"Energy for a Warming World" challenges the commonplace notion that the amount of power which mankind can potentially harness from renewable resources is more than large enough to assuage future demand levels.

By examining the renewable issue from an electrical engineering perspective, and exercising due regard for the limited capability of current and future electrical generation and transmission systems, this book attempts to provide more realistic statistics for the levels of power which could be extracted from sustainable resources in the critical time frame of 30 to 40 years. The engineering logic leads inexorably to the importance of taking a global outlook on the switch to renewable power supply and transmission - an outlook which has some surprising and uncomfortable ramifications for mankind.

"Energy for a Warming World" provides a new perspective on renewable resources for academics and researchers in environmental or electrical power engineering, as well as to students in related areas.

*Provides an engineering-based approach to renewable energy *Quantifies the levels of electrical power deliverable from various sources Climate change, environmental impact and declining natural resources are driving scientific research and novel technical solutions. Green Energy and Technology serves as a publishing platform for scientific and technological approaches to "green" - i.e., environmentally friendly and sustainable - technologies. While the main focus lies on energy and power supply, the series also covers green solutions in industrial engineering and engineering design. Green Energy and Technology is a monograph series addressing researchers, advanced students and technical consultants, as well as decision makers in industry and politics. The level presentation ranges from instructional to highly technical. Energy for a Warming World challenges the commonplace notion that the amount of power which mankind can potentially harness from renewable resources is more than large enough to assuage future demand levels. The presumption of unlimited power from renewables does not take into account the fact that it may not be possible to fully develop this potential, or that the resulting energy may not be available where it is most required. Engineering limitations and deficiencies in production will inevitably undermine the best calculations. By examining the renewables issue from an electrical engineering perspective, and exercising due regard for the limited capability of current and future electrical generation and transmission systems, this book attempts to provide more realistic statistics for the levels of power which could be extracted from sustainable resources in the critical time frame of 30 to 40 years. The engineering logic leads inexorably to the importance of taking a global outlook on the switch to renewable power supply and transmission - an outlook which has some surprising and uncomfortable ramifications fo

Jazz photography has attracted increasing attention in recent years. Photographs of musicians are popular with enthusiasts, while historians and critics are keen to incorporate photographs as illustrations. Yet there has been little interrogation of these photographs and it is noticeable that what has become known as the jazz photography 'tradition' is dominated by a small number of well-known photographers and 'iconic' images. Many photographers, including African American photojournalists, studio photographers, early twentieth-century emigres, the Jewish exiles of the 1930s and vernacular snapshots are frequently overlooked. Drawing on ideas from contemporary photographic theory supported by extensive original archival research, Sight Readings is a thorough exploration of twentieth century jazz photography, and it includes discussions of jazz as a visual subject, its attraction to different types of photographers and offers analysis of why and how they approached the subject in the way they did. One of the remarkable things about this book is its movement back and forth between detailed archive research, the empirical documentation of photographers, their techniques, working practices, equipment etc., and cultural theory, the sophisticated discussion of aesthetics, cultural sociology, the politics of identity, etc. The result is both a fine scholarly achievement and an engaging labour of love. The primary readership will be those with specialist interests in the history of jazz and the history of photography. The audience will include jazz scholars, musicians, critics and fans, along with photographers, photography scholars, art historians and those generally interested in the history of visual images. It will be an essential text for teaching as well as research in the fields of music and photography. It will be of interest to those teaching and studying within cultural studies, American studies, African American studies, critical race and ethnic studies, history, English and sociology. There is also a significant readership for jazz and photographic history outside the academic context. It will be of interest to the media, the museum world and the general reader with interests in music or photography.

This powerful, eye-opening book is a must read I wept as I read it as it helped me understand the root of some false doctrines we were taught under a prior ministry...doctrines that negatively impacted our family. Know the truth, it will set you free. Just because an ideology is promoted within a church by someone with a title, doesn't make it God's ideas J. Nicole Williamson-King's Lantern Ministires The Mixture, identifies four major heresies in the American Church. In recent years Alan identifies the tidal wave of Biblical heresy and false doctrines that has invaded and swept over the American Church. This has caused many to stumble into sin. Believers are being deceived and destroyed because of doctrines that do nothing but tickle the ears.

Additional Contributors Include R. J. Pumphrey, E. Otto Hohn, Emil Witschi, And Others.

Are you a country music fan, or a blues, folk, jazz, or rock fan? Better make that "Are you a music fan?"

This is a true story of man - a real pioneer - who was driven to capture the music that came to form the basis of today's popular music. Art Satherley is referred to in many a biographies of stars from yesteryear.

He was born in 1889 in Bristol, England. This Bristolian travelled the southern states of America recording real American music. He said it was like the music from home. No place was too far or too distant for him to take his primitive recording equipment. He used school halls log cabins, hotels, anywhere - even a funeral parlour - as locations to record. Blues artists such as Ma Rainy, Blind Lemon Jefferson, and W. C. Handy were on his recording log, this list could be a hundred names long. Then, there were the hillbilly, down-home country folk, another long list of now legendary names, ranging from Gene Autry to Roy Acuff to Marty Robbins, that Art Satherley was responsible for.

Arthur worked for the great inventor Thomas Edison at the Wisconsin Chair ompany before being installed as recording manager at the company's record-pressing plant called the New York Recording Laboratory, which included Paramount records as one of its labels. Uncle Art Satherley eventually became vice president of Columbia Records, retiring in 1952, and the history and development of the recording industry are intertwined with Art's captivating professional journey

Uncle Art's story is told in it's entirety for the first time in Uncle Art by a fellow Bristolian and musician Alan John Britton. Britton includes his own background and the discovery of this fascinating story. It includes Arthur's childhood and schooling and some history of Bristol and the important role that the city's port played in the movement of settlers and trade to the New World.

Are you a country music fan, or a blues, folk, jazz, or rock fan? Better make that "Are you a music fan?"

This is a true story of man - a real pioneer - who was driven to capture the music that came to form the basis of today's popular music. Art Satherley is referred to in many a biographies of stars from yesteryear.

He was born in 1889 in Bristol, England. This Bristolian travelled the southern states of America recording real American music. He said it was like the music from home. No place was too far or too distant for him to take his primitive recording equipment. He used school halls log cabins, hotels, anywhere - even a funeral parlour - as locations to record. Blues artists such as Ma Rainy, Blind Lemon Jefferson, and W. C. Handy were on his recording log, this list could be a hundred names long. Then, there were the hillbilly, down-home country folk, another long list of now legendary names, ranging from Gene Autry to Roy Acuff to Marty Robbins, that Art Satherley was responsible for.

Arthur worked for the great inventor Thomas Edison at the Wisconsin Chair ompany before being installed as recording manager at the company's record-pressing plant called the New York Recording Laboratory, which included Paramount records as one of its labels. Uncle Art Satherley eventually became vice president of Columbia Records, retiring in 1952, and the history and development of the recording industry are intertwined with Art's captivating professional journey

Uncle Art's story is told in it's entirety for the first time in Uncle Art by a fellow Bristolian and musician Alan John Britton. Britton includes his own background and the discovery of this fascinating story. It includes Arthur's childhood and schooling and some history of Bristol and the important role that the city's port played in the movement of settlers and trade to the New World.