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Παρασκευή 20 Ιουλίου 2018

Reducing deforestation and degradation

Perhaps one of the easiest ways to reduce emissions from land-use change is to stop changing the land! Reducing deforestation and forest degradation can make a major contribution to strengthening the land carbon sink. But it requires major societal shifts, including changing consumer choices in far away places, and changing incentives for local people to protect forests. Hence we need to think about all of the sustainable development goals when considering how to reduce deforestation. In Indonesia and Brazil, deforestation continues to be a problem largely because people’s livelihoods depend on it. If you want to solve an environmental problem, then you need to tackle the societal and economic problems underlying it.
The United Nations REDD+ program provides incentives for developing countries to reduce deforestation and maintain their forest stocks by creating a financial value for the forest stock. If a country maintains or expands their forests, then they are rewarded with payments proportional to the extent of their action. This helps tackle both environment and development issues in a sustainable approach. REDD+ also increases biodiversity, protects vulnerable and threatened species and allows countries development opportunities.

Planting and Rehabilitation

Perhaps the best way to combat land-use change is to reverse it! Afforestation and forest regeneration schemes are one of the easiest and cheapest ways to strengthen the land carbon sink. This is increasingly important on abandoned agricultural land and is even being extended to our cities. In China, the ‘Great Green Wall’ (officially known as the Three-North Shelter Forest Program) is a 4,500km long wall of trees that are being planted and due to be finished by 2050. This is designed to hold back the expansion of the Gobi desert and has contributed to China’s astonishing turn around in carbon sequestration.
Planting schemes on this scale are few and far between. But there are numerous local activities. Consider what’s happening around you. On the Streatham campus at the University of Exeter, our grounds team maintain over 10,000 trees to reduce the carbon footprint of the University. For every tree that needs to be removed, more are replaced in other parts of the campus. In the picture below, you can see a small woodland area running through the heart of the University. This was likely planted in the 1930s and continues to be maintained and expanded.

Sustainable Management of existing forests

Sustainably managing forests involves some form of protection, policy or legislation that is legally binding and maintains or improves forests. Deforestation cannot take place in protected forests and sustainable management can ensure they are more resilient to pressures such as climate change. For example, maintaining forest biodiversity and good quality soils means that they are better protected against extreme events such as droughts.
In the UK, the Forestry Commission have outlined three objectives to protect these ecosystems – in priority order:
  • protecting the nation’s trees, woodlands and forests from increasing threats such as pests, diseases and climate change
  • improving their resilience to these threats and their contribution to economic growth, people’s lives and nature
  • expanding them to further increase their value
Part of this involves education, and managed woodlands in the UK are often used as educational tools. This is a very easy way to help the public better understand forests and the need to protect them. Increasing public awareness helps people think and act more sustainably. In effect, the Forestry commission are asking the local community to do their bit in preserving their environment. This makes sense in the UK where the recreational value of forests and woodlands to people typically exceeds the value of the timber in the trees.

Κυριακή 15 Ιουλίου 2018


H δίκη των έξι

Σάββατο 7 Ιουλίου 2018

"ΕΒΓΑΛΕ ΛΑΒΡΑΚΙ"
Για απρόσμενο & σπουδαίο εύρημα, συνταρακτική είδηση (ιδίως δημοσιογραφική), εξαιρετική και ανέλπιστη επιτυχία-ανακάλυψη.
< ελληνιστική λαβράκιον < αρχ. ο λάβραξ= το ψάρι που τρέχει γρήγορα στα νερά αλλά και το αδηφάγο, το λαίμαργο < λάβρος = βίαιος, ορμητικός, ακάθεκτος.
Το λαβράκι ανήκει στα περιζήτητα ψάρια της Μεσογείου, λόγω υψηλής διατροφικής αξίας και θεωρείται εκλεκτό ψάρι στην ελληνική κουζίνα (αλλά και σε άλλους λαούς), γι' αυτό οι ψαράδες το θεωρούσαν μεγάλη επιτυχία αν έπιαναν λαβράκι, δεδομένου ότι δεν είναι εύκολο το πιάσιμο του.

Παρασκευή 6 Ιουλίου 2018


Museum learning

Acropoli museum

My experiences from padlet

Zogolopoulos museum


Seferis on Benaki museum

Πέμπτη 5 Ιουλίου 2018

Museums can inspire, challenge and stimulate us

Exhibitions are the mainstay of galleries and for museums an opportunity for learning and a more in depth exploration of its collections. But how do exhibitions come about and why do we need them? In this course we will allow you behind the scenes to meet the professionals who come together to create an exhibition, explore some of the challenges they face and through discussion and activities, come up with some solutions. Throughout the course you will be given the opportunity for more in depth study through reading research and listening to museum professionals.

What do visitors want? How do we know?

In Week 1 we will ask the question “What do visitors want?” we will hear from those whose task it is to find out. Why do some people appear to have no interest in visiting and what are the reasons others come? You may be surprised! We will think about the diversity of audiences from very young children to those with additional needs. What kind of activities and staff input can enhance their visits? Finally, in this section we will look at new technologies and social media - are these barriers to engaging with collections or can they help us understand more about our visitors? You won’t believe what we can find out from your Instagram postings!

What’s it all about? The Exhibition

In Week 2 we will be looking at an exhibition at the Gallery of Modern Art in Glasgow, the role of the curator and the way the exhibition is interpreted. Must we know what an art work is about to appreciate it or is it the role of the curator to tell us? What secrets can objects reveal? Writing text for exhibitions may seem like quite a simple exercise but as you will find out when you try, it is not as easy as it looks.

Hard decisions for the conservator

In Week 3 we will explore the role of the conservator in the context of the exhibition. Is the conservator only responsible for the repair and preservation of objects and paintings or are there much bigger decisions to be made? Working with contemporary art can raise may challenges and issues for the conservator, often having to deal with ephemeral media. How do you conserve a concept? Or a video installation? You will help resolve some of these tensions through real life challenges.

Your exhibition – do it!

Finally, we will be asking you to create your own exhibition, albeit online, but an opportunity to pull together some of the things we have learned and hopefully, some solutions to the issues raised. Who knows, it may be a new career for you!


Τετάρτη 4 Ιουλίου 2018

Ηellen Keller

Τρίτη 3 Ιουλίου 2018

Τίτος Πατρίκιος
ΤΑ ΔΥΟ ΑΓΑΛΜΑΤΑ
Το ποίημα μιλώντας για τη ζωή
την τύλιγε με λέξεις, την έδενε
ήθελε για ατέλειωτους αιώνες
σαν άγαλμα να την καθηλώσει
μες στα μέτρα του.

Η ζωή ακούγοντας το ποίημα
το τύλιγε με φωσφορίζουσα άμμο
το πέτρωνε, του έσπαγε τα μέλη
το έκανε κινούμενο άγαλμα
μες στο χρόνο.
Τίτος Πατρίκιος
Νέα Χάραξη
Κέδρος,2007

ΠΑΡΑΚΑΙΡΕΣ ΠΡΟΣΗΛΩΣΕΙΣ
Περισσότερο με τις μετακομίσεις
παρά με τον μοντερνισμό
χάθηκε πρώτα το καντήλι του σπιτιού
μετά η στεφανοθήκη των γονιών
τελευταίο το εικονοστάσι
πράγματα που τις νύχτες
έριχναν λίγο φως, μα πιο πολύ
αλλόκοτες κινούμενες σκιές
που φόβιζαν και μαζί παρηγορούσαν
 πράγματα που μ'έδεναν
με δυο και τρεις γενιές πιο πίσω.
'Αραγε ποιά να'ναι
τα σημερινά μας αντικείμενα
που οι επόμενοι θ' αφήσουν να χαθούν
κι αργότερα θα τα θυμούνται
με τις ίδιες παράκαιρες προσηλώσεις.

Accent

In poetry, emphasis upon one particular syllable in speech, e.g. mass-ive. See also stress.

Alliteration

The repetition of consonants close enough together to be noticed by the ear. Usually appears on stressed syllables.

Anapest

A metrical foot of three syllables in which the first two are unstressed and the third stressed.

Ballad

A narrative poem in simple form that is derived from the oral rather than the literature tradition.

Couplet

A successive pair of lines that rhyme, notated: aa bb, etc.

Dactyl

A metrical foot of three syllables in which the first syllable is stressed and the second two are unstressed.

Dialect

Localized language use that has vocabulary, pronunciation and idiom particular to itself.

End-rhyme

A rhyme that occurs at the end of a line.
A segment of a poetic line in metre. Normally this will be a combination of stressed and unstressed syllables. For example an iambic foot consists of two syllables, the first unstressed and the second stressed: tee tum.

Free verse/ vers libre

Most often taken to refer to poetry that has no recurring metrical pattern to its lines and does not use rhyme.

Full rhyme

A rhyme in which the words involved have the last two or more sounds as identical and thus the only difference is the consonant earlier in the word, or line. The typical pattern is therefore ConsonantVowelConsonant as in knock / mock, insulate / regulate. Sometimes known as strict rhyme (See half-rhyme.)

Ghazal

A lyric poem in which a single rhyme predominates: aa ba ca da ea. Its origins are in Arabic, Persian and Turkish poetry. There has been considerable modern interest in initiating the form in English by poets including Adrienne Rich.

Haiku

A short form derived from Japanese poetry. Strictly it consists of just seventeen syllables, disposed across three lines in the pattern 5-7-5. Its subjects are normally resonant, momentary observations, often of the natural world. Translation in English that transposes its strict count is very difficult. However, imitation of the form in English, sometimes strict, sometimes less so, has been very popular since the early twentieth century.

Half-rhyme

A kind of rhyme in which the consonants of the two words sound the same but the vowels differ, e.g. buck / back. Sometimes known as pararhyme. (See also rhyme.)

Iambic

In English accentual-syllabic verse, it became the most common foot in the form of an unstressed syllable followed by a stressed syllable.

Limerick

A highly popular form of comic verse that features in written and oral traditions. It is often nonsensical and frequently bawdy. Its form is very strict: five lines rhyming aabba; lines 1 2 and 5 have three stresses and lines 3 and 4 two.

Metre

A specific, recurring pattern of poetic rhythm. Typically in English a metred line will have a set number of syllables, or stresses or a combination of stressed and unstressed syllables.

Ode

A form of lyrical poetry, usually of considerable length, that treats significant subjects such as mortality, and often public events. Its tone is serious and the line and stanza forms often elaborate. Its origins are in ancient Greek poetry where name is denoted chanting, or singing.

Performance poetry

Generally any poetry presented to an audience in performance, as opposed to on the page, or indeed from the page. In recent years it has come to refer to poetry of large, entertaining verbal effect designed to impress a listening audience, the poets sometimes in competition with each other in what has become called a slam.

Rhyme

The positioning of words of identical or similar sound for effect, normally at the ends of lines. There are many different varieties and patterns of rhyme.

Rhythm

The Ancient Greek philosopher Plato called rhythm ‘order in movement’, and it is generally understood to be the ‘flow’ in the sounding of the line and the succession of lines. It will therefore include the effects of the sounds of individual words and beat or stress. There may be a recurring measure as in metrical verse, but ‘free verse’ will also have rhythm.

Sonnet

A major, long-lived lyrical form consisting of fourteen lines. Strictly, and most often, these are configured in one of several different rhyming patterns. The major ones in English are the Petrarchan model divided into sections of 8/6 lines and the Shakespearean in 4/4/4/2. More recent sonnets, or ‘sonnets’, have dispensed with rhyme and pentameter, and sometimes with fourteen lines.

Stanza

A group of lines shaped in the same way, with the lines usually, although not always of the same length. Traditionally they would have rhymed, but by no means always, especially in the twentieth century. Stanzas can vary greatly in length and structure. They serve the function of segmenting the poem and providing pauses in its progression.

Stress

The effect in all sorts of poetry in English, whether it has measure or is ‘free’, relies upon the effective placing of accent, e.g. ‘mass-ive’. A poem will therefore have stresses but also an overall beat, or rhythm.

Syllabics

Measured lines which count syllables, not stresses.

Syllable

The segment of a word uttered with a single effort of articulation, e.g. seg-ment, (2 syllables), ar-tic-u-la-tion (5 syllable). It is syllables that bear stress.

Volta

The Italian word for turn, used for the moment when the 8/6 Petrarchan sonnet changes over from the octet to the sestet. It is a ‘turn’ in the rhyme scheme, almost always corresponding with a sentence pause, and a ‘turn of thought’.

Δευτέρα 2 Ιουλίου 2018

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