Double Engine

A U engine is a piston engine made up of two separate straight engines (complete with separate crankshafts) joined by gears or chains. It is similar to the H engine which couples two flat engines. The design is also sometimes described as a "twin bank" or "double bank" engine, although these terms are sometimes used also to describe V engines.

This configuration is uncommon, as it is heavier than a V design. The main interest in this design is its ability to share common parts with straight engines. However, V engines with offset banks can also share straight engine parts (except for the crankshaft), and this is therefore a far more common design today when both engine forms are produced from the same basic design.

Kathakali Dance and Odissi Dance of India.

Kathakali is a classical Indian dance of South India..It is an ancient dance form that brought humanism into Hinduism to express emotions that go beyond words..The temple rituals, first performed in secret, evolved into a vibrant drama that embraces the essence of what it is to be human..Kathakali evolved from earlier temple art forms in the 17th Century, it is based on Hinduism and is a highly charged powerful drama that combines devotion, drama, dance, music, costumes, make up and face masks to produce one of the most impressive forms of sacred theatre in the world..Kathakali primarily developed in the Southern Indian state of Kerala and the actors - dancers are traditionally all males....Odissi is an ancient classical dance of the Eastern Indian state of Orissa and this dance form originated in the temples of Odisha..Odissi is performed predominantly by ladies..Odissi dance form expresses religious stories and spiritual ideas particularly of Vaishavism(God Vishnu as Jagannath) and also other traditions related to Gods Shiva and Surya..

Kathakali: Kathakali is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming. Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna. It is mostly done by men and when not wearing costume can be easily identified by the multiple facial movements.

Oddisi: It has its roots in present day Odisha. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvisand upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.

The costume is elaborate and elegant, replete with a crown and silver jewelry.

ARYAN - THE MISINTERPRETED WORD IN INDIAN HISTORY

The word aryan as explained in the Indian History says The aryans invaded the Indus civilization but The Scientific Research has clearly rejected the concept of aryan invasion as a baseless Theory.

Now its necessary to understand the origin of the word "arya". The word arya is basically taken from a sanskrit word 'acharya' meaning Scholar or a Teacher. The word arya has also been used in the vedic text (Rig veda) several times but as a suffix - जयोतिरिदअरयाय (Jyotiridaryaya). The word arya in sanskrit has never been a complete word but its just a suffix which is used in support of another word and no where in the vedas hav mentioned anything regarding the arya Migrants from any different place.

The Rig veda has clearly mentioned about the Sarasvati River where the vedic civilization had once flourished in the ancient era. Sarasvati in ancient Hindu culture is the Goddess of wisdom and the mythical Sarasvati river was recently discovered in the Northwest region of India.

The River Sindu & Sarasvati is a landmark and also True origin of vedic civilization The people of Indus were dependent on the River for agriculture and irrigation so The River played a significant role in the advancement of vedic culture in Indus region. The vedic literature is a cultural continuity of Indus Sarasvati civilization composed by maharishis of Indian subcontinent.
मुधा दिवो नाभिरगनिः पृथिवया अताभवदरतइ रोदसयोः | (RV - 1.059.02)
तं तव देवासो जनायजनता देवाँ वैसवनरा जयओतिरअरयय ||
murdha divo naghir agnih prathivya athabhavad arati rodasyoh |
tam tva devaso janayanta devam vaisvanara jyotir id aryaya ||
EVOLUTION OF VEDIC LANGUAGE :
Proto Bramhi - Bramhi - Devanagari - Samskrutam.
https://iitkgp.org/…/iit-kgp-researchers-say-indus-valley-c…

The Egyptian beauty and the historic sadness

Queen - Hindi Film

கல்யாணத்துக்கு இரண்டு நாளுக்கு முன்னாடி திருமணம் கேன்சலாகிடுது. நொந்து போறாங்க ஹீரோயின்.,

ரொம்ப கட்டுபெட்டியா வளர்ந்தவங்க... லவ் பண்ணினவன் நீ செட் ஆக மாட்டேன்னு முடியாதுங்கறான்...

கல்யாணத்துக்கு அப்புறம் பாரிஸ்'ல் ஹனிமூன் கொண்டாட சேகரித்த காசை எடுத்துட்டு தனியாக கிளம்புறாங்க.

பாரிஸ்'ல் அதுவரை சந்தித்திருக்காத உலகத்தை பாக்கிறாங்க... நட்பாக கிடைக்கும் விஜயலக்‌ஷ்மி
ஃப்ரான்ஸை, அதன் வாழ்க்கையை, சுதந்திரத்தை கற்று கொடுக்கிறாள்... இருவரும் பல சாகஸங்கள் புரிகிறார்கள். பல விஷயங்களை விஜயலக்‌ஷ்மியிடம் கற்றுக்கொள்கிறாள் கொஞ்சம் கொஞ்சமாக அவளது உலகம் விரிவடைகிறது.

அங்கிருந்து ஆம்ஸ்டர்டாம், அங்கும் புதிய மனிதர்கள், ஆண்களுடன் அறையை பகிர்ந்துகொள்ளும் ஒரு புதிய வாழ்க்கை முறை, என்று இன்னொரு புது உணர்வை, புது உலகைக் காண்கிறாள் .

இந்தச் சம்பவங்களும் மனிதர்களும் தரும் படிப்பினைகளில் தனது சுயம் என்ன என்பதை மெல்ல உணர்கிறாள்..

ராணியின் வாழ்க்கையில் முதல் கிஸ் பாரீஸில்... அந்த காட்சியில் முக பாவனைகள் செம.... :P

மிஸ் பண்ணா கூடாத படம்... படம் பெயர் Queen - Hindi

You enjoy a movie even more if it has the unforeseeable factor adjoined to its premise. Thankfully, a number of storytellers in Bollywood are aiming to surprise, shock and charm you with attention-grabbing yarns you haven't witnessed earlier on the Hindi screen. Some get it right, some don't, but what needs to be lauded is the effort to break the mould, to go beyond the stereotype. Vikas Bahl's QUEEN also dares to push the envelope.

The promos of QUEEN bring back memories of TANU WEDS MANU, partly because the protagonist [Rani] seems like a distant cousin of Tanu. But let's get one thing clear: The presence of Kangna Ranaut and North India setting apart, there's no commonality between TANU WEDS MANU and QUEEN. However, one can draw parallels with ENGLISH VINGLISH, since Shashi in ENGLISH VINGLISH and Rani in QUEEN are vulnerable and low on self-esteem, but eventually find their own voice once they resolve to venture out on their own accord.

QUEEN is about a shy and timid girl who travels to Paris and Amsterdam for her honeymoon all alone, when her beau calls off the wedding at the last minute. A quirky concept, yes. But this coming of age story is indeed enjoyable, despite the hiccups.

First, the premise! Rani [Kangna Ranaut] hails from a Punjabi family in Delhi. She has led a sheltered life, having been surrounded by her over-protective, but caring parents, doting grand-mom and younger brother Chintu. Rani is introduced to Vijay [Rajkummar Rao], the son of their family friend. Vijay is attracted to Rani and woos her relentlessly. Eventually, Rani gives in to Vijay's charms.

Vijay and Rani get engaged. Vijay is posted in London, but when he returns to Delhi for the wedding, he's a changed man. He calls off the wedding at the eleventh hour. Rani is heartbroken, her family is shattered as well. Rani resolves to take charge of her life. She decides to go on her honeymoon to Europe. All by herself...

QUEEN starts off as yet another attempt to encapsulate the middle class Punjabi set-up [based in New Delhi yet again!], replete with resplendent song-and-dance spectacle prior to the wedding, but quickly changes lanes as Rani sets out for Paris. Steering away from the conservative route of the woman wallowing in self-pity, Vikas Bahl tells Rani's story with insight and understanding and along with his team of writers [screenplay: Parveez Shaikh, Chaitally Parmar, Vikas Bahl] injects loads of optimism, besides spirited and lively episodes, to portray Rani's emotional rollercoaster journey.

What really works is the way Vikas presents Rani, his lead character. Rani [in her 20s] is no bimbette or abla naari, is stuck somewhere between tradition and modernity, but has a mind of her own. Her experiences outside the comfort zone [on foreign land], the interaction with varied people she encounters in Paris first and Amsterdam later, the atmospherics... the writers unfurl a tale that's utterly believable, besides creating a colorful canvas that's brimming with characters who are *not* cardboard cut-outs. Sure, a couple of episodes may seem quirky, but gel wonderfully in the scheme of things.

Having said that, QUEEN isn't fool-proof either. The bloated run time -- almost 2.30 hours -- acts as a roadblock. Also, the story stagnates in the second half. Besides, there are too many songs, especially in the first hour. As a result, the film feels elongated and also indulgent at times. Thankfully, the film is back on tracks towards the closing stages, when Rani meets Vijay in Delhi. The final act is indeed brilliant!

There seems to be an overdose of songs [Amit Trivedi] here. 'London Thumakda', 'Hungama' and 'O Gujariya' are effervescent compositions, while a couple of tracks only add to the run time. Cinematography deserves special mention. The DoP [Bobby Singh; additional cinematography: Siddharth Diwan] captures the sights and sounds of Paris and Amsterdam wonderfully. Dialogue [Anvita Dutt; additional dialogue: Kangna Ranaut] come across real.

It's hard to take your eyes off Kangna, who captures the nuances of her character spot-on. She's simply outstanding! Even when the goings-on appear stretched, Kangna doesn't miss a beat. The earnestness and sincerity she invests in her performance is for all to see. Additionally, the deglam look and the attire [jeans, kurtas, sweaters, handbag] makes it so believable. It won't be erroneous to state that she turns Rani into the most real woman you've encountered on the Hindi screen lately. Rajkummar Rao sparkles in a role not many actors would've dared to take up, while Lisa Haydon is simply delightful and supremely confident, complimenting Kangna through and through.

Mish Boyko [as Olik], Jeffrey Ho [as Taka], Guitobh Joseph [as Tim] and Marco Canadea [as Marcello] contribute wonderfully to their respective parts. The actors enacting the part of Kangna's parents, especially the grand-mom, are lovely.

On the whole, QUEEN reinvents the genre with its non-formulaic screenplay and skilled direction. A charming little film, this one's made with heart and feeling and it shows. Absolutely recommended!
thanks: bollywoodhungama.com

WHY HINDUS WORSHIP IMAGES

By Stephen Knapp

Almost any person [except maybe Jews] believes or utilizes an image or symbol of their religion, culture, or even business. This is not unusual. The Cross in the Christian church, the picture of Jesus Christ, the statue of Mary, statues of patron saints, even the black stone in Kabba are all what we could call images. If anyone bows in front of any of them, they are breaking laws of Old Testament. [LE 26:1, and EX 20:2-5.] Use of images is everywhere and all people worship something or someone. In fact, the first sculpture of Christ was in the form of a small boy holding a lamb. Now, everywhere in the world people have pictures of Christ according to their culture. A loving, young, white man in the USA, or a tough man looking like a judge in Russia, a nice black man in Africa, and you find a man looking like a typical Chinese with a sheepish beard in China. All religions have some concept of God with name and form, but Hindus have the courage to present the details as described in their scripture.

The images and Deities of the Divine that are worshiped in the Vedic temples or in homes of those who follow Sanatana-dharma are not someone’s concocted imaginings. They are based on the detailed descriptions of God’s form as described in the Vedic texts. This is another beauty of the Vedic culture. Whereas most texts of other religions offer little information on God’s appearance and characteristics, these become specifically revealed in the Vedic tradition. Thus, we know what God looks like and can form images accordingly. Then these Deities are installed, calling the personality of the Divine, according to specific prayers and rituals.
As the Supreme Controller, God can appear to His devotees in any of His specific forms. And even if some say that these images that are presented are made of nothing but stone or wood, still God can turn what is spiritual into something material, or something material into something spiritual. In this way, we can use our material senses and still have the vision of God in the form of the Deity, and approach Him with our love and service. Thus, the authorized Deity is not an idol, but is the Lord’s mercy in giving us the chance to see something spiritual with material eyes. Of course, as we become more spiritualized, we can see with our inner spiritual eyes the transcendental form and activities of the Supreme Being, even while in this body that we have now.
An example is that the Post Office has authorized post boxes in which we put our mail, which is then picked up and delivered to the address on the envelope. If, however, we make our own unauthorized box and put it where we like, if we put our mail in it, it will not go anywhere. In the same way, by praying to the authorized forms of God our service will reach Him and be accepted by Him. Besides, there are many stories of how Deities have come to life and interacted with devotees and engaged in all kinds of pastimes with them in very personal ways. So they are always full of potential to interact with us, or merely watch and see what we do, or even leave the Deity form if we are too offensive or do not understand the basis of the Deity. So we should never think that Deities are nothing but stone or wood. In fact, the Vedic scripture says that anyone who thinks in such a way exhibits a hellish mentality.

The Subconscious Mind: How Does It Affect Your Reality?

 Lorna Wilson

A human brain works on “thought patterns”, which are nothing but “programming” that has been indented into its neural network. You can also observe a definite “pattern” in some of the thoughts that are produced in the brain. For example, it’s possible that your brain is presently in the habit of creating a pattern of negative thinking, where it seems to give a negative flavor/connotation to all its interpretations – in this case your brain is subconsciously in the habit of looking at reality in a negative manner and at the root of all its negative thinking is a subconscious belief in some “core” negative thoughts.

The problem with subconscious patterns, is that you take it for granted and believe that it’s the truth of who you are. However, the truth is that “subconscious” patterns are simply thought patterns that have been thought so many times that they’ve become ingrained as an “auto” mode of functioning. You can become free of negative subconscious patterns in your mind, by becoming aware of them and dis-identifying with them through lack of interest/attention.

Identifying subconscious patterns in your mind

You must understand that subconscious patterns are always running in “auto” mode in the brain, because at some point you took these patterns to be the truth of your life and invested belief in them to the point where they became “ingrained” patterns.

When you think a thought long enough, it automatically goes into “auto” mode because the neural pathways for this thought become strongly embedded in the neural network of your brain. For example, when you learn to drive a car it’s a very conscious effort initially, but after a few months the patterns become so embedded in the brain that the whole action of driving becomes subconscious or “auto” mode.

Certain negative thoughts are running in “auto” mode in your brain, and these negative thoughts are usually the root cause of many negative perceptions and interpretations that you come up with in your daily life. Unless you identify and let go of belief in these subconscious negative thoughts, you will constantly be struggling with the negativity in your brain. A simple awareness of the subconscious negative patterns is enough to start becoming free of them.

Subconscious patterns are not hidden from your consciousness

“Subconscious mind” is simply a term used to point to thought patterns that are running on “auto” mode due to past attention/belief. These subconscious thoughts can be observed when you deepen your awareness of the mind, and you can observe how these core thoughts are underlying many of your perceptions and interpretations. The only challenge is that because subconscious thoughts are running on “auto” mode, you may start taking them to be the truth of your life and make it a part of your identity. But remember that every subconscious thought was once a “new thought” that you ingrained and believed.

Some example of subconscious negative thoughts are as below

– Good things never happen to me

– I need to compete with other people to succeed in life

- I cannot trust anyone

– Life is never easy

– It’s tough to make money

– I am an incompetent person or a bad person

– I am always exploited by others

You could’ve taken in these thoughts at any point in your life, and they may be running on “auto” mode in your brain presently. These “core” negative thoughts end up coloring your perception of reality and hence create new negative thoughts constantly.

Remember that there is no truth to negativity because life does not support it. Negative thinking only serves to impede and resist the movement of your life towards well-being. Allow your awareness to deepen and start seeing through all the subconscious negative patterns in your brain. Once you become aware of them, you can then start dis-identifying and dis-believing them. Also, you should start allowing yourself to align with thoughts of your desired reality. When you keep thinking a positive thought about yourself, or your life, it will soon become subconscious in your brain, and will start running on “auto mode”.

http://www.calmdownmind.com/subcons...

 

 

Kalidasa (4th Century - 5th Century / Ujjain / India)

Kalidasa (Devanāgarī: कालिदास "servant of Kali") was a renowned Classical Sanskrit writer, widely regarded as the greatest poet and dramatist in the Sanskrit language. His floruit cannot be dated with precision, but most likely falls within 4th Century AD.
His plays and poetry are primarily based on Hindu Puranas and philosophy.

It is evident from the invocatory verses of the plays and epics of the world-renowned poet Kalidasa, the full moon on the firmament of Sanskrit literature, that he is an ardent devotee of Lord Shiva. His epic, titled Kumarasambhava, bears testimony to his devotion for Shiva’s son, Karthikeya. Raghuvamsa is another great epic of his. In this work suffused with poetic beauty, he paints vivid word-pictures of Rama’s ancestors and his descendents. Kumara appears before the poet’s ken whenever he has to describe the descendents of the Raghukula. Whenever he conceived of a hero, a dimension of Kumara, such as Sharavanabhava, Guha, and Shanmukha, appeared before him. We shall now see how he presents images of Skanda, Karthikeya, Shivakumara at appropriate junctures.

It is a common saying in the world of poetry that Kalidasa is unparalleled in his use of similes. Let us examine a few examples appropriate to the topic like the scene from the second canto of Raghuvamsa: The childless king Dileepa seeks Guru Vasishta’s blessings for a progeny. The king is bid to serve Vasishta’s cow reverentially. Once when the king is tending to the cow in the forest, a lion appears. The lion threatens to devour the cow. Kalidasa makes the lion speak as follows: “I am Kumbodara, a gana of Shiva. Shiva loves this Devadaru tree nearby like a son. Shiva and Parvati shower as much love on this tree as they do on their own son, Skanda. Once when a wild elephant rubbed itself against the tree, scraping off its bark, Parvati was as distraught as she would be on seeing her son Senani (the chief of the army of the gods) wounded by the arrows of the asuras.” Dileepa offers himself as prey to the lion in place of the cow. Moved by his devotion, the lion praises him and disappears. In due course, Sudakshina conceives. Kalidasa likens the child Raghu, in blessed Sudakshina’s womb, to the tejas of Shiva that emanated as six sparks and was carried by the cool waters of the Holy Ganga. At the end of the same canto, the child Raghu, born to Dileepa and Sudakshina, lends his name to the celebrated dynasty. In the third canto, Kalidasa equates the indescribable joy of this couple at the birth of Raghu to the joy felt by Uma and Shiva (the Lord whose emblem is the bull) at the birth of Sharajanma or Sharavana. Raghu grows up into a fine, young man. He is triumphant in war, conquering all, including Indra. His valour in the war against Indra is compared to that of the son of Shiva, in the same canto. Raghu is hailed as Kumara Vikrama (the youthful victor). By and by, a son is born to Raghu. This boy, born in the auspicious wee hours of the morning (brahmamuhurta), is named Aja. Kalidasa compares this child also to the son of Shiva. He does not find it necessary to look beyond Kumara as a frame for his comparisons. This is the fifth occurrence of a comparison with Kumara.

The sixth canto describes Indumati’s svayamvara. Bhoja, the king of Vidarbha, offers Aja a seat of honour. This seat is gem-studded and is upholstered with a satin cloth of varied hues. Aja sat at the court in all his might and splendour. This scene brings to the poet’s mind another image. To Kalidasa, the devotee of Kumara, what image other than that of Guha, the lord who sports in all eight directions, seated on the peacock, could suggest itself? In his mind’s eye flashes the vision of the colourful peacock mount, beautiful arms, eyes showering grace and the resplendent crown. The poet presents Guha, seated on the peacock with its multihued wings outspread, as a simile.
Dasaratha ascends the throne. The rule of the Raghu clan now increases in glory. Isn’t it natural that the poet is reminded of the prowess of Kumara who shattered the Krauncha hill to pieces, when describing Dasaratha? Doesn’t Dasaratha’s chariot have unchallenged access to all territories? The expansive story of Rama, as told by Valmiki, is condensed into a few cantos by Kalidasa. For example, in the scene of the confrontation between Rama and Parasurama, they appear like the rising full moon and the setting sun at dusk. They are like grace and fury, like generosity and jealousy. Equanimity and might are united in Rama just as the power to destroy evil and the inclination to bestow grace upon the vanquished enemies characterize Harasunu, the son of Shiva. The poet revels in extolling the virtues of Rama. Rama’s unparalleled devotion to his parents is among his innumerable qualities. The common man acknowledges only one woman as his mother, but for Rama all the wives of his father are his mothers. He never discriminated between his own mother and the mothers of his brothers. When the poet looks for a comparison for this, he finds one easily. Karthikeya, who abides in his heart for ever, appears before him. Who else but Shadanana (the six-faced), who was carried as six sparks by the cool waters of the Ganga and deposited as six children who were suckled by the six Krittika stars, could offer a comparison? We find this idea in the fourteenth canto.
Among the successors of Rama, the king called Aditi was well renowned. His righteous reign pleased Mother Earth who bestowed bounty upon the realm. Aditi was well equipped to utilize the attributes of war and peace as well as the resources of his councillors and the army. Is there any earthly king who can provide a parallel to him in intelligence and ability? It is only Shanmukha who provides an apt metaphor. Only he – who hurled the spear to destroy Taraka, who sent Viravijaya as an emissary on a reconnaissance mission, who was victorious over Simhamukha, who decimated Surapadma – presents himself to the poet’s imagination.
Kalidasa, the best among poets, extols the glory of the kings of Kosala. He is unparalleled in finding parallels. When the world renowned poet describes the son of Shiva as Skanda, the tejas of Shiva, Sharajanma, Kumara, Guha, the destroyer of the mountain (Krauncha), Harasunu (the son of Shiva), Chamunamneta (chief of the army) and Shanmukha, using him as metaphor, it is as though gems were offset by gold. If that is so, then wouldn’t it be apt to call Kalidasa Kumaradasa?

Industrial pollution started 7,000 years ago before Bronze Age

"Industrial pollution may seem like a modern phenomenon, but in fact, an international team of researchers may have discovered what could be the world's first polluted river, contaminated approximately 7,000 years ago.

In this now-dry riverbed in the Wadi Faynan region of southern Jordan, Professor Russell Adams, from the Department of Anthropology at the University of Waterloo, and his colleagues found evidence of early pollution caused by the combustion of copper. Neolithic humans here may have been in the early stages of developing metallurgy by learning how to smelt.

The research findings, published in Science of the Total Environment, shed light on a turning point in history, when humans began moving from making tools out of stones to making tools out of metal. This period, known as the Chalcolithic or Copper Age, is a transitional period between the late Neolithic or Stone Age and the beginning of the Bronze Age."

The most reliable source of renewable energy& the world's first smart river turbine.

A new alternative

We estimate that 1.4 billion individuals across the world are without electricity, most living in rural and distant areas inaccessible to the national or regional electricity grid. The most common energy solution available is the use of gas generators which are polluting and can be expensive to maintain in the long term. As an alternative, the use of green technologies is rapidly growing.
Renewable energy solutions are gaining popularity especially in the residential market. Billions of dollars are invested every year on solar and wind systems. However these renewable energy products do not represent optimal solutions for meeting individual needs due to intermittent production of energy resulting in weather variations. In consequence, these systems are only used to 12% to 35% of their capacity implicating an over sizing of installations and storage systems to accumulate the energy when produced. However one regular and predictable energy source is unexploited: the river.

The ideal source of renewable energy

Among all renewable energy sources, only the river can provide a predictable and reliable source of energy, 24 hours a day. Idénergie’s turbine is the solution of choice to fully benefit from the continuous  production of energy offered by the river. This allows, among other advantages, the use of less batteries than the standard norm since the energy produced is uninterrupted and less subject to weather variations. Idénergie’s river turbine is the only water driven technology that meets the needs of a residence by directly supplying household appliances and recharging batteries. It equally represents an excellent emergency backup system because of the endless supply of energy it provides.

Easy to install

Our turbine can be dismantled in separate pieces in order to facilitate shipping to the the most remote locations and is ready to assemble on site. This allows for a simple and fast installation which requires only 2 individuals in less than a 24 hour period. The turbine is attached to a stable pillar from the front with a steel cable and is deposited on the river bed, self positioning in the fluid like a kite. Electrical DC connections are simplified by the presence of our embedded electrical converter. All that’s left to do is connect the output cable to your batteries, without any additional electric equipment.

The first smart river turbine

Idénergie’s river turbine has an embedded smart converter that allows the conversion of the energy harnessed from the water current into electricity to recharge batteries and power home appliances. In addition, it allows the user to have better control by automatically regulating the rotational speed of the turbine thus extracting maximum power from the current; it has a built-in motor mode to enable automatic start-up and emergency disconnect of the turbine on demand. In case water speed is very low, the smart turbine can use the generator in motor mode to initiate sufficient movement in order to produce electricity. The output power is set to DC current, from 24 to 48 and more in order to allow the transport of electricity over long distances.

Low maintenance

Idénergie’s river turbine uses a new type of electric generator which Idénergie is the inventor and sole manufacturer. The generator is very efficient at low water velocity and provides an energy production equivalent of 4 to 10 solar panels (between 2 and 6 kWh/day).  Our unique patented shaftless technology prevents any water intrusions within the generator’s electric casing, allowing an almost maintenance free subwater generator.

Robust design

 

Idénergie’s river turbine is composed of two Darrieus turbines. This model was chosen for its simplicity of manufacturing and installation. It accommodates a water depth of only two feet and with a minimum of 1,2 m/s water velocity, the turbine can produce 2.4 kWh/day. This represents the energy production equivalent of 16 x 250W solar panels. In addition the blades are inexpensive to produce, easy to replace and ship in case of damage. The structure and envelope of the generator are made ​​of aluminum chosen for its lightweight characteristics, structural rigidity and its resistance to corrosion. Free hanging turbines and upward rotational mechanism descreases the chances of debris accumulation. Its robust design has been proven to resist even heavy loads as trees.

In harmony with the river ecosystem

Mostly made of noble metals such as aluminium and other environmentally friendly components, the turbine is the greenest amongst all available renewable energy products. These material do not react to the environment and are easily recyclable ensuring a subtantial end of life value. In addition, the river turbine does not require a permanent structure reducing its impact on aquatic fauna.
By taking into account numerous studies estimating the interactions of the turbines with the ecosystems, Idénergie designed its product in order for it to have minimal impact on the aquatic fauna and its housing environment. Studies carried out by the Alden laboratories, an american entity, have proven that the Darrieus Turbines, used by Idenergie, represent no harm to the river’s ecosystem. In fact, extracting energy from a fluid tend to slow it down, resulting in faster velocity on the side of the turbine thus floating objects and debris, as well as fish, tend to naturally avoid the turbine resulting in 98% survival rate.
source http://idenergie.ca

நாம் இதுவரை பார்த்த சிறப்பு பட்டிமன்றத்தின் நடுவரின் முடிவுரை.....

ரஷ்ய இலக்கியங்கள் (மிகயீல் ஷோலகவ்வின் 'அவன் விதி')

ரஷ்ய இலக்கியங்களை (அன்றையகால சோவியத்) வாசிக்கும்போது, உள்நாட்டுப் போரில் செஞ்சேனைகளும், 2ம் உலகமகா யுத்தத்தில் ரஷ்யப்படைகளும் வென்றிருக்காவிட்டால் அவர்களின் படைப்புக்களை உலகம் இந்தளவு வரவேற்றிருக்குமா என அவ்வப்போது யோசிப்பதுண்டு. மேலும் இன்னொரு கேள்வியாக, இராணுவங்களின் வெற்றிகளைப் பெருமிதமாய்க் கொள்ளும் (முக்கியமாய் அமெரிக்க/பிரித்தானியா) படைப்புகளை வாசிக்கும்போதோ அல்லது திரைப்படமாகப் பார்க்கும்போதோ எரிச்சல் வருவதைப் போல, ஏன் ரஷ்யப் படைப்புக்களில் வருவதில்லை. இதற்கு நம் வாழ்வில் பலவிடயங்களில் போடும் இரட்டை வேடந்தான் காரணமாயிருக்குமோ அல்லது இடதுசாரிகள்/கம்யூனிஸ்ட்டுக்கள் மீதிருக்கும் இயல்பான பரிவுதானோ காரணமென எப்போதும் குழப்பமுண்டு.
மிகயீல் ஷோலகவ்வின் 'அவன் விதி' எனப்படும் குறுநாவலை வாசித்துக்கொண்டிருக்கும்போது இந்தக் கேள்விகளே தொடர்ந்து வந்துகொண்டிருந்தன. 2ம் உலகமகாயுத்தத்தின்போது ஜேர்மனியப் படைகளால் போர்க்கைதியாக்கப்பட்டு, பல வருடங்களில் அவர்களின் சித்திரவதைகளுக்கும், கடூழிய அடிமைவேலைக்கும் பயன்படுத்தப்பட்ட ஒருவன் தப்பிவந்து சொல்கின்ற கதைதான் இது. போர்க்கைதியாக்கப்படும்போது, 'எனது விருப்பின்றி படையில் சேர்ந்த மோசமான கம்யூனிஸ்ட்டுக்கள் நீங்கள் எனச் சண்டைபிடித்து, தனது கொமண்டோரைக் ஜேர்மனியருக்குக் காட்டிக்கொடுக்கப்போகின்றேன்' எனச் சொல்லும் தம் சக படையினனையும் இந்தக் கதைசொல்லி கொல்கின்றான். நாட்டின் கெளரவம் சார்ந்தும், பாஸிட்டுக்களுக்கு எதிரான போரில் இதுவும் இயல்புதானென -அதுவரை எந்தக் கொலையும் செய்யாத அவன் - இதை எடுத்துக்கொள்ளவும் செய்கின்றான்.
மிக மோசமாய் சித்திரவதைக்குள்ளான அவன் ஜேர்மனியர்களிடமிருந்து தப்பிவருவது ஒரு சாகசமென்றால், அவன் தப்பிவந்தபின்னும் அவனது மனைவியும் பிள்ளைகளும் ஜேர்மனியரின் குண்டுவீச்சில் கொல்லப்பட்டிருப்பதை அறிதலென்பது இன்னும் பெருஞ்சோகம். எஞ்சியிருந்த வளர்ந்த மகனையும், ஜேர்மனியரை அவர்களின் நாடுவரை துரத்திக்கொண்டு போகும் போரில் இழக்கின்றான் இந்தக் கதைசொல்லி. பல வருடங்களாய்க் காணாத மகனின் இறந்த உடலத்தைப் பார்க்கும்போது, துயரின் மிகுதியிலும் தன் மகன் இப்படி திரண்ட தோளும், விசாலமான நெஞ்சுமாய் வளர்ந்துவிட்டேனே எனக் கலங்கிநிற்கும் நிலையில், போரின் நிமித்தம் குலையும் குடும்ப உறவுகள் பற்றி அறிந்துகொள்கின்றோம். இறுதியில் இந்தக் கதைசொல்லி வாழ்வின் மீது நம்பிக்கை வைக்க ஒரு சம்பவம் நிகழ்கின்றது. அதற்காகவேனும் தான் உடனே சாகாதிருக்க வேண்டுமென ஒரு புதிய பயணத்தை அவன் தொடங்குகின்றான்.
இவர்கள் விரும்பியும் விரும்பாமலும் போரிட்ட இந்த யுத்தங்களின் வெற்றி அவர்களுக்கு எதைத் தந்தது? எதையும் தரவில்லை என்பதுதான் துயரமானது. அதைக் கொண்டாடக்கூடிய மனோநிலை கூட அவர்களுக்கு வாய்க்கவில்லை என்பதைத்தான் கதைசொல்லி இப்படித் தொடக்கத்திலேயே கூறிவிடுகின்றான்:
"சில நேரம் இரவில் என்னால் உறங்கமுடியது. இருட்டை உறுத்துப் பார்த்த வண்ணம், 'வாழ்வே ஏன் இப்படிச் செய்தாய்? என்னை ஏன் இப்படி வாட்டி வதைத்தாய்? என்னுடைய திராணியை ஏன் பறித்துக்கொண்டாய்?' என்று எண்ணமிடுவேன். என் கேள்விகளுக்கு விடையொன்றும் கிடைப்பதில்லை. இருட்டானாலும் சரி, இல்லை சூரியன் பளிச்சென்று ஒளி விடும் போதானாலும் சரி... எனக்கு விடை கிடைப்பதில்லை. இனி ஒருபோதும் எனக்கு விடை கிடைக்காது."
ஆம். அதுதான் உண்மை. போரில் வென்ற தரப்பாயினும் என்ன, தோற்ற தரப்பாயினும் என்ன... எவர்க்கும் அது நிம்மதியையோ சந்தோசத்தையோ தருவதில்லை. எல்லா சகாசங்களும், பெருமைகளும் ஒரு போரின்பின் பெறுமதியிழந்துபோய்விடுகின்றன. இன்னுமின்னும் எம்மை உளவியல் சிக்கல்களுக்கும், நிம்மதியற்ற நிலைக்கும் தள்ளியே விடச்செய்கின்றன.
ஆக இவ்வகை போர்க்காலப் படைப்புக்களை வாசிக்கும்போது, போரைப் பற்றியல்ல, போரைத் தவிர்த்து எப்படி போரின்றி வாழவேண்டுமென்ற படிப்பினைகளைத்தான் வரலாற்றிலிருந்து மானுடம் கற்றுக்கொள்ளவேண்டியிருக்கின்றது.

Elanko DSe