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捕鱼游戏手机版

时间:2020-05-31 04:23:40作者:Mckay

导语:在线领A片【AG88.SHOP】捕鱼游戏手机版“The lo\nge/r the sup】ply 】chain, the m/ore 【is【 wasted/”
捕鱼游戏手机版Green growth: promot/ing i【n【n】ovation and sus/ta\in/ability to foster busines\s in Europe\【Szi】get m】us\ic fe【【st】ival in Hungary/ sh】owcases its gre】en /c/\redentials\Te】xt sizeAaAa/A s\how【case of t】ho/usands of completel\y sustainable f\abrics is co】ming to London, or】ganiser The Sustainable【 Angle has announced.【The not-for-profit o/r/g/anisation has been a rele】ntl】\ess/ 【s【upporter of innovative/ lower\ carbon solutions to fashio/n&rsquo【;s biggest problems【 since 2010 and hopes that this/ \ev/ent 】will encourag/e ev/en/ more /designe】】rs and creators【 to adopt 】respo/n【sible solutions.】This will \be the ninth e/dit】ion of the Fut】ure Fabrics Expo which is the l\argest sho【wcase of sustainable fabrics of its k】ind. /With each f\abr【ic, informa/tion about where it has com/e from and 】/the/ environm\e/nta【l footpri/nt\ of【 its】 manufacture w\il/l be/【 provided. I【ncreas【ing tr\an/sparency in【 how our clothing i/s made is on】e\ way to he/lp bot【h designers and co【nsumers to 【make responsi\ble choice【s.Materials /o\n show will】 include 】the i/ncreas\i【ngly popular TENCEL Lyoce\ll and Modal as well as【 several fa/brics th】at take an innovative approach to post-cons【】umer recycling. Wi\th fashion waste /firm【ly in】 【the spotl【igh【t this season, there is a real dri【ve from /\consum】ers towa/rd more circular soluti【ons\】.These m\ode【rn approa\】ches will be e/xhibited alongside co/mpanies that ch】ampion t/rad\it\ional sustainable ma】te/rials/ like line/n and bast. Although less common i/n modern designs, these ancient f【】ab/rics are biodeg】radable and water-efficient. 【The plant fi【b【res fr】om 【】【whi】ch\ they are grown can ev\/en sequester C【O/ from the atmosphere.Founders of the expo, 】The【 Su】stainable Angle, hope t】o change the fash/ion i】ndustry \for the bet/ter s【o that, instea/d of stri】ppin/g resources an/】d p/oll\uting environments, \it can【 have a 】po/sit/i/ve impa【ct on n\ature an\/d the communities that 】\make o】ur cloth/es.Read/ More | W\【hat is Tencel? \T//h【e s\ustainable fabric e/v【eryone is 】talking /aboutClaire\ Bergk/am\p, Global Director of S【us【ta】inability and Innovation, Stella McCartney (left) in/ 【convers\ation/ with Orsol/a de Castro, Co-foun】der of Fashion Revolution】 (right)【\.Suzanne Plunkett /The 【Sustaina】\ble AngleAs well as showing off materials th\at designers can u】se t】o /decrease the e】nviro】nmental impact of t\heir own 【de】signs, the F/uture】 F【abrics\ Expo will also h【o\st panels to h\elp】/ ed/ucate atte\n】de/es and fac\ilitate discussion between industry exp【e【rts. Panels for\ the ninth Future F【abrics Expo will b/e】 focus\ed around r【egenera】t\i】ve, circul/ar ap】proaches to sust\ainable des【ign and how fashion can be a “powerful force /for positive change”.Future\【/ Fashion ExpoS\uzanne Plunkett /The 【Sustainable AngleAt 】a /p】an/el at last 【year’s event, Claire Bergkamp, Glob/al Director of Susta】】】inability and \Innovatio】n at Stella\ McCart/ney emphasised t\he value【 of eve\nts like t\his i】n helping to eradicate unsustainable mat】er\ial\s from t【he【 fashion in【du\/stry; “We have to \repl/ace them with i/nnova】t\ive, sustainable alternatives. The o/】ther half of inno】vati】on in the【】 future of fabrics has to be about rethinkin】g t【he syst】em【s 【tha】t we /have now…/【How can we find lower-im【pact ways o\f【】 】creating things?”.Part of the /Expo last year al】】so in【cluded two curated areas dedic\ated to fashion bra\nds fully embraci\ng responsib/le s】our\cing and circularity in thei【/r 【collections. New collaborati/on/s【 between leading designers and companies c/reating inno】vative new material\ technologies are the ideal outcome from this event.Suzanne Plunkett /The 】Sustainable A】ngle【The \【event will take place from the 29th-3】0th Januar/y 2020 at\ Victoria House, Bloomsbur\y Square, 】L】ondon. Tick/et registratio/n f/or de【【signers/ and brands /can be/ found h\er【e.Share this article \ 】More /from l\ife

A/ "monster fatberg," consisting of eve\rythi\ng that shou】ldn't\ 【have /been flu【shed 】down a】】 toilet or poured d【\own a \si\nk, has【 been d【isc】overed/ in Devon, E\n\gland.South We/st /Water (SWW) says the berg【, which\ i/s belie/】ved to the larg\est e【ver found in\ Devon, is\ 64 m【etres in length.To pu【t this into perspective, 【it /is 7 metres lon/ger than the height 【of Italy's Leaning Tower /of P】】isa,【 1【2 】metres longer than the he】ight of/ Nelson【's\ Colum【n in London, 【and 1】7\ metres【 lo】nger t/ha】n the \hei\ght of P/aris【'【 //Arc de Triomphe.It is 【f\ormed of ma\/ny\ wa【\ste 】products, including】 wet wipes, co【ngea/led fat, oil and grease inside the sewer.An【d the/ 【remov】al process isn't expected to be s/imple."This is g/oing t\o t/ake us several weeks to remove," SWW's Director of Wastewater Andrew Roantree said/ 】in a vi】deo \stat【/em/ent \on Twitter."I】t will b/e a difficult/ exercise for our guys, and we ne/ed to】 \do/ it to protect【 the bath【ing wat【er [on the c】oast]."Work to remove the /fatber\g is due to begin on F/ebr/uary 4, /where sew】er 】w【orker\s 】will【 use hig/h-pressure j\et【s, shovels, pi】ckax\es and speci/alist equipment to tac】kle】 the m\onster b【it by bit.The】】se sewer blockag【es costs customers &p】o/und;4】.5 mi【llion a yea【r," South Wes\t Wat/【er w/arne\d."Every ti/me a wet wipe is/ flushed or oil p/oured 【down the】 drain, \there i\s a risk these it【ems【 could \c\ause sewer blockages. This i/s【 extremely unpleasant and could happen in your own home."London '/b\erg'\However, Devon's discovery \is still no 】m【atch for the enormous 250 metre【-lon【g fatberg found in London's sewe】r system i】n 2017.Small p【ar/ts of this chunk o/f waste were later exhibited at the Mu/seum of London,/ while the rest was rec/ycl\ed as bio【fuel to power Lond】on's bus network.REA】D MORE:【/ "BI【N it, don't 【BLOCK】 it!" -】 Monster 'fatber/g' is foun/d in London\ sewerREAD MORE: London】's 'fatberg' moves fro\m sewer/ /to museumShare th】is art\icleCopy/past\e the ar【t\icle video embed link below:CopyShareTweetShare】sendShareTweetShar\esend【MoreHideShareSendSh\areShareShare【SendShareShareYou might al【so like 】 】 】】 \ A circular economy is within \reach if Eu\rop】/ean busines/ses grasp the opportunity ǀ V\iew / \ \ 】 】 】 \ 【 Th】e Ugandan/ singer /tu【rning plastic waste int】o d【rums \ 】 \】 【 Our d\【isposable culture must 【end. We need t/he ‘right to repair’【 not/ recycle our s【martphones】 ǀ】】 Vi\ew More a\boutwastewast\e disposalEnvir/onm/entEnvironmental protection 【 】 Brow/se today&\#0【39\;s tags

Text sizeAaA\a&/ldquo;/It’s \unfa【ir t\o say they are jumping 】on t】he ba/n/dw/\agon, 】natur【e documentaries have always \been motivate\d by conse\rvation.” 【Sa【t in his office at University Col】le/ge L/ondon, lec】ture【r in/ sci/ence communication, Dr Jean-Baptiste Gouyon\/ expla】ins to /me \how nature documentaries/ have come \full circle by\ embracing th\【eir roots in envi/ronmentalism.【 In the early days of TV【, he reveals, f\ilms a\bout/ animals\ helped】 to estab【lish th\is brand new medium【 as 【/a source】 of trustworthy informa/tio/n. Docum】enting and catalo【】guing biodiversi】t\y, they told 【timeless stories of 】creatures no\/t s【o dissimilar to u/s.“Befo【\re \Attenborough was Atten/borough, it w/as common to see scientists 【at work,” Gouy/on says, but things began t\o change】/ as the \century wore on. With the i】nc】\reasing doom and gloom of environmen/tal cris/is loo【min【g ov\er the general 【population, film【makers rejec【ted 】stories abou【t wh\at was】 reall】y h\appenin】g to 【th/e pla【net. “\The【re 】was a documented reluctanc【e to eng【age with envi【ronmental is】sues, they d】idn&rsqu\o;/t】 wa\nt to push audiences 】away.”D】avid Attenbo【rough \makes a spee】ch /at /a cerem】on】y f/or \t/he\ naming of the RRS Sir 【D】avid Atte【nboro\ughAsadour Guzelian/ASSO【CIATED 【PRES【\/SAsadour GuzelianDuring the【 1990s, however, things began to change. “A s【hift in the cultural context has happe】ned and t】here is more acceptance \that 【we are in a bad sit\uation.” Having been bombarded with years of ongoing【 catastrophe, pe/o/ple had becom【e too w//】ell informed to keep tolerating a\【 w】a】te\red-down /version of【 the t【ruth. It has beco/me imposs】ible to ignore /he】/ says, “the state of【 the】 \plane/t i【s wh/at /it i【s.&【rdquo;Now 】we&rs】【qu\o】;re hooked. 14.1 million people watched\ the BBC&/rsquo;s【 27 series, Blue Planet II mak\ing it the】 most-watch【ed 】T\V prog】\ramme in Britain that 】year, /a\ccordin\g to the BBC. Natural history】 persona】/\li】ties lik\e David Attenborough have 】bec/ome big 【stars, successfully\ transf】/orming from amateur ecologists to/ folk hero【es for those p】lagued by eco-anxiety. We have beg\un to recognis【\e the p【ower of /t\he e】nvironme/nt/al film and\ its potential make us \think a lot harder a/bout t/ackling proble/ms lik【e plasti】c pollution.Waste from wors】h【i//p: solvin\g Indi\a's unique river pollution p】【roblemWATCH | Shrink【ing pelican b/reeding grounds restored after BP\ 【oil spillSerbia will plant 1 billion tre】e\s\ in【 o【rder to reach net zero t\ar\get by 205【】0The 】power of movi/ng pictu【res“There is no doubt that film as a mediu】m has massive power to elicit/ an emotional rea\ct/ion,】&rdq】uo; says\ Gouyon\, “but there isn’t 】really any】 hard evidence to/ prove this yet.&r】dquo【; More s/o than the\ writt】en w【ord, these documentaries 】seem to pique our interest/ in the\ p/lanet and poten】\ti/ally even d】rive/ 】us to take action. A sur/\vey of U】K superm/arket/ shoppers found th【at 88】 per】ce\//nt o【f people【 who watc】hed Blue Plan】et II\ had \changed their behaviour \as a resul【t.After watching th\e \series\, Da\río Fern&aa\cute;ndez-Bellona, a postdoctoral rese【archer at Univers】ity College 】Cork, noticed th【at th/e programme w】as consistent/ly \tr\ending on twitte/r the evening】 it aire】d. He started to wonder just how much these\ 】docum【entaries are able to affect our behavio\ur. Using 3000Zoom\ing in on t【he】 future of el\ectric moto】rcycles twee\ts and figu】res for v//isit/s to the Wiki/pedia 】pages 】of the animals f/eatured in【 the series, he a/nalysed this data to see what, i/f any\, /patter\ns of behav】iour were influenced by watching the show.His rese\】arc【h fo\und /that 【just 6 percent 【of th\e actual programme 【wa【s about envir【onmental issues a】nd/ a m/【er\e 1 【percent of tweets me/ntioned these t\o】pics.【 T\hese figur【e/s/ didn&rs/quo;t/ look promisi\n】g. Docu】mentar】i】es clearly a\ren/&rs】quo】;t/ usel/ess for conservation, howe/ver, as they \al\ter ou【r perception of wi\ldl【if】e in other 【ways. The Wikipedia pages for each of the【\ animals that appe\ared 】\in episodes of Blue Plane/t【 2 had an annual spike】 【/in visits imm【ediat【ely f】】ollowing the【 broadcast of/ the s【how. Ev\e/n this s/mall connection with nature could be enough to create 【an awa/ren/ess crucial to avoiding /【an exti/nction.One of the mos\t successful elem\en/ts of the moder\n nature】 docume/ntary is t\he &ld//quo;ma【king-of&r【dquo; segment. Usually a short section】】 s【eparate【 from the main show t】h\at reveals how/【 s【ome】 of the scenes we】】re shot, the “making-】of&】rdq【uo;\ le【ts us s【ee behind】 the \scenes【.【】 It a\lso helps to break dow/n the】【 i\nvisib【le wall bet/ween the viewer and t】h/e animal】s. “Films show /nat\ure with】out \humans,/ not \as somethi】ng t/o en】gag】e with,【&】rdquo; explains Dr Gouy】on, “【the cameraman can be a role model for ordinary people \and express more emot【ional responses.” It h/elps the audien/ce】, /usu】ally tuc】/ked a/way in their living room in increasing\ly u\rban\ised societies, to engage w\ith a world they hav/e bec】ome】 distant from.D/ocumenting the fut】u/】reEngagem【ent is un【do\u【\btedly the best /way to get us to\ care\ more ab/out the state of the planet. I【f we】/ want】 t\o mak【e film\s mor\e effective in the future, Gouyo】n 【【【s【ugges】ts, we nee/【d to encourage that en\gagement by giving the came【ras to local populations to document their own experience/s. &ld/q】uo;We can’t go by the impe】rialist model of Brito/n’s going\ and watching 】wil\dlife.”Portrayals of enviro】nmental i【ssu【/es can have【 different\ effect\s in diff\erent countr【ies.\UnsplashWe /respond 】far b/etter, \it seems, to films about environm【【ental issues that resonate /with our own \life \experie\n】ce\. \A good exa】/mple of this/ is】 the international re/sponse to the d【ocumentary T/he Co\ve.】 The 2009 Oscar Award/-win/ning piece about do\lphin hunting/ 】in Taiji, Japan cause【d indign/【ant outrag\e amon】g west】ern audien】ces. Its thriller-style tr/e【atment of ‘uncove/ring&【rsquo; the practice using spy-cams didn&/rsquo;t/, however, go down we】ll \with/ audiences in t/he \co/\untr【y【 wh】ere\ it was shot an【d many show【ings/ were met with protests.This k【ind of document/ary c/l/early raises a】wareness but\, with\i\n the communities a】ble to acti\vel/y change pr【actices har\mful to the en/vir\onment it rarely has the same impa】ct. Despite /already 】】having risen to astronomical levels o\f popularit】y, there【 is still a lot of scope for t】h\ese programm】es to do more 【fo/】r conservation. Choos【ing to cha】mpion l\oca/l voices co/uld spell the end for popular ec【o-h/eroes like David Attenborough, but it m【ight【 just 【be the kind of convincing many peop\l/e n【eed to take action on cl/i【ma【te change.Share th/\is article M\ore /from l】ifeOne of Greece&rsquo\;s 】【most】 popular tourist d\esti/n\atio/】ns is at risk of ecological and economical disaster as drilling【 companie\s pr\epar】e 】to exploit /thou【sands of kilometres of】 \la/nd, the World Wide Fund for N\atu\re【 (WWF) has】 w】arned.The Gre/ek government has allocated/\ 17/,000 square kilometr【es of Zakynthos to o】il/ c\【ompanies, leadi【ng to activi//sts to 【warn of t【he potential effects drilling fo【r o/il and gas could have.&l/dquo;A】bou】】t a third 【of \】the GDP of the Ionian islands comes from tourism. S】o,【 im/ag【ine t/he scenario【 【of a/ minor】】 or greater【 oil accident and what d【oes that】 mean f【or these is】l/ands】,&rdquo】; said De】】mitres】 Karavellas, t/he\ /direc/\tor-gener/al of WWF Greece.To 【hel】p 【raise awa\reness of the issue, the【 WWF France /sailing boat ‘Bl】ue Panda’ is tra/\vel】ling【/ the Ionian Sea, informing 【islanders at destinations such as Zante, Itha\/ca and K/【e\falonia about the problem.WWF is particularly concerned about the protecti/【on/ of \the loggerhe】ad turtl【e.S/hare this articleCopy/paste the article video embe】\d link below:CopyShar/eTwe【e\tSharesend/ShareTweetSharesendMoreHideShareSen\dShareS】hareShareSe/ndSh/areShareYou mi/g/ht also like/ \ / Europe \acc【used of 'turning a b【li\nd eye' to risk /of corona【virus in migrant camps / 】 Greece use【s】 state TV to\【 teach sc】hool children during coronavi】rus loc/kdown \ \ \ / 【 / Migrants arriving in Greece 】say the】y have no pr\otection again\st coronavirus \ 【 Mo【re aboutGreeceEcologica【l【【 cris/is//WWFEnviron/men【tal prote【ctionNa【tur【al\ 】gasOil 【market Brow\se to/day/'】s tags,见下图

Deep sea explorer Jean-Michel Cousteau 【teaches UAE childr\en abou\/t \ocean c/o】nse\rva/tionGlobal energy\ demand\ debated at A】/\bu Dha/bi Sustain】abilit\y WeekWatch: British sculptor cre\ates a【 /marine e【xhibition\ in Tuscany\【9;M/onster fa】tberg',\ bi【gger than the 【Tower of Pis】a, discov/【ered in D】evon /Text s\izeAaAaAlt】hough he wa\s only born in 1984, Hung/arian G\&a//acut\e;bor M【iklós Szőke is\ al【ready a promi/】nent artist of the contempor【ary \sc【ulpture scene in Budapest/\. His main a【rtwor\k/s are public an/imal】 /sculp\tures, \noticeable for】 their “lath-style” and enor/mous si/ze. He prefers to\ work with stainless steel an/d hardwood 】ra】th/er /than traditional marble and bro【nze to give/ his art a more "mo】dern aesthetic"\.The A】tlanta Falcons recently c/ommis】sioned/ the arti\st t/o erect a giant falcon 【statu【/e in time for【 the open/ing】 of【 their n【ew Mer【cedes-Benz Stadi/\u【/m. /With a wingspan of\ /21 meters\ and a heig/ht/ of 13/ meters\, 【the mas】sive stai\nless steel sculpture \【is now the largest bird re/presen/tation in the worl【d. “Calo\/ssus” in Samo【rin \is the larges\t equine st】atue】 in \Europ【e. Other sculptures\ 】by G【ábor can be found arou/nd the world fro】\/m 】Gstaad\ to \Bahrain, 】Washi】ng\ton\ D.C. \to Niz【h/ny Novgorod. View/ this post on In】stagramMa 4 é【ve avat【tuk sz&ia/cute;vemhez egyik legközelebb álló szobromat, a 】Frad\i sa\st, Európa le【gnagyo【bb á】l】l/and&\oacute; k&o/】uml;ztéri mad&aa】cu\te;rszobr&aa】\/cute;t, am/elyet a vilá】\gon sz/in【te mindenhol】 ismernek. A】z a szeretet és b&uum/l;szkeség, amit szobromo\n \keresztül a\z&oacu【te;ta is k/apok nap, mint n\ap, felbecsülhetetle\n, 】e】zúttal kösz&】ouml;】nöm! Hajrá F【radi! ?【???【 #ftc #eag】le #hajrafra/di #gaborms【zoke 】#bud】apest #hung/aryA post shar【ed by Gabor Miklos Szoke, Art\ist (@gab/ormszoke) o\n Aug 9, 2018 at 4:25am PDTIt’s 】【not a surprise /H\ungar\/ian 【media call\】 him “H/un/gary/&rs/quo;s \coolest export” a\nd that he made it into Hungarian Fo\rbes】 Magazin】e&rs】quo;s “【T/op 10 under\/ 30&rdq\uo/; in 2015, or t/hat he has received】 numerous national and international aw【ard【s. Despit】e all the 【success at suc\h a young age, G【&aacu【te;bor never 】/forg\et【s that his sculptu/res are not just about inst【antl/y recogniz\abl】】e 】shape】s and shee\r magnitud/e. View 【this post on InstagramRise Up! /T\his mott【o【 can\ best /desc/ri/be】\ m【y sculpture\, the A/tlanta Falcon! S/he is proud, f】ree \and authoritative at the\】 same time.】 \I c】a】n't wai/t/ t【o see her again! 】???? @mercedesbenzstadium #amb】se #mbs\art #merc【edesbenzstadium #atla【ntaga/ #sbliii #【atlan】t/afalcon #touchd/own #momen【t\ #riseup #publicsculpt】ure #】arr【 #desi\gn #co【ntempor/arya/rt #gabormszok】e #\【atlantafal】con/ #at】lantafal\cons #superbowl #【superbowl【53 #sbliii #a【tlantaA post shar/ed by Gabor Miklos Szoke, Art\i】st (@gaborm【szok/e\) o】n Jan 28,】 2019 \at 8\:03am PST【We sat d/ow\n with him and Berta Hauer, his\ man\ag【er and partner, /in】 their i【mpr【essive stu/dio locate】d \in/sid\e an 【】abandoned/ /f【actory in the/ south o/f Budapest, wh\ich won the d\esign of【fice of th】e year award in Hun】gary /i\n 2016,【 t【o \ask what's the message be】hind/ his ar\t. View th【is post 】on InstagramDante Imperium Part】y in the G【abor\【 M. Szok【【e Studio ????/???】???? #】dant【eimperiu\mbrut #prenyeparty #welcometom【yworld #industria】】lparty #【gabormszoke #studiolife #sex【 #danteem】pire w】\ith @b\ertaha/uer ❤ʊ【39; 】phot/o by @gregusmateA pos/t 】/shared by 】Gabor Miklos Szoke, Arti\st (@gaborm】/szoke/) on Jan 5, 2018 】at 2\:05pm PST/When did your interest 【\/in art and sculp/ture begin?"I’ve been 【i【nvolved in crafts\ since child【hood. I a【lways drew /a l】ot and made little sculp/tu/res】. Twelve /years ag【o, I w\as a/t an art 【retr】eat wi】th\ my】\ univer】sity class\ma\tes and it \was there that I fi\rst/】 gathered w\ood planks/ and stic【ks\, a/nd rea\/liz\ed/ that it could 【actually be a pretty cool\ mean of artistic expression. It&rsq/uo;s almos】t like drawing thin【gs in spac/e【 whilst【 enablin】g you to 【mak【e massive art pieces. I quickly realized/ that this would b/e something big beca】u/se on the way back fro/m the art retreat I put the makeshift sc\ulp\ture\ 】【on top o】\f m【y car and【 /ever/yone was taking photos as I was driving【 away. So I decided to 】pursue t\his \style to make a bigger impression with my sculptu/res. It’s also a way of keeping things fr】o【m th/e past/ an\d /givin\g the【】\m a new exist\ence."What are the sustain\able methods /】a】nd p【ractices yo】u empl【oy\ in 【your a】rt?"My w\hole ar【tistic motto is /giv】ing old things new meanings, kind of 】lik】/e w【ith my stu\dio. Back in its glory days, the Manfr&e\acut】e;d Weiss Steel \and Metal Works he】re in Cse【pel【 was t【he second biggest in Europe. I’m r/eally inspired by old thin\gs because d【espit/e their age/, they tend 【to be】 mu\ch s【turdier【 than】 new ones.""Whe/neve\r I ca】n, I\ create my art from reused materials, tar\ a【nd found objects. Ten years ago around Chri\s【tmas time 】I】 was lef\t with a \lot 】of wood 】that I wou\ldn’t/ n\eed【 in the coming ye】ar. S】】o, in/stead\ of throwing it 【al/l out, I made l/ittle Christmas tree sculpt【ures and sold【 them. Since then, it /has become a/ 】traditi】on and I always do this around Christmas 】ti\】me】. 【On】 the o【n/e h/and, /nothing gets thrown away \and on the other it saves thousands of 【pine t\rees bec/ause 【people\ who【 buy my “trees” won’t be buy/ing real one】s for ma】ny years to come." View 【/this p\ost on InstagramChristmas gift 【alert/: My new X【mas】/ trees are out, save a tree and buy some/ a【rt☝️more/ i\nfo】r\mation/ 【on the /web】site, \click \on BIO;\)/??A post s/hared by Gabor Miklos Szoke, Arti/st (【@gabormszoke)\ on Nov 16, 201】8 at 【7:25am P】ST"Enviro\nmental a】wareness in ge/neral is 【something\ that/【 is very 】important for Berta an】d m【【/yself. B】ack in 20/10, righ【t /a\fter fi\nishing my s【tudie/s, I represented Hungary at a/n/ 】international art\ comp】etition o\rganized by th\e【 Collegiu】m Hungaricum Vienna. The th\eme was the Dan】ube Ri/ver. Unfortunately, &ld】quo;civilization” ha\s dec/imated the once v/ibra\nt river an\d turne\d it i】nto an oily, contaminate【d smu/dg/e. In \the Danube River, the sturg】eon is on the brink of extinction. Th】ese f/i【sh are e【xtremely sensit/ive to】 environmental p【re】ssures, making the\m/ valuable indicators for healt【hy【 rivers. To\ emphasize how dire the situation \is, I ga【\thered pla\stics and debris f【rom the Dan【ube to create "The Last Stu/rgeon" piece. These m/at【eria【ls, the manner of\ formulation, the fish&r【】s【quo;s f【ractured ski/n – all this re/fers to】 its unnatural 】way of perishing an/d \calls 【on the viewer to take greater responsib/ilit【y/ for our h】【itherto ne\gligent attitudes towards the species t【hat sh【are t【his planet 】with us【.""T\he Last /St】urgeon" sculpture in【 ViennaSoc\ial \responsibility\ in general is of great importance to 【you. What ar】e some of the\ most press\ing cause/s fo】r you c】urrently? How do you address them in your a】rt and what else are you【 doing 【to fight for th\】em?"In 2014, 】I wa/s// as/ked to create a symbol for t】he Tollwood F】esti\val in Munich/. This festival is k】n】own fo】r its stance \on envi\ronmental and /ani/mal 】welfare issues. T\hat year the f【\ocus was】 on the \ter】rible conditions endured by fa/rm animals 】so I create】d the “【Sad P【ig”, a gi/ant p【i【g statue t】hat i】s】 far too】 big for the nar/row ste\el cage it is forced to live in. A】【t that ti/me, Munich【 had/ the/ hi【】ghest pork consump\tion in\ all of/【 Europe/ so I \wa\nte】d to r\aise awareness about the animals’ t/ragic fates.""Sa】d Pig"/ at\ Tollwo】od Festival/"Sa【d Pig\" at Tollwood Festival"Also, I try【 to 【do/ what I ca/n for disadva】nta】ged a\】n\d minority communities /here\ in Hungary.\ In【\ 2012 I】/ took part in【 the c】haritable Hello Wood】 art camp/. I d\ec\id/ed to create a tot\em animal in the /form of a “Guardian Tiger” for one of th/e】 poorest v/illages in/ th【【e country, where m】ost members belong to the Roma /mino\rity. The villa//ge endured many hardships and muc】h violence in the pa】st】 】but with the【/ arrival o【f this/ 【“guardian】”】 came media attention and with】 \t【hat, 】g\overnment funds to raise the\ standard of 【/living in this villa/【ge. Th【e villagers love this tiger, t\ake great care/】 【of it, and 】or】ganiz】e an an【nua/l "Tig\er Festi】val". Seeing all this positive \im\pac\】t was one of 【the/ most touchin【g m/oments for me. By do【ing good, good】 cam/e \back to me a】s well because it was this project /t】hat g/ot【 【me global media \attention.""The Guard】ian Tiger【" sculpture"Af】ter the “Guardian Tiger&r【dquo;, the authorities】 of similarly disadvan】taged/ 】lo】c【ales\ started to g/】et in touch with me to brighten up/ the lives of thei\r citizens 【through art【. In 20【13】,【 I installed a guardi/an unicorn in the f【orest near t】he Russian town】 of Vyksa\,/ known for being the largest manufacturer of steel welde\d pipes and railway wheels 【in Russia. The magical creatu】r【e rem/in\ds pe【opl【e that you can be an individual even in a glum, i\ndustrial town. A \si】milar colourful unicorn was create\d the same year in Kazi【ncbarcika, an i\ndu】strial tow\n in Hungary full of apartments' blocks. Lo/cals really【 l\o\ve this 【】unicorn and pla【nt pretty fl【owers on】 the roun\【dabout on which it&rs】quo;s l/ocate\d. I eve【n think that\ one year it won the country&rsq】uo/;s 'Prettiest Roundab\out' award!/""Rainbow Unico【r\n""\I find i/t ve\ry im\portant to improve the visual 】culture of kids so】 that the coming generations kno】\w/ how 】to app】reciate and preserve beauty】. Th【e Hungar】ian town of Érd commis\sioned /\me to bring【 life to local k\ind\ergarten building/s and I d【ecided to get t【he\ ch】ildren in】volv/ed【 by encouraging them to take part in the brainstorm【/in/g process. I 【as】ked them questions like\ what they dreamt of, what th【eir f/avorite】 animals were, et/c. and together we create\d friend】ly animals all around\ the kindergarte】ns./"The Kinder/gart】e】n Project/Eva Szombat"In general, I beli【eve the sculptures in pub/li【c spaces affect 】p/eople&rsqu【o;s l/【ives no matte/r wher【e they are. And 【】as【 for【 【my wo/r/ks, they a\re a【lways\ exactly】 whe【re \they ne】ed to 【be and t/hey always somehow refle/ct and connect to/ the place they are in."Ho/w, in your opinion, does art he】lp】 raise awareness about impor/ta\n\t\ issues\ like a】nimal welfare an/d climate/ ch】a\nge?"In t【erms /of PR and communications, you can do a lot of messagin】g. 【I/ cre】ated a rhino sculp/】ture 【\for the Budapest Zoo in 2013 and it’s a re【curring th\】eme for me. Every ye】ar\ I p/ost a ph】oto of it an/d rem】ind my\ fol】\low\ers/ that this year there are a lot/ fewe】r of t】hem l/ef【t in the wild than the year b/efore." 【View this post on I\nstagra/mVisitin/g Sanyika【 a【t th【e Bartha Factory ?/?@tomi.bartha #【Sa\nyika #Sa】nyib&aacut】e;csi #rhino #rhino/ceros #wild\life #be/echwood #\【sculpt】ure #bigb/oy #gabormiklosszoke #габ【086; 】88;l【4;&【#【1080;клошсё 】82;еA post shared by Gabor Miklos Szoke,\ Artist (@gabo【rmszoke) on Mar 3, 【2016 at 1:20】pm P\ST\"I try to stick /to the animal t】heme /not \only【 be/cause they&rsqu】o;re a cool s【hape【 but because there’s an【 underlying message/ I /【usually want to get across with eac】h work. Because t【he】y are mostly/ on display in public 【】spaces it helps reac/h al/l ag【e grou】ps and social backgrou/nd【s and \ref】lect on the role an】imals pla/y in our lives."Share this article More\ 【from l/ife。捕鱼游戏手机版

Watch back: 【Greta T\】hunber\g says /she/】9;s not nervous a/s she gets ready for America【s trip\Founda/tion promot【es sustainable food 【product/i】【onText sizeAaAa“Every】 time I \have a bath, st】ill now, I say 【than/k you. I sti【ll feel the gratit/ude. Every morning when I wake up and can make/ a cup of tea without building a fi/re, I think ‘god that’s so amazing I ca\n do that.’”I was t\hrille/d when Alex Fisher agreed to meet 【me, k【een to tell a s【tory that has been \【【overloo】ked in the last 25 years - forgotten as a new wave of climate ac【tion sets in. Alex was an env【【iron\m】enta【【l campaig/\ner for se】veral ye\ars in t】he 1990s,\ st\and\ing up for th】e tr【ees w】hen【 go【\vernment scheme/s 】thre\a【tened to\ cut /them down\. For a whole yea【r, she liv/ed outside i】n t【he /fo】rest, often/ /h】igh up in treeh/ouses or &lsq/uo;twiglo\o/s’, abse【iling d】own tree trunks in th【e morning for b】reakfast.\ Magical as it may sou】nd, the realit/y was far from the【 Enchante】d Wood in the 】Enid Blyton se\ries, a/ childho/\】od fav【o【urite of /my intervi【ewee. \For c】ampai【gners like Alex,【 it was a v【eheme【nt form of activism ag\ainst politically mo\tivated deforestation, enforced by【 /law in a bid to build mo/re\ /road【s.&l【dq/uo;&po/und;20 b\illion w【\as the budget&r【dq/\uo;/, s【he recalls. &ldq/uo;They called it the bigg\est road building s/cheme since the Romans.”\/ 【\For the 【activists, the p】roble/m wasn&rsq【/uo;t only the size of the project, but/ the places they had \chosen to bui\ld 】/th【e ro/ads. Alex/ speaks n】ostalgically \of whole /landsca】pes that were destro【yed, 500-year-】old trees】, bluebell forests, wat【/e【rfalls a【nd SS】SIs【 (specia/l si】tes of sc/i【【entific /interest) which served【 】as vital animal habi】tats. “An/ oak tre】e suppo】r/ts hundre】ds of different /species”, she te】lls me\, adding/, “】w/hen you cu\t one【 down, that’【s 500 years】 of gr【owth undone /then a】nd/ 【there.】 I】 pl】anted 10 sapli】ngs from an/ o\ak tree 25 years ago, but \they are/n’t eve\n \/old enough yet /to make a【co【rns &nda\sh; it/ takes【 】30 years.&rdq/uo;Alex's ne/wspape\r clippings from her scrapbook, char\ting 【he/r time at the road protests c】amps\Euronews LivingFrom fashion t】o the f/or\e】stFor\ \Alex, a d/】eep love and r】esp【ect f\//or nature de】veloped\ e】arl【\y on. 【G【r/owi\/ng up on the /outskirts of Brighton, she spent mos】t of her childh\ood cycling in th】e countrysi【\de and 】playin/g in her very own】 treehous】e at the end /of \the garden. As【 a young ad/ult, she moved to Lo/n/don in s/earch \of a career in fashion jo/urnalism, swap】pi】ng her/ rural roo/ts for t/he bright lights of the city.Sh\e ended up 【working 【at Vogue and, wh【】ile \her time th【ere was “unb/elievabl】y excitin【g”, sh】e soon realised that the fashion industry simply existe】d/ to\ \pr】omote what she calls &ldq【【uo;obsolete consumeri/sm.”\ “It wasn’t abou】t// caring”, she /tells m【e, “they may have seasons in 【fashion - //bu】t they take tha】t from n/ature.” What’s in for Au】tumn is out by Sp】ri/ng,【 encouraging a constant loop o\f disposal materi/alism t/hat is pol】luting the earth.&ldqu\o;I【 took som\/e t\ime out after starting my c\are\er t\o 】think about what I car/ed about m/ost.【 We were on course to destruct the planet and when I hear/d about the road p【rotest movement,/ I kne/w\ I\ had to go and take part/ &nd【ash; it wasn&rsq/uo;t /enough【 ju/st t【o talk about it. I needed to act, and I was willing to risk my life in the process.”Ale】\x\ Fish\e【rEu】ronews Living/Leaving London with a friend,】 Alex/ se】t up camp for the yea\r at the Fair】mi【le prot【est s/ite in Devon\. She \speaks fondly of\ how quickly she/ adap\ted to living /outsid】e. &l\dqu/】o;I \r】em\e/mber w\aking up in the morning, making the fir】e】 】and get everyon\e \&ls【quo;breakfast\ed’.&r/\dquo; She【 des】cribes the resourceful ways they\ woul/d\ have\ to【 adapt to w/eather【\ conditio\ns like snow. What】 daily li\fe wa\s like living outside“\Often the】 water butt w【oul】d h\ave frozen overnight a\nd I w\ould literally have to 】gat\her up the snow and melt it to try and m/a\ke people a cup of t】ea.” E【【veryday tas【ks involved cooking communa【l fo/od, “which was always vegan, because tha】t covers everyone”,/ choppi【ng /wood f/or t\he communal fire pit and carrying\ water.&ldquo】;We al/l lived in d/ome-sh/aped b【enders in【 the tree【s,【 made from】 will】ow poles. 【You connecte【d the branches to a platf\o/】rm underneath, and cov【ered it wit】/h waterproof tarp\aulins and blankets from】 the\ recycling centre.” Curious, I ask how 】they【 managed to stay wa【rm, especially【 at ni【ght d/uring the/ win\t/【er months. “Pretty much everyone/ wore ski/】 salopett】es】 th/ey picked up 【from s\ec】ond-】hand shops 】and got used to 【wear】in【g】. And /of course we m/ade wo/od stoves in every bender to huddle/ round - I remembe】【r sitting there in/ just a t-shirt in】 】Dec\ember in【side a treehouse!”T\he 【ha】rsh 【realityBu【t it wasn’t always so tw】ee. The politic【al nat】ure of\ the movement mea】nt that brutal e\victions were the norm w/h【en camping out in certain/ a\reas. 】With t/he same ra【ge she must have felt at the t/ime,\ Alex paints me a p】icture \【o【f\】 the hundreds of security gu【ards, police】 and bailiffs o】n the scene - hir】e】d to 】extract【】【 the ca/mpaigners fro】m t】he trees. &】ld/q\uo;Ther\e w【ere thr】eats o/f sex【ual violence by【 the ma】le/ sec】ur】i\ty, we were fire bombed, it wa\s extremely dangerous”, she re/collects.&ld】quo;】The security guards se\em\ed【 complet【ely unregu【lat\ed. T/【hey were employed by the road \building con\【tr\actors to cu【t us out of trees using【 big cranes called cherry-pickers. At】 one evictio/【n, I was 【str】appe\d to a tree with a 【harness on, when a pr】ofessional climber cut my s\afety line and came a】/n】d grabbed me. I was scared for my life.”\ Photos of the evi【ctions from 】A【le/【x's scr/apbookEuronews LivingThat t】ime she was arreste【d, /she a/dmits. Taken to the police s/ta/tion with purple/ bruises /up h】/er arm from the quick cuffs, she w【as /【photogra】phed and fi\ngerprinted befo\re being let go with a warning. In many ways, Ale/x rec【all】s she was one of the l【ucky \ones. “I \remem/be/r one person fell 】out of a tree a【/n】d ended up i【n a wheelchai\r.&rdquo/; She de/】sc【ribes the end/uring t\rauma from that period in /t/he】ir live【s, t【he so【un\d of chainsa【ws haunting them for years after the\ \pro\test e【nded. The frustration an\d anger behind \it a\ll, the shee/r horror of decimating the landscape kept 】the campaigner】s 】going every day, Alex exp【l/】【ains. &】l【dquo;Bu/ilding mor【e roads seemed a strang【e policy to adopt when the en\vironmental issues were s/\o well known&rdquo】;, she says. &/ldquo;They should have been 【【investing in the railways and in c/yclin\g rout【es./ T【here seemed complete disregard for any】where th\at was environmentally\ protected【.&r\dquo;The magic of th/e tre\esNonethele【s】s, a【 profou【nd sense of 【community\ and joy appeared to enc【o】/mpa】ss the 】m\ovement】 wherever 【sh\e went. “There was so muc\h\ beauty a/nd joy, it was the s】ubtle th【【ings”, Alex la/ments. //“W/【hen you are in the forest twenty-f】/our hours a day, there【 are cert】ain \things you can’【t experience anywhe】/re else. Like how the l】ight 】changes at 6 o【’clo/ck i\n the 】/morning,【 【th】e sou】n\ds of 【t/he rain on the tarpaul\in,\】 an【d wak/ing up to t/he da\wn c【horu\s.&rdquo】/;Sp】en/ding /much of /her ti/me swimmin/g and washing \in the rivers, she r【e/members that magical feelin】g wh【en, “a/ll of a /sudden, a flock o/f swans w】/o/uld just/ glide past/ 】you.” 】T【hose e【xperiences stay with h】/er t【oday as “beautiful moments where you\ just f】elt it 【was 】such a gif/t to/ be alive.”Photos of the \trees fr\o/m Alex'\s scrapbookEuronews Livin】gSpeaking】 to this \brave, humb】le woman, who ha】s never expected any recog】nition for the f/ight she foug【ht in defence of our trees, I get the 】impress\/ion that i\t wa【s an immense//ly positive time in her lif/e. Yes, th【\e brutality o【f 【the evi】ctions was traumatic, but the 【sense of\ sol【idarity p/erv】ading the movement /see【m/ed more powerf【】ul【\. The simp【l/e pleasur\es of/ cooking aro】un/d a fire every night /and the variety of roles th】e com/munity/ would play 】i】n /sustaining the camps. 】I ask h】er \wha/t she means by /this, a【nd she explains h\ow yo】u di】【dn’t ha】ve 】to be/ living outsid【e to /be part o】f the m【o】vemen】t.&ldquo】;At one of the most 【high-profile ca\mps in】 Ne/w【bur【y, e】veryda/y\ peop/le wo【uld/ come o/ut of t【heir hous【es and sa/y - 【who wan【ts a bath? Y\ou would see 70 campaigner【s graciously accep\ting, queuing up【 ou【tsid】e someone&rs】quo;s house【 to /ha/v【e a bath.【”】/ It was /the gener【osity of /the/ community /that allowed them to c\ontinue/, Alex says, and food【 /and 【clothing dona【tions from individuals /that qui】te 】litera\ll】y sustained t】he camps for a number of yea\rs.How does climate action compare today?In the en/d【,/ the road protest move/ment didn’t st\op the\ whole network from being /built, but nume】rous roads and bypasses were cance【lled at the end of 1996. Ac\t\ivists d/id man/age to save a】 l】o/t of 【landscape, \which “fee【ls like a succes/s&rdq】u】o;】【, Alex/ recalls\ /with a sad smile. “【We increa\sed awareness. At l】east 【politi\cians give lip s\ervice/ to\ envir【onmental issu\es n】owa】d/ays. They \didn’t even spea\k a\b【out it back\ t【he【n, and 】I’d like to【 think】 we had someth】ing to do with that shi\ft i/n cons\cious【ness.&r/d】quo;A shot of】 】the treehouse f】rom the/ ground at【 the protes\t campEuronews LivingWhen I \bring h【er b/ack to 】the present mom/ent and ask what she thinks【 abo/ut 【t】【he cl】imate moveme】nt t】oday, she seem【s frustrated. &ldq/uo;It&】/rsquo;s sad because everything has got so/ mu】ch worse than it\ wa【s 25 years ago, t【he gla】ciers ar】e melt【ing faster\ than ever, we’ve al/ready lost so mu】】ch 】w\ildlife.”I c\an sense】 the\ act\ivist is still alive and we/】ll in/ Alex, despite her more conventional li/festyle nowaday】/s, as an/ editor of a magazin【e】, /liv【in\g in \a house i】n Sussex with 】her son. \But all hope\ is not l】ost. &l】dquo;Greta Thunberg ha【s been /】/an amazi【ng ca/taly/st for 【the yo/ung【e】r generation”, she says. “The situa】t】【ion\ may be/ worse】 but the awarenes】s has broaden【ed. Ext/inction R\ebe】llion ha/ve mobili/sed so many people &ndash】; back then\ we wer/e called ‘crusties’, treated as ma\d\】 members\ of/ society 】an【d ost】racised.”While those o【ver the a\ge of forty wi/\ll likely remember the】】 efforts of the ro\ad p【rotest m【ovement in 90s Britain, millennials are none the wiser. I am grateful 】to have【 met Alex and to share her 【story, as grassroots climate 】act/ivism【 takes hold /of society once】 again in 2019. A 】&】】ldquo;second wav【\e”, A】lex sugges】ts. Ha\vi\ng learnt how to be s/elf\-suffici【en\t, \she&r/squo;ll never take 【for gran\ted the re\sources /that nature can provide a【nd /often longs for the days w\h【en she relied】 on the si\mple warmth of an open fire.【Share t】his article 】 / More from places【At the frontline of an 【Ext/inction Rebellion climate protest i/n】 BerlinA stretch of coastline in sout】hern Italy 】is lead/ing the way i】n su/s】tainability – with some su/rprising benefits/.Tor\r】e\ Guace【to was once a centre】 for p\/oor fishing practices, cigarette smu【ggling and a dro】p-off point 】for illegal\ immigrants.But that all\ began to change when the area was designated a marine protected rese【rv】e.The dunes】 a\nd wetlands along the /coastline are no【w a precious stop-off point for migratory birds and/ a permanent home to many local species. Eco-tou/r\ists are also flocking to the area.Local】 businesses are bene【fiting 【too【,\ boo【sting their s\ales by 【associ/ating their/ brands with the now famou/s Torr\e Gua/ceto 【p】rotected area.Corrado 】T】arantino, P/r/esident of】 the Torre Guace\【to mana】gemen\】t cons】ortium, told【 O\cean h】ow i】t】】 【all came\ about【.“W\e progressed from blas\t fishing in the past to a sust\ainab】】le fishing mo】del that /is now copied】 and\ reproduced around/ the/ world. Every year, peop\le 【/from Italy and fro/m ot/her 】countries com\e【 here t\o vi/sit/ and 【learn about our 【app/r\oach, which proved/ itself eco【】nom【ical\ly su\st】a/inable.&\ldquo;Th\e fis【he\r】men\/&rsqu\o;s【 cooperative lives on &mdash【; but now it’s \also e\nvironmental\ly【 sustainable, \as it prevents depopulation /of the sea.“/With 【regard to agricultu【re, it/ m【ove【d from incre//asing its/ /production by very intensive us\e of che/micals to e】stablis】hing an organic 【Torr/e Guace【to label for products that are now f【amous around the wor\ld — suc【h as the 【local olive【 oil or th\e ty】pic/al local s\o/rt of t\omatoes, &lsq】uo;Pomodor】o Fiaschetto&r/squo;, which h/a【ve bee\n rediscovered, re【fined and are n/ow grown /here o\nce again.“As 【for tourism — w【e are certified und/er 【the Europea】n Cha\rter \for Sus\taina】ble /Tourism in Protec】t\ed Areas that includes all the tourist s/【ites and ho【te【/l faciliti\es. It\ shows that i/t&rs\quo;【\s possible to r【emai\n profita/【ble/ wh】ile 】ful\ly respecting lo】cal nature and 【life.&ld\quo;And we w/ant to show 【that a\ll this i【s not only poss\ible in t/he areas that have \joi/n\ed in th/e Torre Guac/eto Consortium, b/ut all around the world. Because we&rs】quo;re convi\nce\d tha】t this would benef】it e】verybody, making ev\eryone’s l【ife much better.&/r】dquo;Share t【his 】articl\eCopy/paste the article v】id/eo embed link below:Co】p/ySh】are】Tweet【SharesendShareTweetS\haresendMoreHide/ShareSendShare\ShareSha/reSendShareShareYou migh\t also\ l\ike Ti】d】e】 turns for /】an Italian coastal wasteland / 】More aboutEnvironm\ental pro\tectionFauna and FloraFi】sherySea \ 【 \ \ Most viewed 【 】 【 Wha\t influence o\n/ climate/ is the coronavi】rus lockd】o/wn re】ally havin】g? 】 \ 【】 \ 】】 / The new AI system safeguardi\ng【 】】/prem】】a\ture babies from infection】 / / 【 】 / Messenger RNA: the molecule that may teach 【our bodies to beat cancer Apple a\nd Google say they'll work togeth】】er to trace /spread of 【coronavirus】 【via smartphones \ / 】 【 Ho\w E】U funding is chan/ging t【he/】【 f/ac【e o】f L\/atvian innovation 【 】 【 \Bro\wse today【's tags。捕鱼游戏手机版

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