts Energie auf und speisen sie zur Abendspitze der Last wieder ein. Die Mittagsspitze der Solareinspeisung wird ebenfalls im Winter manchmal (im Sommer grundsätzlich) abgesägt.

Aussteuerung unerwarteter Abweichungen
Unplanbare Abweichungen entstehen durch Ausfälle und technische Störungen sowie bei der Einspeisung von Solar- und Windkraftanlagen. Die Einspeisung von windabhängiger Windenergie und sonnenabhängiger Photovoltaik wird über Prognosesysteme (siehe z. B. Windleistungsvorhersage und Solarstromprognose) für Kurz- und Mittelfristzeiträume vorhergesagt, zeigt aber dennoch hohe Prognoseabweichungen. Weiterhin ist auch die Last nicht genau planbar.

Diese unerwarteten kurzfristigen Abweichungen werden vom Übertragungsnetzbetreiber über den Regelleistungsmarkt und den Abruf von Regelleistung ausgesteuert.

Risikovorsorge in der Erzeugung
Neben dem optimalen Einsatz des aktiven Kraftwerksparks ist auch eine Risikovorsorge notwendig. Der Ausfall mehrerer Kraftwerke kann den Zusammenbruch des Netzes, den kaskadenartigen Ausfall weiterer Kraftwerke und damit einen Blackout zur Folge haben. Hierfür wurden im deutschen und europäischen Energiesystem verschiedene Vorsorgemaßnahmen getroffen.

Kaltreserve

Kraftwerkskonservierungen werden an Kraftwerken durchgeführt, die für eine unbestimmte Zeit nicht eingesetzt werden. Man nennt diese Kraftwerke auch Kaltreserve. Diese Kraftwerke können nicht wirtschaftlich produktionsbereit gehalten werden, sollen aber auch nicht zurückgebaut werden, sondern bei unerwarteter Knappheit in relativ kurzer Frist reaktivierbar bleiben. Teilweise erhalten die Betreiber hierfür eine Vergütung.

Schwarzstartfähigkeit

Die meisten Kraftwerke haben einen Eigenstrombedarf und können ohne Stromnetz nicht hochfahren. Dies gilt auch für Windräder, die Strom benötigen, um ihre Rotoren auf den Wind auszurichten. Das Stromnetz muss somit über eine ausreichende Anzahl Schwarzstart-fähiger Kraftwerke verfügen. Dies sind Kraftwerke, die in der Lage sind, in einem schwarz gewordenen Netz ohne Stromversorgung hochzufahren und somit als Kern für den Neustart der Stromversorgung dienen können.

Kapazitätsreserve

Kraftwerke in der Kapazitätsreserve dienen in Deutschland dazu, Extremsituationen am Strommarkt auszugleichen. Kann am Strommarkt die Nachfrage unvorhersagbar nicht durch das Angebot gedeckt werden, so sind Kraftwerke aus der Kapazitätsreserve zu aktiveren, um kurzfristig ausreichend Energie zur Verfügung zu stellen. Diese Kraftwerke stehen in der Regel still und werden nur bei Bedarf aktiviert. Kapazitätsreserven werden vom Übertragungsnetzbetreiber ausgeschrieben.

Sicherheitsbereitschaft

Im Zuge der Stilllegung von Kohlekraftwerken werden in Deutschland die stillgelegten Kraftwerke zunächst in eine sogenannte Sicherheitsbereitschaft überführt. Während dieser Sicherheitsbereitschaft sind die Kraftwerke vorläufig stillgelegt und können nur in Extremsituationen wieder aktiviert werden. Nach 4 Jahren ist die Sicherheitsbereitschaft beendet und das Kraftwerk wird endgültig stillgelegt.

Strategisches Kraftwerksmanagement
Für die Verwirklichung von ökologischen Zielen, aber auch für klassische Ziele wie Versorgungssicherheit und Wirtschaftlichkeit ist die strategische Weiterentwicklung des Kraftwerksparks von entscheidender Bedeutung. Diesbezügliche Ziele und der Weg dorthin wurden von der Bundesrepublik Deutschland 2010 in einem 40-Jahres-Plan, dem Energiekonzept für eine umweltschonende, zuverlässige und bezahlbare Energieversorgung festgehalten.

Merkmale der Last

Lastprognose
Aus typischen Verhaltensweisen von Haushaltskunden sowie aus Produktionsabläufen der Industrie ergeben sich Schwankungen im Stromverbrauch, die statistisch erfasst werden. Diese Statistiken werden zur Lastprognose verwendet. Die Lastprognose zeigt typische Tages- und Wochen- und Jahreszeitstrukturen. Die tatsächliche Last kann erheblich von der Prognose abweichen.

Laststeuerung
Auch die Steuerung des Verbrauchs ist möglich zum Beispiel über:
 Rundsteueranlagen: Hierüber können technische Anlagen wie Nachtspeicherheizungen oder Straßenbeleuchtung von zentraler Stelle an- oder ausgeschaltet werden.
 Smart Home Technologien
 zeitgeschalteter Verbrauch (wie zum Beispiel Nachtspeicherheizungen)
 Änderung des Nachfrageverhalten über strukturierte Tarife und Smart Meter.
 abschaltbare Lasten

Bedeutung des Netzes
Wie oben beschrieben steuert in letzter Instanz der Übertragungsnetzbetreiber verbleibende kurzfristige Unterschiede zwischen Erzeugung und Last über den Regelmarkt aus.

Redispatch
Weiterhin erfordert die Netzstabilität, dass der erzeugte Strom auch dorthin transportiert wird, wo er benötigt wird. Auch dies ist nicht immer möglich. Gelegentlich reicht die Netzkapazität nicht aus, um Windstrom aus Norddeutschland in süddeutsche Verbrauchszentren zu bringen. Dann erfolgt durch den Netzbetreiber ein sogenannter Redispatch. Dabei werden liefernde Kraftwerke in verbrauchsfernen Standpunkten zwangsweise heruntergefahren und andere in einem günstigeren Netzpunkt einspeisende Kraftwerke zwangsweise hochgefahren. Beide erhalten dafür eine regulierte Entschädigung.

Netzsteuerung
Um trotz der im Laufe eines Tages auftretenden großen Lastschwankungen die Netzspannung beim Verbraucher in etwa konstant halten zu können, kann das Übersetzungsverhältnis der Leistungstransformatoren zwischen Hoch- und Mittelspannungsnetz (z. B. 110 kV/20 kV) in Grenzen variiert werden. Dies bezeichnet man als Spannungsregelung.

Die Steuerung des Netzes mit Lastflusssteuerung, Lastflussberechnungen und Phasenschiebetransformatoren hat eine wichtige Funktion bei der Erreichung und Aufrechterhaltung der Versorgungssicherheit. Ziel ist dabei die Vermeidung von Ringflüssen und der Belastungsausgleich im Netz. Unter dem Schlagwort Intelligentes Stromnetz (Smart Grid) wurden in neuerer Zeit Infrastrukturverbesserungen (Transformatoren, Batteriespeicher, Querregler) und Regelungstechnik auch auf Mittel- und Niederspannungsebene entwickelt, um Einspeisungen auf der untersten Spannungsebene besser zu steuern.

Nachbarnetze
Last- und Erzeugungsüberschüsse werden netzübergreifend im Rahmen vorhandener Grenzübergangskapazitäten über den Stromhandel ausgeglichen. Auch der Ausgleich unerwarteter Abweichungen im Regelmarkt erfolgt teilweise grenzüberschreitend.

Technischer Zusammenhang zwischen Netz und Systembilanz

Bei den Generatoren von Wärmekraftwerken und Gasturbinen handelt es sich um sogenannte Synchrongeneratoren. Das heißt sie laufen mit der Netzfrequenz synchron.

Das unkoordinierte Ein- und Ausspeiseverhalten von Netznutzern führt nun ständig zu kleineren Störungen der Systembilanz, das heißt dem Gleichgewicht von Stromerzeugung und Stromabnahme. Da die Steuerung von Erzeugungsleistung und Verbrauchern darauf nur verzögert reagieren kann, erfolgt der sofortige Ausgleich aus der kinetischen Energie aller im Netz rotierenden Schwungmassen, insbesondere der Synchrongeneratoren.

Hierbei werden alle Schwungmassen gleichmäßig abgebremst (Überlast) oder beschleunigt (Unterlast). Die frequenzstarre Kopplung der Synchrongeneratoren führt so zu einem simultanen Abfall oder Anstieg der Netzfrequenz. Die Beobachtung der Netzfrequenz erlaubt somit unmittelbare Rückschlüsse auf die aktuelle Systembilanz des Netzes und ist Auslöser für weitergehende Regelungseingriffe.

Literatur
 Valentin Crastan: Elektrische Energieversorgung 1–3. 3 Bde., Berlin – Heidelberg 2012.
 René Flosdorff, Günther Hilgarth: Elektrische Energieverteilung, Wiesbaden 2005, ISBN 3-519-36424-7.
 Klaus Heuck/Klaus-Dieter Dettmann/Detlef Schulz: Elektrische Energieversorgung. Erzeugung, Übertragung und elektrischer Energie für Studium und Praxis, 8. überarbeitete und aktualisierte Auflage, Wiesbaden 2010, ISBN 978-3-8348-0736-6.
 Wilfried Knies, Klaus Schierack: Elektrische Anlagentechnik. Kraftwerke, Netze, Schaltanlagen, Schutzeinrichtungen, München 2012, ISBN 978-3-446-43357-1.
 Panos Konstantin: Praxishandbuch Energiewirtschaft. Energieumwandlung, -transport und -beschaffung im liberalisierten Markt. Berlin – Heidelberg 2009, ISBN 978-3-540-78591-0.

Weblinks
 Energiewissen – Kraftwerke
 Das Netz der Stromversorgung von Udo Leuschner

Fußnoten

Elektrische Energieverteilung
Kraftwerkstechnik

en:Load management

redpajama_set_name: RedPajamaWikipedia


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"The Seven Deadly Sins - The Seven Deadly Sins" are a group of treacherous knights who have vowed to overthrow the British kingdom. They have long been considered defeated and exterminated by the Holy Knights of the Crown. However, there are people who say they are still alive. Ten years later, the Holy Knights perpetrate a coup d'état with the aim of kidnapping the king to become the new, brutal rulers of the kingdom. Elizabeth, the third daughter of the abducted king, fears the downfall of the kingdom. She sees the only chance to oppose the Holy Knights in the nefarious "Seven Deadly Sins". So the princess embarks on a journey with the aim of finding the king's former enemies and demanding their help.
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About Ryerson Folio
2021 Print Issue: Nostalgia
The Arts March 5, 2017
Ryerson's female artists: here to inspire & empower
Iconic feminist artist Judy Chicago once said, "How history is written, both in and out of art institutions, is how you shape the world." Artists like Chicago, Barbara Kruger, Georgia O'Keeffe and many more have helped bring awareness to the issue of female representation in the arts sector. Although with time women have come to be recognized as prominent figures in the artistic world, there is still much more to be done in order to provide all female artists, regardless of their race, religion or sexual orientation, with an equal voice.
I invited the following women, all Ryerson-based artists, to continue this conversation with me, in the same spirit as those female artists who have come before us. These women are talented, passionate artists whose work you are sure to see adorned in galleries, plastered on living room walls and filling Instagram feeds.
Left: Dali + Kahlo (2014). Right: Queen Baac (2016). Both by artist Sidrah Khatoon.
Sidrah Khatoon's graphic design work can be described as colourful, minimalist and pop art-like.
"I like to evoke a certain emotion when people see my designs or illustrations and so I often find myself automatically turning myself to yellow," Khatoon says.
She enjoys cutting her teeth in Illustrator and Photoshop, always experimenting and learning new tools to advance her work.
Some of her most recent pieces are brightly coloured typography-focused posters with positive, inspirational messages. These posters were inspired by her own struggle with depression. Khatoon posted them on her website in the hopes that others would benefit from them too. She was surprised by the response her work received.
"I didn't think anyone was actually downloading them and using them until my co-workers, friends and family showed me my designs on their lock screens," Khatoon says.
She admits that early on, she struggled to see herself succeeding as a Muslim woman of colour in the highly competitive field of design. She says, "I was the one constantly bringing myself down and driving myself away from practicing my artwork."
Khatoon's attitude towards her own work changed dramatically after she was hired by Donica Willis, a graphic design manager who saw her potential. Khatoon now sees Willis as more of a mentor than just a boss, someone who, according to Khatoon, "is constantly pushing me to improve and break out of my comfort zone. I now feel like yes, I am a designer; yes I am an artist."
Left: Dendritic Agate from Bianca Barone's book Industrial Uses of Crystals. Right: Bruschetta.
Third-year photography student Bianca Barone says her work merges the line between fine art and commercial art. She is fascinated by the visual rhetoric and psychology of commercial images and explores this in her own photographs.
Her photography explores how commercial images are linked to personal experiences and how this connection affects consumer buying decisions. Barone's major source of inspiration comes from the first artist to embody commercialism, Andy Warhol. With a background rooted in fine arts, she credits Warhol with inspiring her transition to photography specifically because "he didn't conform to social norms, he didn't conform to conventional practices," Barone says.
When it comes to exploring the topic of representation in her university career, however, Barone sees a gap.
"The majority of our art history lessons were dominated by male artists and male figures," she says. "I don't understand why there continues to be this segregation of men and women and I feel that equality should be pushed."
Despite this, Barone sees a shift in the landscape with the new generation of accepting and open-minded image-makers coming up the ranks.
"It's getting pretty close to equal," she says. "It's not so much about who you are or what gender you are, it's more so the work that you create."
Left: (dis)connect (2016) by Natasha Serio. Right: Paper Landscapes (2016) by Rebecca Bentolila.
Natasha Serio and Rebecca Bentolila are two third-year photography students whose works are drastically different from each other's. Serio's pieces are often emotionally or physically dark, with deeper psychological and surrealist meanings. Bentolila's work, on the other hand, studies how individuals interact with their environment and invokes much brighter colours and themes than Serio's. It's surprising that the two recently collaborated on a photo book titled Yours and Mine as part of the recent Photobook show held at the Ryerson Artspace.
"If you didn't know us, you would wonder why, since we have such contrasting styles," Serio says, "but those who know us don't."
The two share an apartment together and collaborate on projects often. Their views also align when it comes to how they perceive their place in the industry.
"I have never felt held back by my gender, and have always been given the same treatment without ever having to consider myself as a 'female photographer'," Bentolia says.
The two opt to use the term "photographer," instead of "female photographer."
"In terms of photography, if you are talented, you're talented, and gender is not something intertwined with that trait," said Serio.
Left: Yeezy Boost V2 Beluga (2017). Right: 416 (2016). Both by artist Jenny Barron.
"I say I do doodles," says Jenny Barron, a fourth-year creative industries student. She incorporates these doodles into her hyper-realistic, intricate drawings of shoes. "It's a very frustrating process," she adds, as her love for fashion and doodles meet to create technical pieces worthy of Chuck Close inspection.
Barron finds most of her inspiration on Instagram. Her favourite artist is Caroll Lynn, a female graphic designer who recently collaborated with Puma to create her own line of running shoes.
"I followed her along that journey [and] to see that's she's getting up there is really inspiring," Barron says.
She remarks that when she first started out in illustration she had trouble seeing anything out there that represented her. Barron turned to social media to find the kind of work that appealed to her not only in terms of style and aesthetics, but also as a woman of colour. There, she was able to find different artists from diverse backgrounds.
"You never see that in a history book," Barron says.
Regardless of the closing of the representation gap that social media allows, Barron remains adamant. "We shouldn't say, 'Well, now there's social media, and it doesn't matter that women aren't represented in art galleries.'" She adds, "It's still something we need to keep on our radar. We have inequality at all levels, so to ignore the institution contributes to the problem."
Left: After Degas (2015). Right: Select, Cut, Paste (2016). Both by artist Fehn Foss.
Third-year photography student Fehn Foss describes her work as largely concept-driven, evolving with every new project she undertakes.
"I have trouble with the term 'photographer' because I think it's quite a narrow description," she says.
Instead, Foss takes her cue from Jo Spence, a British photographer who considered herself first and foremost an educator, not an artist. Foss' most recent work sees her dissecting a family album to reveal the power struggles that lie underneath the surface and another on the grief she felt after the passing of a close friend. Her work is often personal, but her universal themes of family and grief make them highly relatable.
"The idea of relationships and the idea of grief are, I think, what makes my work accessible to other people. A shared experience," Foss says.
She sees the issue surrounding representation in history and in practice as a balancing act.
"You don't want to get rid of significant works or take them off of their pedestal just simply because they were made by a man, that's not the idea behind it," Foss says. "I think it's just seeing a bit more diversity in any way is always good."
Foss sees sexism manifest in much more subtle ways than the obvious issue of female representation in art.
"I still think there are undercurrents, because everyone comes from a place of entitlement and prejudice, that you can't erase."
"Certain subject matter will be deemed as too feminine and emotional of a project," she adds, especially if the concept is put forth by say, a female artist instead of a male artist. Just as some forms of art, like embroidery or felting where for a long time devalued as 'women's art', Foss finds certain subject matter in mediums like photography are also undervalued for similar reasons.
"I think it is harder to get your voice out there when people just automatically devalue you for ridiculous antiquated notions," says Foss. She advocates pushing through despite this because artists who face these disadvantages are in a "unique place to really change the way people think and the way people see."
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Ryerson Folio Copyright


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You are here: Home > Shop By Brand > Brands > Korus
Speakers Baton Power Apps
By Korus: What is Korus? Our Audio Heritage
Our passion for exceptional sound has been developed over decades focused on the custom home entertainment and professional markets. We have a portfolio of nine award-winning audio brands with over 190 years of excellence pioneering industry firsts in areas that include amplifier design and creation of the architectural speaker built into walls and ceilings. But we are not standing still. The growth of wireless speakers has inspired our team to go further in reach of a truly superior wireless audio system.
We imagined a wireless audio system that was so easy anyone in our family could use it, one that seamlessly works with virtually any device you have: smartphones, tablets, media players, and computers no matter what the operating system or hardware.
We also wanted effortless sharing of speakers with our family and friends, because entertainment isn't just something you enjoy by yourself. Furthermore, we required that it deliver audio that's more reliable with higher acoustic quality vs Bluetooth® or WiFi speakers. Lastly, we demanded a speaker system that would do all this not just for music, but for movies and games too.
And we desired a system perfect for one or more rooms and with the ability to combine or separate multiple speakers at anytime.
Korus transformed our dream into determination, a determination to fully deliver on the convenience and strength of the latest wireless technology. We found a world-class partner with Eleven Engineering. Their collective genius created SKAA®, a wireless audio technology that delivers unmatched ease of use, reliability and sound quality that Bluetooth® and WiFi systems can't achieve.
Our own team of dreamers, designers, and engineers then created cutting-edge speakers that have been designed to deliver sound so real it puts you in the front row of a live concert, no ticket needed.
We're proud of what we've achieved in such a short time and we're confident it will change the way you enjoy music, movies and games. Korus welcomes you to the new generation of wireless home audio .


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Shannen James
Foreshore Stage | Wed 9 Feb
There is a warmth that exudes from singer/songwriter Shannen James's voice that is at once unique and comfortingly familiar. A silky-smooth tone that is both disarming and effortless.
Upon releasing her debut single 'Something In The Water' in mid 2019, the track was quickly added to slew of big playlists and won a river of praise across triple j and triple junearthed (including an add to rotation). With a reaction so immediate, it would be easy to suggest Shannen appeared from nowhere, but it was through years of honing her craft and working on her songwriting that lead her to Arrows EP and that first single 'SITW' was the catalyst for a wave of new music for Shannen James.
Having recently released her new single 'Separate Ways' co-written and produced by collaborator Rob Amoruso, 'Separate Ways' follows her recent single, the glistening 'Superstitious' – added straight to triple j rotation and peaking at #22 on the US Submodern Singles chart. The track was also supported by streaming services including Spotify (Front Left, New Music Friday, Fresh Finds in the US & more) as well as Apple Music (NMD, Alt Pop, Heaps Indie, Mellow Days & more). 'Superstitious' followed Shannen's breakthrough 2020 EP Arrows, which included hits such as the bright title track 'Arrows', 'Collide', her 2019 debut, 'Something In The Water', and 'Empty Eyes'. The EP earnt Shannen adds across triple j & triple j unearthed (including a Feature Artist nod), Spotify, Apple Music, champions across the likes of NME ("a slice of indie pop sunshine that stokes anticipation for an LP"), Bigsound (2020 lineup), a remix of EP track 'Seventeen' by The Rubens, live performances on The Sound and shows alongside G Flip, Middle Kids, Men I Trust and Tia Gostelow.
Rya Park


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Thiratoscirtus elgonensis is a species of jumping spider in the genus Thiratoscirtus that lives in Kenya. It was first described in 2016.

References

Endemic fauna of Kenya
Salticidae
Spiders of Africa
Spiders described in 2016
Fauna of Kenya


Recently posted a thread about how my horn all of a sudden turned on and stayed on. Had to pull the fuse to get it to stop.
Didnt drive the car for a few days, and now my brake lights illuminate, but don't flash when pressing on the brake. Either side. They worked fine, before the horn issue.
The brake lights aren't supposed to blink, are they?
If you're talking about interaction between the brake lights and the turn signals, that is almost always a bad ground or broken ground wire in the back of the car.
Did you pull the horn fuse to make the horn stop? That would also kill the brake lights.
Yea that's what I did.... I had to. To get the car to stop screaming. As soon as I put the fuse back in is when the horn turns on and stays on again.
Brake lights staying on.....BRAKE STOP BUMP PAD likely missing.... above the brake pedal (pedal assembly).
Take care of the horn problem properly and put the fuse back in and viola the brake lights are going to work again because there was never anything wrong with them.
Usually the reason why the horn won't stop is that the wire in the column that goes to the horn button is shorted to ground. If you don't care if the horn works at all, the simplest workaround would be to pull the horn relay.
Put the 15a fuse back and it hasn't happened since, crazy.


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Home/Gaming/Some PS5 games will go on sale before the console
GamingGaming News
Some PS5 games will go on sale before the console
qasim khizer MalikOctober 14, 2020
Image by – Hobbyconsoles.com
PlayStation Europe confirms that the PS5 launch games list, such as Miles Morales or Demon's Souls, will go on sale on November 12, ahead of the concert.
As you may already know, Sony will be launching the PlayStation 5 in November. But there are two days we have to follow. On the other hand, the console will be released in other countries, such as the United States or Japan, on November 12. So globally, it will be released a week later, on November 19.
That means throughout Europe, we will get a console after a while … but what about PS5 games?
All concert games will go on sale in Europe on November 12. PlayStation Europe has confirmed with us by email. Isn't it amazing that they went out a week before the concert? Yes, it has its meaning.
Yes, there are several explanations, but the main one is that the console's launch in some areas is October 12. And the distribution is done simultaneously. Some games will also be released on PS4. For example, two significant stars announced next to the console, Sackboy. A Big Adventure and Marvel's Spider-Man Miles Morales will also appear in the current generation console.
Indeed, Sackboy recently announced a unique program in a visual format, including plush, and will only be available on PS4.
Meanwhile, the only PS5 specialty hit on November 12 is Demon's Souls Remake and Destruction All-Stars.
Its launch will be reinforced by a multiplatform PS5 games list such as Assassin's Creed Valhalla, Call of Duty Black Ops Cold War, or Dirt 5. In addition, other "semi-exclusives," such as Godfall or The Pathless, will be launched on PC.
Recently, PlayStation has updated the cards of many of them on its website, and they can now be pre-ordered on the PS Store.
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Mustang Choir grows by leaps as group gains musical literacy
Jennifer Thrasher drew five evenly spaced horizontal lines on the board for her newly formed middle school choir. "I asked
Jan 31, 2018/
Jennifer Thrasher drew five evenly spaced horizontal lines on the board for her newly formed middle school choir. "I asked them, 'what is this?' On that first day, nobody could verbalize the name of it but you could tell there was some kind of recognition," she recalled. Her students had been introduced to the music staff in elementary school but it was clear that Thrasher had work to do if she wanted Woodville School's Mustang Choir to succeed.
"The staff is the most foundational thing we use in music," explained Thrasher whose main goal is music literacy. School began in August and since then the choir has shown significant growth.They've even completed a public performance tour for residents in the HarborChase, Miracle Hill, and Miracle Village care facilities. "It was the most amazing choral experience. The students nailed it, absolutely nailed it," beamed Thrasher.
Seventh-grader Fantasia Pasley is proud of what the group accomplished on the choir tour. "We did very well and everybody was giving us compliments." When thinking back to the residents she met, Fantasia added "some people don't have the voice to do it and we're supporting them with our voice to make them feel better. It boosts my confidence up to sing in front of other people."
Read the rest of the story by visiting the Tallahassee Democrat
or read more by downloading the article here


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"Viper in the Lilies" is the first screen print from artist Robert Wilson IV for Nakatomi! And it most definitely will not be the last.
Robert is a comic book artist and illustrator from OKC, now living in Texas. You can see his portfolio HERE.
Robert's beautiful and playful line work really make this print a thing of beauty to see in person. The colors are subdued, but the viper waits, just under the lilies. Detail shot below!
This hand-printed silkscreen poster measures 18×24, and is signed and numbered by Robert in an edition of 100. We also have a super-small variant edition of ONLY 10 printed on Metallic Ice-Silver paper.
Both will be available on Friday in the Art Print section of the Nakatomi store HERE.
← Doyle's "In The Garage" prints now available on Nakatomi!


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Яцек Беднарский (; 12 марта 1939, Краков — 19 октября 2008, Вроцлав) — польский шахматист, международный мастер (1964).

Чемпион Польши (1963). В составе национальной сборной участник 5-и Олимпиад (1964—1972).

Спортивные достижения

Изменения рейтинга

Примечания

Ссылки

Шахматисты Польши
Похороненные во Вроцлаве


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Apple settles lawsuit with developer over Tiger leak
By Jim Dalrymple
Macworld MAR 22, 2005 4:00 pm PST
Apple Computer on Wednesday settled a lawsuit with one of its developers, Doug Steigerwald, that leaked a copy of Mac OS X Tiger on a file-sharing Web site. Twenty-two year old Steigerwald was one of three developers sued by Apple in December for allegedly posting advanced builds of Tiger on such Web sites.
"While Apple will always protect its innovations, it is not our desire to send students to jail," an Apple spokesperson told MacCentral. "We are pleased that Mr. Steigerwald has taken responsibility for his actions and that we can put this lawsuit behind us."
In a prepared statement Steigerwald acknowledged that the allegations by Apple were true and he apologized for his actions. Steigerwald also said that the U.S. Attorney's office has launched a criminal investigation and that he was working towards a resolution in that case.
"I disseminated it [Mac OS X Tiger] over the internet and thousands of unauthorized copies of Apple's software were illegally distributed to the public," said Steigerwald. "As a result, Apple sued me for copyright infringement and trade secret misappropriation, and I have been the subject of a criminal investigation by the U.S. Attorney's office. All of the claims regarding me in Apple's complaint are true."
As part of the settlement Steigerwald will pay a monetary settlement and the court will rule in favor of Apple. "In regard to the criminal investigation, I am working toward a resolution with the federal government," said Steigerwald.
"Although I did not mean to do any harm, I realize now that my actions were wrong and that what I did caused substantial harm to Apple, and for that I am truly sorry, said Steigerwald. "I am grateful for the chance to resolve this lawsuit and move on with my life, and hope that any publicity generated by this lawsuit discourages others from making the same mistake as I did."
There was no word on the status of the lawsuits against the other two developers.
Update Added comments from Doug Steigerwald