Solar and wind

A news feature from Juan Cole, on the increasing use of solar energy usage around the planet, is very encouraging.  I'm not sure that I agree entirely with his opening statements about the predicted rise in sea levels, which have been dismissed recently with a report from the IPCC which turns some of its figures on their heads, nor that the population of the world will increase at quite the rate he states, but the information about the number of solar plants being built around the world are great.

It seems like an odd idea, but we have several places in the world where huge deserts sit doing nothing.  Shouldn't solar plants be possible in these areas?  Or would the heat actually be too much for them?  It seems odd that we build solar plants, or install solar panels, in parts of the world where the sun doesn't shine consistently, yet seem to ignore those parts where it never stops shining.  Somebody will no doubt tell me I'm not a scientist so I don't know anything, but I'd be interested to hear more on this.

You'll notice in Cole's story that wind energy is mentioned three times.  At present there's something of a backlash against wind farms, unfortunately.  Some people think they're unaesthetic, for one thing, though having seen a number of wind turbines quietly circulating in the breeze, they strike me as having a particular beauty - kind of like windmills do. (I imagine windmills were once thought to be a blot on the beautiful landscape too.) And other people claim all sorts of illnesses as a result of living near them.  This opinion piece by Simon Chapman appeared in the ODT the other day, and seems capably to debunk these concerns. 

At present we have people protesting the digging of wells in search of oil around the country - the Government just yesterday opened up several sea and land areas for this, much to the irritation of the protesters.  I think we have other options besides oil (and much of the plastic that uses oil), and I'd like to see more people getting behind solar and wind and sea power and anything else that uses natural resources that won't deplete, so it distresses me when some people seemed opposed to anything, and everything.

Fiction/non-fiction

We've watched a couple of DVDs over the last few days.  One of these was The Way Back, which is supposed to be based on a true story of a group of escapees from a prison camp in Siberia during the Second World War three of whom managed to make it to India finally, by walking all the way.  When I say 'supposed' apparently there's a bit of argy-bargy gone over over the years as to how much truth and how much invention is contained in the original book on which the movie is based.  And then, of course, the movie makes some changes of its own.

Be that as it may, this movie, directed by Peter Weir, is surprisingly engrossing, especially considering that it's over two hours long and for a good deal of that time the characters are walking.  Yup, walking. Naturally, other stuff happens within that, and there are inter-relational things that go on, especially when the group of men is joined by a young girl who seems to be the only one capable of getting their histories out of them.  The main character, Janusz, played by Jim Sturgess (who kept reminding me of Sam Worthington of Avatar fame for some reason) is cast in the heroic mould: not only is it his intention to find the wife who betrayed him, he also wants to bring forgiveness to her.  But beside that underlining aim, he's also the one who has the endurance and determination and skills to keep going, and to assist the others to struggle on.  Of course some don't make it - we know that only three will survive because of a note at the beginning of the movie - but that doesn't stop us being involved with their journey; the adjective 'intrepid' barely covers it.  The cast includes Ed Harris as a grizzly old American caught up in the War - he's excellent - and Colin Farrell as a Russian criminal who only gets to come along because he has a very sharp knife.  Farrell does one of his wild man performances, and covers his natural intelligence under a guise of feral survival instincts.  He's excellent too.  Saoirse Ronan, who was only 16 at the time she made the movie, brings her wonderful waif presence to her role, and, for a time, becomes the centre around which the movie moves forward.

The characters walk through Siberian forests in blizzards, over mountains in the sunshine, out into the Siberian Desert where they nearly get cooked to death, up into Tibet (snow again), and finally to India, where the women are picking tea.  The photography is superb, and the things the actors themselves have to go through in the performance of their roles is sometimes almost beyond the call of duty.   I picked this movie up at the Library without knowing anything about it.  It was well worth getting.

The other film is a documentary called The Promise of Music.  Directed by the German, Enrique Sánchez Lansch, with a German film crew, this movie looks at a number of aspects relating to El Sistena, the system used in Venezuela to teach children music and bring them into a place where they're a contributing member of a proper orchestra.  It's publicly funded in that country, and the idea is now spreading further afield, both England and Scotland have begun to use it.  It has a deeper purpose that 'just' music-making; it aims to help youngsters from poverty areas to gain a good foothold in life and get themselves out of the poverty net.  As a result, in Venezuela it was under the Social Welfare area of the Government, rather than the Cultural one.  

While this movie looks in some degree at the process of El Sistena, it focuses more on some members of the Simón Bolivar Orquesta Sinfónica and its young conductor, Gustavo Dudamel, a lively and impassioned man who began his musical career as a violinist but quickly realised that conducting was his true love, and forte.  At the beginning the Orchestra (who also appear in the video on the Scottish version of El Sestina) is in the late stages of rehearsal for a concert in Bonn, where they'll play, amongst other things, Beethoven's Eroica Symphony.  We travel with them to Bonn and see part of the concert - though if you go to another section of the disc you can see the entire concert, including the wonderful piece at the end in which they truly let their hair down, Venezuelan-style.  This is only one of the many heart-warming moments: another is when several of the children's orchestras combine together to perform Tchaikovsky's 4th Symphony, with Dudamel conducting.  

But apart from the music performances, there are a number of interviews with various members of the orchestra showing how they came up through the ranks, how they feel about El Sestina, what it's like to be part of such an organisation, and much more.  These are often entertaining, as the young people, mostly in their early to mid-twenties, are a delight, though they take their music very seriously.  

Two extracts from Finding Sanctuary

Finding Sanctuary is by Abbot Christopher Jamison.

In February 2004 BBC Television broadcast a programme entitled 'What the World Thinks of God.' As part of their research they commissioned Bradford University's Peace Studies Department to carry out an audit of wars over the last hundred years, with specific reference to the role of religion in causing those wars. Looking back at history, they analysed the actual mechanisms by which religion might case war and found several possible ways in which this occurs. These mechanisms might be the promise of salvation to those who fought the infidel, or the intention of religious leaders to seize holy places - both key factors in the medieval crusades. Or they might be the desire ot convert the enemy, as in the wars of the Reformation.

The researchers then analysed the thirty-two wars of the twentieth century. Their conclusions were that only three had a significant religious element. They considered the Israeli-Arab wars, for example, to be wars of nationalism and liberation of territory (and I would ad that the same is true of the Irish wars and conflicts). They noted that the current campaign being waged by Arab terror groups is largely about political order in the Arab countries, especially the presence of foreigners there. These groups use the language of religion, but the use of religious language to justify terrorism is disowned by mainstream religious leaders.

Political leaders use differences in confessional faith as a way of mobilising support for political wars, and it is mainly in this way that religion becomes a factor in war. Furthermore, the main wars of the century (the two world wars, the Russian civil war leading to Stalin's regime, the Chinese civil war leading to Mao's regime) claimed seventy-five percent of all casualties of war in the twentieth century: they killed 150 million people. None of them is attributable to religion. The recent conflicts in which religion has played a significant role have killed only one per cent of the number of victims of secular wars.

This study provides evidence that religion is not a major reason for war in modern times. But the two great moments of violent religious conflict in Europe, the Crusades and the Reformation, have cast a long shadow over the popular mind, so that even though there have been no truly religious wars for many centuries, even intelligent commentators still insists that religion causes wars. The reality, however, is that in the modern world it is governments, and not religions, that cause wars. (pp 165-6 Weidenfeld and Nicolson edition 2006)

And on another tack entirely:

I offer a final story from the desert fathers and mothers. A young monk once went to see his superior: 'Father, ' he said, 'I must leave the monastery because I clearly do not have a vocation to be a monk.' When the older monk asked why, the younger monk replied: 'In spite of daily resolutions to be good-tempered, chaste and sober, I keep on sinning. So I feel I am not suited to the monastic life.' The older monk looked at him with love and said: 'Brother, the monastic life is this: I rise up and I fall down, I rise up and I fall down, I rise up and I fall down.' The young monk stayed and persevered. (pg 172 ibid)

And in spite of the title of this post, one more:

You may be wondering whether such an approach to scripture is only for monks, so I offer you this thought from St John Chrysostom, the great fourth-century Archbishop of Constantinople. "'I am not,' you will say, 'one of the monks, but I have both a wife and children, and the care of a household.' This is what has ruined everything, your thinking that the reading of scripture is for monks only, when you need it more than they do. Those who are placed in the world, and who received wounds every day, have the most need of medicine." (pg 66 ibid)