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Globally, poor hygiene and sanitation contribute to more than 1,000
daily deaths from diarrhoeal diseases among children under the age
of 5, while two thirds of urban wastewaters are discharged without
treatment into lakes, rivers and coastal waters. Across Europe the
percentage of the population connected to wastewater treatment
plants varies from 14% to >99% with many reliant on unsuitable
decentralised sanitation systems or no wastewater treatment at all.
With less than a decade left to achieve the 2030 sanitation targets
as set out in the Sustainable Development Goals, there is an urgent
need to develop new treatment solutions that can be rapidly
deployed to meet the needs of growing urban and peri-urban
populations, together with under-served rural communities. This
book discusses decentralised wastewater treatment and the role of
nature-based solutions within the context of the twenty-partner
international INNOQUA project. INNOQUA set out to develop and
demonstrate a suite of modular, low cost, decentralised solutions
that use the combined capabilities of earthworms, bacteria,
Cladocera and micro-algae to deliver nature-based primary,
secondary and tertiary treatment - followed by UV disinfection.
Design and operation principles are outlined, together with
performance data and practical feedback from pilot and
demonstration facilities situated in eleven countries from Ecuador
to Scotland and India. Barriers and drivers towards more widespread
uptake of these technologies are also examined, alongside an
exploration of existing markets for nature-based sanitation in the
Global South.
Youth and Rock in the Soviet Bloc explores the rise of youth as
consumers of popular culture and the globalization of popular music
in Russia and Eastern Europe. This collection of essays challenges
assumptions that Communist leaders and Western-influenced youth
cultures were inimically hostile to one another. While initially
banning Western cultural trends like jazz and rock-and-roll,
Communist leaders accommodated elements of rock and pop music to
develop their own socialist popular music. They promoted organized
forms of leisure to turn young people away from excesses of style
perceived to be Western. Popular song and officially sponsored rock
and pop bands formed a socialist beat that young people listened
and danced to. Young people attracted to the music and subcultures
of the capitalist West still shared the values and behaviors of
their peers in Communist youth organizations. Despite problems
providing youth with consumer goods, leaders of Soviet bloc states
fostered a socialist alternative to the modernity the capitalist
West promised. Underground rock musicians thus shared assumptions
about culture that Communist leaders had instilled. Still,
competing with influences from the capitalist West had its limits.
State-sponsored rock festivals and rock bands encouraged a spirit
of rebellion among young people. Official perceptions of what
constituted culture limited options for accommodating rock and pop
music and Western youth cultures. Youth countercultures that
originated in the capitalist West, like hippies and punks,
challenged the legitimacy of Communist youth organizations and
their sponsors. Government media and police organs wound up
creating oppositional identities among youth gangs. Failing to
provide enough Western cultural goods to provincial cities helped
fuel resentment over the Soviet Union's capital, Moscow, and
encourage support for breakaway nationalist movements that led to
the Soviet Union's collapse in 1991. Despite the Cold War, in both
the Soviet bloc and in the capitalist West, political elites
responded to perceived threats posed by youth cultures and music in
similar manners. Young people participated in a global youth
culture while expressing their own local views of the world.
Youth and Rock in the Soviet Bloc explores the rise of youth as
consumers of popular culture and the globalization of popular music
in Russia and Eastern Europe. This collection of essays challenges
assumptions that Communist leaders and Western-influenced youth
cultures were inimically hostile to one another. While initially
banning Western cultural trends like jazz and rock-and-roll,
Communist leaders accommodated elements of rock and pop music to
develop their own socialist popular music. They promoted organized
forms of leisure to turn young people away from excesses of style
perceived to be Western. Popular song and officially sponsored rock
and pop bands formed a socialist beat that young people listened
and danced to. Young people attracted to the music and subcultures
of the capitalist West still shared the values and behaviors of
their peers in Communist youth organizations. Despite problems
providing youth with consumer goods, leaders of Soviet bloc states
fostered a socialist alternative to the modernity the capitalist
West promised. Underground rock musicians thus shared assumptions
about culture that Communist leaders had instilled. Still,
competing with influences from the capitalist West had its limits.
State-sponsored rock festivals and rock bands encouraged a spirit
of rebellion among young people. Official perceptions of what
constituted culture limited options for accommodating rock and pop
music and Western youth cultures. Youth countercultures that
originated in the capitalist West, like hippies and punks,
challenged the legitimacy of Communist youth organizations and
their sponsors. Government media and police organs wound up
creating oppositional identities among youth gangs. Failing to
provide enough Western cultural goods to provincial cities helped
fuel resentment over the Soviet Union's capital, Moscow, and
encourage support for breakaway nationalist movements that led to
the Soviet Union's collapse in 1991. Despite the Cold War, in both
the Soviet bloc and in the capitalist West, political elites
responded to perceived threats posed by youth cultures and music in
similar manners. Young people participated in a global youth
culture while expressing their own local views of the world.
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