The two-dozen professors who made their way to Lamont Library last week weren’t in search of the kind of expertise found in books. Instead, they gathered in the Forum Room to see what they could learn from one of their own.There, Ronald Heifetz, a senior lecturer at the Harvard Kennedy School, outlined some of the difficulties of using the case study method to teach students who come from across the globe, bringing with them various experiences and values.“You can’t assume the same standards apply,” Heifetz said.The solution? Have students generate cases based on their own experiences.“The challenge is that you don’t know what students will throw at you,” he said. “You have to be willing to learn and flounder in public.”Designed by faculty for faculty, the inaugural spring series examined different approaches to case teaching across the University. Faculty members and administration, including Todd Rakoff (from left), Elsbeth Kalenderian, and Brooke Pulitzer, speak in the Forum Room of Lamont Library.The seminar was the last in this year’s “Talking about Teaching” series, a University-wide effort to explore pedagogical connections across disciplines and Schools. Run by the Office of Faculty Development and Diversity, and underwritten by the Harvard Initiative for Learning and Teaching (HILT), the series attracted a range of faculty members seeking new models and techniques to improve classroom teaching.“We have humanists, social scientists, and scientists,” said Judith D. Singer, senior vice provost for faculty development and diversity. “One of the most fun parts is the opportunity to be a student again. There are too few opportunities for faculty to experience what it’s like to be a student in class.”For the faculty at Heifetz’s seminar, the experience was a bit unsettling. After lecturing for 30 minutes, Heifetz asked, “What’s the nature of authority?” and took a seat with the rest of the group. Silence ensued as seasoned and junior faculty glanced uncomfortably around the room.“What should we do?” Harvard Law School Professor Lani Guinier asked.More silence. After a very long two minutes, the conversation began to trickle.Rose Goldman, an associate professor at the Harvard School of Public Health, shared an anecdote about a similar experience in medical school. Samuel Moulton, HILT’s director of educational research and assessment, pondered the notion of authority in the classroom. And Harvard Law School Professor Wendy Jacobs wondered whether students learn better when they are in, or out, of their comfort zones.At the end of the two-hour session, the attendees agreed they had a better understanding of the dynamics of the classroom.“I’m hearing that perspectives are diverse when different people hear the same thing,” Goldman said.While last year’s sessions focused on using the case study in the classroom, this year’s focused on experiential learning, showcasing the work of “master teachers” through demonstrations of their pedagogy and discussions of its usefulness in other disciplines and Schools.With the University divided into Schools and departments, several attendees say the seminars have provided a welcome opportunity to learn from peers.“It’s been very exciting,” said Rob Lue, professor of the practice of molecular and cellular biology. “As different as all of the Schools are, there’s much we can learn from one another.”In addition to Heifetz, leaders of this year’s sessions were Harvard Business School Professor Joshua Margolis, Graduate School of Education Professor Eleanor Duckworth, and Graduate School of Design Professor Michael Hays. Each session stressed a different teaching method — from working in small groups to guiding class discussions to using lectures more effectively.“So often in my field, things are very clean-cut,” said Hanspeter Pfister, professor in computer science. “Unfortunately, that makes class discussion less engaging. In going to these sessions, I realized that I need to do a better job of digging deeper. I tend to want to jump to answers quickly and give students an explanation. But it would probably be more engaging to let the students come up with the answers.”After attending a few sessions, faculty members say they’ve begun to apply the techniques in their classrooms.“The open-ended exploration is a great way to get students in larger classes thinking and deeply engaged,” Lue said.HBS Professor Rohit Deshpande said he recently used a role-playing method he learned in one of the seminars in a case-writing workshop he was facilitating for a group of professors in Mumbai.“We began with the professors role-playing students for a business ethics case discussion, then switched to the more traditional role of instructor to deconstruct the teaching plan,” he said. “Worked beautifully.”Singer said that she plans to launch another Talking about Teaching series in the fall.
Facebook0Tweet0Pin0 Submitted by SCJ Alliance SCJ Alliance is pleased to announce the addition of Elisabeth Wooton to our Lacey office as a transportation planner. Elisabeth brings seven years of transportation planning experience with an emphasis on complete street designs. Prior to joining SCJ, she was working as a pedestrian and bicycle planner for New York City’s Department of Transportation.Elisabeth has a master’s degree in urban planning from New York University and dual bachelor degrees in biology and comparative literature from the University of Washington. “Elisabeth has such a breadth of experience and education,” says Jean Carr, SCJ’s senior vice president. “She is a great fit for our growing, versatile team.”SCJ is a multidisciplinary consulting firm specializing in civil engineering, transportation planning and design, environmental and urban planning, landscape architecture and design, and public outreach. The company, celebrating a 10 year anniversary this year, has grown steadily from three employees in one location, to a dynamic team of over 70 employees in five locations: Seattle, Vancouver, Lacey, and Wenatchee, Washington and Denver, Colorado.SCJ is nationally-recognized and the recipient of two top places to work awards in the last 12 months. The firm is privately-held and majority women-owned.
A group of 15 authors and publishers and two organizations in India have filed a formal objection to the Google Books Settlement.The Indian Reprographic Rights Organisation and the Federation of Indian Publishers and these 15 individuals join a panoply of international entities who have objected to Google’s ambitious and controversial plan to scan as many books as possible throughout the world. Though the search and Web app giant’s scheme would create a vast online library, it may also infringe on the rights of content creators and has created a lengthy international legal battle.The coalition of Indian publishing entities claims that Google’s proposed settlement is a violation of copyright laws, both internationally and in India, because it allows for Google’s scanning, redistributing and selling books online. Content creators who don’t want their work online must opt out of the plan themselves; if an author does not explicitly opt out, his or her silence is deemed implicit consent.In the past, Google’s book-scanning project has come under the scrutiny of the US Department of Justice as well as the governments of Germany and France. Federal judge Danny Chin is currently presiding over the case, which involves a class-action lawsuit and a settlement of more than $100 million for copyright holders whose works had been reproduced without their consent.The Indian authors and publishers have submitted their objections to the settlement to Chin, who has decided to hold a final hearing on Feb. 18, 2010 to determine whether the Google Books Settlement is fair, adequate and reasonable.Check out ReadWriteWeb’s archive of articles on the Google Books Settlement for more information. Tags:#Google#web Related Posts A Web Developer’s New Best Friend is the AI Wai… Top Reasons to Go With Managed WordPress Hosting Why Tech Companies Need Simpler Terms of Servic… 8 Best WordPress Hosting Solutions on the Market jolie odell
Image via Editors GuildHer passion landed her a job as an assistant film editor at Pinewood Studios. The first film she worked on was The Red Shoes for director Michael Powell in 1948. She worked under editor Reggie Mills, who despite not talking much, taught Anne a tremendous amount of discipline when it came to editing a film. Mills would go on to win the Academy Award for Best Film Editing for The Red Shoes. By 1952, Coates would receive her first credit as an editor for The Pickwick Papers.In 1962, Anne V. Coates would work with director David Lean to masterfully edit the epic film Lawrence of Arabia. The film was an astronomical success, and the editing techniques used by Coates are still studied and used today.I suppose the most challenging film I cut was “Lawrence,” because we had such a huge amount of film – I believe it was 31 miles! – which gave me an abundance of choices. – Turner Classic MoviesThe most famous edit in the film is the literal match cut. The film cuts from the image of a match to the sun over the Arabian desert.In this documentary look at the making of the film, Anne V. Coates discusses editing Lawrence of Arabia. She explains the difficulty of editing the film in London, while the sound crew worked in Shepperton Studios.Coates worked seven days a week for four months to complete Lawrence of Arabia on time. Her worked paid off, as Anne won the Academy Award for Best Film Editing. Lawrence of Arabia was nominated for ten Oscars, winning seven.Two years later, Anne was nominated for her second Academy Award for her work on Becket.There are nonlinear small things in my editing sometimes that you might not even have noticed. I started jump-cutting from one place to another quite a lot. When I was editing Becket, the producer, Hal Wallis, said, “You can’t do that. You can’t cut from this shot to that shot without a dissolve as they are 50 miles apart.” I said, “Guess what? I’ve done it and it works perfectly.” And it’s still in the film. – Editors GuildShe received her third Oscar nomination for the 1981 film The Elephant Man. The film was a challenge, as producer Mel Brooks didn’t want the audience to see the Elephant Man’s face until later in the film.By the 1990s, the changes in the film industry meant that Anne would have to learn an entirely new editing process. When Frank Marshall and Kathleen Kennedy offered me Congo, they said, “Well, you have to do it digitally because the special effects system couldn’t do it otherwise.” So they had me taught on Lightworks. . . It’s just another tool, really. Once I got that in my mind, I progressed faster. And then, when I did Out of Sight, Steven Soderbergh had a sound man who could link up with an Avid [Media Composer] but not with a Lightworks. I moved then from Lightworks to Avid, and I’ve stayed on an Avid ever since. – Editors GuildAnne V. Coates is still working in the industry, recently surpassing the length of Margaret Booth’s storied career. She just completed the 2015 blockbuster film Fifty Shades of Grey. To date she has been nominated for five Oscars, winning one. She has also a member of the Order of the British Empire.Thelma SchoonmakerImage via Editors GuildWhile studying at Columbia University, Thelma Schoonmaker answered a New York Times ad for an assistant film editor. She would cut successful European films to fit US broadcast time standards. In that job, she learned the art of negative cutting.Schoonmaker then signed up for a six-week filmmaking course at New York University (NYU). It was there she met a young Martin Scorsese. Scorsese was struggling to finish his short film, What’s a Nice Girl Like You Doing in a Place Like This? A professor asked Schoonmaker to help Scorsese finish the film, and thus started the legendary Hollywood duo. She would edit Scorsese’s first feature film, 1967’s I Call First – renamed Who’s That Knocking at My Door.In 1970, Thelma Schoonmaker edited Woodstock, the documentary on the famous American music festival. The film showcased the performers through a series of superimpositions and freeze frames. The film earned Schoonmaker her first Oscar Nomination for Best Film Editing, a nomination rarely awarded to documentary films. (In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress.)Image via Editors GuildEven though Schoonmaker earned an Academy Award nomination for her editing, she was unable to join the Motion Picture Editors Guild. To acquire union membership, Schoonmaker would have to first work as an apprentice and an assistant. She refused to do so, and was thus forced to work on a series of small films and documentaries for the next decade.In 1980, Scorsese called upon Schoonmaker to edit his film Raging Bull. Initially she had to decline, due to the fact that she was not a member of the Editors Guild. Apparently her work and friendships over the years played in her favor, as the union was influenced to offer her membership. Schoonmaker finally joined the Motion Picture Editors Guild and got to work on Raging Bull.In this presentation at EditFest NY 2010, Schoonmaker talks about her experiences editing the improvisation between Joe Pesci and Robert De Niro.10 years after her original Academy Award nomination, Schoonmaker was once again nominated for Best Film Editing, this time taking home the Oscar for Raging Bull. Schoonmaker went on to edit every single Scorsese film since.Not only did Scorsese help Schoonmaker achieve success as a film editor, he also introduced Schoonmaker to her husband, director Michael Powell. Powell was the director of the previously mentioned film, The Red Shoes. Powell was also a great influence on Scorsese, who had studied Powell’s films.After Michael Powell’s death in 1990, Scorsese and Schoonmaker would go on to preserve his memory by restoring his films. In this fantastic video, the three can be seen together in the editing bay.In 1991, Thelma Schoonmaker received her third Oscar nomination for her work on Scorsese’s Goodfellas. Here’s a look at Scorsese and Schoonmaker working on the sound mix. Though Goodfellas was nominated for six Oscars, only Joe Pesci won an award.In 1995, Schoonmaker oversaw the Scorsese documentary A Personal Journey with Martin Scorsese Through American Movies, which was a part of the British Film Institute’s celebration of the first 100 years of film.Schoonmaker garnered her fourth Academy Award nomination for Gangs of New York. Two years later she won the Academy Award for Best Film Editing for The Aviator, and two years after that she won another Academy Award for Best Film Editing for The Departed. Her most recent Oscar nomination was for the film Hugo.Thelma Schoonmaker’s seven Academy Award nominations for Best Film Editing is the second most nominations in Oscar history. She trails Michael Kahn by one nomination. Schoonmaker is currently tied with legendary editor Barbara McLean.Dede AllenImage via IFCDorothea Carothers “Dede” Allen began her career at Columbia Pictures in the 1940s. She first started as a production runner, eventually working her way up to sound librarian and eventually assistant film editor in the special effects department.One of her first projects as an editor was the 1959 film Odds Against Tomorrow, which was directed by Robert Wise. Wise served as Allen’s mentor, often encouraging her to experiment with her editing. Wise was an editor turned director; he edited the legendary masterpiece Citizen Kane.In 1961, Dede Allen edited the hit film The Hustler starring Paul Newman. (The film’s sequel, The Color of Money, was directed by Martin Scorsese and edited by Thelma Schoonmaker.) Dede Allen later collaborated with Paul Newman on Rachel, Rachel, Slap Shot, and Harry & Son.Image via Editors GuildAs the Hollywood studio system crumbled, film editors took on a much more significant role than ever before. Traditionally, editors were studio employees that did not need attribution for their work on any particular film. This all changed in 1967, when Dede Allen became the first film editor to ever receive a solo opening credit on a film. The film just happened to be her most renowned and praised work – Bonnie and Clyde.Dede Allen’s work broke from standard Hollywood editing techniques. She implemented the use of jump cuts, or would open a scene with a close-up. It would be the finale of Bonnie and Clyde that would become her most famed use of quick paced editing. In less than a minute, Allen cuts over 50 times during the ambush scene.In the 1970s, Allen would often collaborate with director Sidney Lumet, editing his films Serpico, Dog Day Afternoon, and The Wiz. Dede Allen earned her first Academy Award nomination for Best Film Editing for Dog Day Afternoon.Warren Beatty, who had talked to Dede Allen about journalist John Reed during the production of Bonnie and Clyde, brought Allen on to edit the 1981 film Reds. It took two and a half years for her to finish the film, longer than any other film she had worked on. The John Reed story earned 12 Academy Award nominations, including a second Oscar nomination for Best Film Editing for Allen.In 1985, Allen edited the John Hughes classic The Breakfast Club. She also edited The Addams Family in 1991. In 1992, Dede Allen accepted the role of head of post-production at Warner Bros. She would return to editing in 2000 with the film Wonder Boys, which garnered her third and final Oscar nomination. Dede Allen died in 2010 at the age of 86.For an in-depth look at her career, take a look at one of her final interviews before her death. As the Hollywood studio system began to crumble, these editors turned a new generation of young filmmakers into household names.In the late 1960s, the United States of America found itself in a transitional stage. The younger generation had attached themselves to art, music, and film. Young filmmakers were unlike any directors before them. They had grown up with with movies and the meticulously studied them. By the 1970s, these young directors were breaking box office records.Names like Scorsese, Spielberg, and Lucas became legendary after this period. Behind those directors were some incredible editors who were also breaking traditional molds. Following the footsteps of the pioneering women in film editing, these women would cut some of the most praised work in American cinema. They were the editors of New Hollywood.Anne V. CoatesImage via Editors GuildAnne Voase Coates had dreamed of working in film. Her uncle, J. Arthur Rank, was a founding member of Pinewood Film Studios. His company, the Rank Organization, also controlled Denham Film Studios and the Odeon Cinemas chain. Rank was a devout Methodist, who produced many religious films.Anne had expressed her desires to work in film, but her uncle had reservations. He attempted to break her spirits by having her cut many of the religious films he was producing. His hope what that she would lose interest in the industry and return to her work as a nurse. However, Anne found the work invigorating. She fixed film prints of religious short films and sent them on various British church tours.There were some wonderful women editors who helped inspire me to go into editing in England. In a way, I’ve never looked at myself as a woman in the business. I’ve just looked at myself as an editor. I mean, I’m sure I’ve been turned down because I’m a woman, but then other times I’ve been used because they wanted a woman editor. – Film Sound Verna Fields — “Mother Cutter”Image via Film WritingsVerna Fields began her film career as a sound editor in the late 1950s and early 1960s, working on films like El Cid. By the mid-1960s, she was teaching film editing at the University of Southern California (USC). She would also edit occasional projects, like The Legend of the Boy and the Eagle and Targets.In 1968, Fields made her directorial debut with the documentary Journey to the Pacific. Verna Fields hired two editors to help her with the documentary, George Lucas and Marcia Griffin. George and Marcia married in 1969.Impressed with her work as a sound editor on his film Targets, director Peter Bogdanovich asked Fields to edit his films What’s Up, Doc? and Paper Moon. At the same time, George Lucas had Verna Fields and Marcia Lucas edit his film American Graffiti.Image via Movie MorlocksBoth Paper Moons and American Graffiti were nominated for the 1974 Academy Awards. Paper Moons received four nominations. American Graffiti earned five nominations, including Best Film Editing for Verna Fields and Marcia Lucas.That same year, Fields began editing the The Sugarland Express, the directorial feature film debut of Steven Spielberg. For her skill and attention to detail, Fields became endearingly known as ‘Mother Cutter.’ Even though she was surrounded by up-and-coming talent, Verna Fields edited her last feature film in 1975. She worked on Spielberg’s next film – Jaws. Verna Fields would absolutely go out at the top of her abilities, as Jaws is an absolute master class in editing. Here is an intense breakdown of one of the films scenes.Verna Fields won the Academy Award for Best Film Editing for Jaws, beating out Dede Allen’s Dog Day Afternoon.Following the success of Jaws, Verna Fields became the Vice-President for Feature Production at Universal Studios. She remained in that position until her death in 1982.Marcia LucasImage via Flickering MythAs previously mentioned, Marcia Griffin married George Lucas in 1969. She worked as an assistant editor on THX 1138 and The Candidate. Marcia Lucas would then collaborate with Verna Fields on American Graffiti, earning her first Oscar nomination.While Martin Scorsese was without Thelma Schoonmaker in the 1970s, Marcia Lucas edited Alice Doesn’t Live Here Anymore and served as Scorsese’s supervising editor for Taxi Driver and New York, New York.Image via CrackedIn 1977, the world was introduced to Star Wars. Directed by George Lucas, the film was edited by Marcia. Not only did Marcia serve as the films editor, she helped rewrite the piece. In an interview with Rolling Stone, George Lucas said,I was rewriting, I was struggling with that plot problem when my wife suggested that I kill off Ben, which she thought was a pretty outrageous idea, and I said, ‘Well, that is an interesting idea, and I had been thinking about it.’ Her first idea was to have Threepio get shot, and I said impossible because I wanted to start and end the film with the robots, I wanted the film to really be about the robots and have the theme be the framework for the rest of the movie. But then the more I thought about Ben getting killed the more I liked the idea.Marcia was also crucial to the film’s climactic Death Star finale. To build the tension the original sequence lacked, Marcia had to re-order the shots from the beginning. She told George:If the audience doesn’t cheer when Han Solo comes in at the last second in the Millennium Falcon to help Luke when he’s being chased by Darth Vader, the picture doesn’t work.Her intuition proved right, as Star Wars was not only a blockbuster hit, but also a hit with the critics. Marcia Lucas won the Academy Award for Best Film Editing for her work on Star Wars.Marcia would go on to edit Star Wars: Episode V – The Empire Strikes Back and Star Wars: Episode VI – Return of the Jedi. Those would be the final films she would ever work on. Following a divorce from George Lucas, Marcia has withdrawn from the public view and kept to herself since.Interested in more pieces on film editors? Want more history articles like this? Let us know in the comments below.
Trending Articles PLAY LIST 00:50Trending Articles00:50Trending Articles00:50Trending Articles01:37Protesters burn down Iran consulate in Najaf01:47Panelo casts doubts on Robredo’s drug war ‘discoveries’01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games Standhardinger: I don’t want Rookie of the Year award Kammuri turning to super typhoon less likely but possible — Pagasa Brace for potentially devastating typhoon approaching PH – NDRRMC Don’t miss out on the latest news and information. Japan ex-PM Nakasone who boosted ties with US dies at 101 [email protected]: It’s nice to have my first game in an @nlexpba jersey. #PBA2018 pic.twitter.com/VN454ePVQr— Randolph B. Leongson (@RLeongsonINQ) November 9, 2017 But Ravena doesn’t mind the early grind with NLEX, which came back to work early in the offseason with more than a month to go before the opening.“I really wanted to come in early to make up for lost time and to make my transition a bit faster and smoother when the real practice time comes. So I’ve already learned a lot here, from the guys who I’ve been with or faced one way or another,” he said.READ: Rookie Ravena hopes to bring leadership at NLEXSeen as the most PBA-ready of the class, Ravena shared that his exposure to the culture of the pros all his life has prepared him for his moment, giving him a slight edge among the pack.ADVERTISEMENT “I’ve been around the PBA for almost all my life because of my dad, so I know how it goes,” he said.The idea, however, is still different from execution, and Ravena is hopeful he could get a seamless transition“Hopefully, the transition would be smooth. I know it’s a matter of maturity because in college, you get away with a lot of things. You play with younger guys if you’re the senior. But here, you play against much bigger, stronger, older and more intelligent guys with a lot of experience. So you have to counter that with a lot of things to be able to be efficient with your game,” he said. CPP denies ‘Ka Diego’ arrest caused ‘mass panic’ among S. Tagalog NPA QC cops nab robbery gang leader, cohort Kiefer Ravena. Photo by Tristan Tamayo/INQUIRER.netSigning a maximum rookie deal worth P8.5 million on Thursday, Kiefer Ravena couldn’t be more elated to formally join the NLEX family.“I’m very happy to be in a franchise where it wasn’t really hard to negotiate. More than the contract, it’s the honor to play for a franchise like NLEX,” he said.ADVERTISEMENT Read Next MOST READ View comments Typhoon Kammuri accelerates, gains strength en route to PH John Lloyd Cruz a dashing guest at Vhong Navarro’s wedding READ: Guiao hails Ravena-Alas backcourt as NLEX’s futureAnd the work starts now for the second overall pick in the 2017 PBA Rookie Draft as he will have to prove his hype in this new chapter with the Road Warriors.FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutout LATEST STORIES Stronger peso trims PH debt value to P7.9 trillion
Don’t even think about poking the Nebraska men’s basketball student section in the eye today, Adam Woodbury. The Huskers have come prepared. In an obvious attempt to mock the Iowa big man, a notorious eye gouger, three Nebraska students are sporting protective eye goggles for the Huskers’ game against the Hawkeyes this afternoon. Check it out: Students in the @HuskerRedZone wearing protective goggles today, just in case Adam Woodbury gets too close. pic.twitter.com/bYM6rnpAGH— Robin Washut (@RobinWashut) February 22, 2015That’s just fantastic. Nebraska (13-13, 5-9 Big Ten) and Iowa (16-10, 7-6 Big Ten) are set to tip off at 3 p.m. E.T. The Huskers will be wearing special throwback uniforms for Legends Weekend.
Twitter/@SouthernPigskinKirby Smart continues to recruit at an impressive level at Georgia, even when his former employer Alabama is involved. Today, the Dawgs picked up a commitment from four-star in-state offensive tackle D’Antne Demery. BREAKING: 4-star offensive tackle D’Antne Demery commits to #UGA over Alabama. https://t.co/Y16cVoLdhJ Free story pic.twitter.com/wmecdqDJJC— Radi Nabulsi (@RadiNabulsi) June 15, 2016Scout’s Chad Simmons broadcast the decision, which you can rewatch on Periscope.LIVE on #Periscope https://t.co/ZpPGanQbU4 — Chad Simmons (@ChadSimmons_) June 15, 2016247Sports ranks Demery as one of the top 15 players in Georgia. He is the 11th player to commit to Georgia in the 2017 recruiting cycle.MORE FROM COLLEGE SPUN:The 10 Most Aggressive Fan Bases In CFBIn Photos: Golfer Paige SpiranacESPN Makes Decision On Dick Vitale
zoom UK-based maritime classification society Lloyd’s Register (LR) has joined the Quadriga sustainable shipping project, an initiative from Hamburg-based Sailing Cargo, which aims to build the world’s biggest sailing cargo ship.The project outlines a plan to build a 170-meter car carrier, capable of carrying between 1,700 and 2,000 cars, which will be equipped with four DynaRig masts and will operate on hybrid propulsion with sails and diesel-electric engines, and an optional battery system for peak loads. The vessel will be capable of sailing at 10-12 knots with the aim of reaching 14-16 knots in the next few years through combined expertise.“Wind-assisted propulsion offers one of the few realistic options for introducing renewable power into shipping,” LR said. The IMO target for CO2 emissions requires a 50% reduction in global ship-sourced CO2 emissions by 2020, this means significant changes in the industry are required.“The big question is whether the technology will be available on the scale needed to achieve the level of reduction required. The consensus is that engineering advances alone and the associated efficiency gains will simply not be enough to meet the IMO target. Fuels will have to change and the Quadriga project provides one of the potential viable alternative solutions.”Through consultancy during the design and specification stage followed by onsite new construction supervision, LR will help to ensure compliance with technical, safety and environmental standards upon realisation of the project. LR will also verify whether the predicted performance parameters have been achieved.
Newly released data and photos show how shockingly low an Air Canada jet was when it pulled up to avoid crashing into planes waiting on a San Francisco International Airport taxiway last month.The Air Canada pilots mistook the taxiway for the runway next to it and flew their jet to just 59 feet (18 metres) above ground before pulling up to attempt another landing, according to National Transportation Safety Board information released Wednesday.That’s barely taller than the four planes that were on the taxiway when the incident occurred late at night on July 7.Pilots in a United Airlines plane alerted air traffic controllers about the off-course jet, while the crew of a Philippine Airlines jet behind it switched on their plane’s landing lights in an apparent last-ditch danger signal to Air Canada.NTSB investigators said they have not determined probable cause for the incident that came within a few feet of becoming one of the worst disasters in aviation history.“It was close, much too close,” said John Cox, a safety consultant and retired airline pilot.The investigators said that as the Air Canada jet approached the taxiway just before midnight after a flight from Toronto, it was so far off course that it did not appear on a radar system used to prevent runway collisions.Those systems were not designed to spot planes that are lined up to land on a taxiway — a rare occurrence, especially for airline pilots. But the Federal Aviation Administration is working on modifications so they can, agency spokesman Ian Gregor said.Both pilots of the Air Canada Airbus A320 jet were very experienced. The captain, who was flying the plane, had more than 20,000 hours of flying time, and the co-pilot had about 10,000 hours.The pilots told investigators “that they did not recall seeing aircraft on taxiway but that something did not look right to them,” the NTSB said.Investigators could not hear what the Air Canada captain and co-pilot said to each other during the aborted landing because their conversation was recorded over when the plane made other flights, starting with a San Francisco-to-Montreal trip the next morning. Recorders are required to capture only the last two hours of a plane’s flying time.Peter Fitzpatrick, a spokesman for Air Canada, declined to comment, citing the ongoing investigation.___David Koenig can be reached at http://twitter.com/airlinewriter
Kolkata: Trinamool Congress Rajya Sabha MP Derek O’Brien came down heavily on the BJP for flouting the model code of conduct laid down by the Election Commission of India by featuring children under the age of 14 in its political promotional video.In his Twitter handle, O’Brien said: “After being insensitive to children with dyslexia, Modi and the BJP do it again! Children under 14 being used in political promo music video. Breaking EC rules. Shameless. #CheatIndia So desperate for votes?” Also Read – Centuries-old Durga Pujas continue to be hit among revellersHe pointed out that the Delhi High Court in a judgment on 15 July, 2013, advised political parties to take note of provisions of Juvenile Justice (Care and Protection of Children) Act, 2000 which is concerns children in the age group 14 to 18 years. The court had said that the provisions under the act should not be flouted during election campaign. He alleged that Modi used pictures of jawans to seek votes. It may be mentioned here that various top Trinamool Congress leaders had been vocal against the BJP for its attempt to take credit of the Balakot air strike. Many banners were put at various points in the city by the state BJP leaders with photos of armed forces. They also brought the matter to the notice of the Election Commission. The Commission has however issued necessary instructions to the administration to remove all such banners.