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propertybutton · 1 year

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Finest Corporations In Web Provider On Trustpilot

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primorcoin · 2 years

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New Post has been published on https://primorcoin.com/norway-releases-source-code-for-digital-krone-sandbox-utilizes-ethereum-technology-finance-bitcoin-news/

Norway Releases Source Code for Digital Krone Sandbox, Utilizes Ethereum Technology – Finance Bitcoin News

A crypto company working with the central bank of Norway has published the source code for the sandbox created to trial the digital version of the Nordic nation’s fiat currency. The prototype digital krone is being built on the Ethereum network and the regulator wants to test various technologies and evaluate the potential impact on financial stability.

Norges Bank, Nahmii Fintech Provide Access to Source Code for CBDC Sandbox Developed for Norway

Norway’s monetary authority, Norges Bank, and the Norwegian company Nahmii AS have made public the source code for the sandbox for the Scandinavian country’s central bank digital currency (CBDC). The two are working together on the prototype of the state-issued coin.

The code is now available on Github, offered under an open-source Apache 2.0 license, Nahmii recently announced in a blog post on its website. The fintech’s main task is to create a sandbox environment with open-sourced services for the digital krone.

“This allows for the testing of basic token management use cases, including minting, burning and transferring ERC-20 tokens,” explained the firm, which is a developer of a Layer-2 scaling solution for the Ethereum blockchain.

The sandbox features a frontend, which has been designed to offer an interface for interacting with the test network, and network monitoring tools. It will facilitate the deployment of smart contracts and provide access controls, Nahmii detailed.

The company intends to add complex use cases in the future, including batch payments, security tokens and bridges, while further developing the custom frontend of the sandbox. It plans to deliver the second part of the project to Norges Bank by mid-September.

The central bank of Norway is among dozens of monetary policy regulators currently working to develop and issue their own digital currencies. The trials are meant to establish whether its CBDC will be safe and efficient for the public without negatively affecting the stability of the Norwegian krone and the nation’s financial system.

When it announced it is conducting experimental testing to determine if a digital currency should be issued, the authority acknowledged the role of cash as an alternative to bank account money. At the same time, the bank pointed out that the use of cash is declining and warned this could undermine its functions.

Tags in this story

CBDC, Central Bank, COIN, Digital Currency, digital krone, Ethereum, monetary authority, Nahmii, Norges Bank, Norway, norwegian, prototype, regulator, sandbox, Smart Contracts, source code, Testing, Tokens, trials

Do you expect Norway to eventually issue a central bank digital currency? Tell us in the comments section below.

Lubomir Tassev

Lubomir Tassev is a journalist from tech-savvy Eastern Europe who likes Hitchens’s quote: “Being a writer is what I am, rather than what I do.” Besides crypto, blockchain and fintech, international politics and economics are two other sources of inspiration.

Image Credits: Shutterstock, Pixabay, Wiki Commons

Disclaimer: This article is for informational purposes only. It is not a direct offer or solicitation of an offer to buy or sell, or a recommendation or endorsement of any products, services, or companies. Bitcoin.com does not provide investment, tax, legal, or accounting advice. Neither the company nor the author is responsible, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with the use of or reliance on any content, goods or services mentioned in this article.

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thetejasamale · 2 years

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LNG Bunkering Industry Analysis & Forecast (2020-2030) MRFR Report.

The fast uptake and development of LNG bunkering are progressively becoming a crucial component in the energy & power industry. Market Research Future predicts the potentiality of the global LNG bunkering market 2020. It can achieve a valuation of USD 11,212 by the year 2023. Such a high valuation will garner at a growth rate of 45.13%in the forecast years

Top Market Contenders

The top market players of the global LNG bunkering market are listed as Bomin Linde LNG GmbH & Co. KG, Barents Naturgass AS, Gasnor AS, ENI Norge AS, Korea Gas Corp, Harvey Gulf International Marine LLC, Statoil ASA, Polskie LNG SA, SEA\LNG Ltd, and Skangas AS

Browse Full Report Details @ https://www.marketresearchfuture.com/reports/lng-bunkering-market-7741

Top Impacting Factors

The UN regulations on the sulphur content of marine fuels and the mounting marine industry are some of the essential factors driving the LNG bunkering market for the future. Innovative LNG projects worldwide have also propelled the LNG market. In the case of point, in Europe, the commission planned to fund USD 1.34 billion to equip 139 seaports and inland ports, 10% of which is estimated to be equipped with bunker stations by 2025.

There has been a rise in shifting trends towards clean energy coupled with stringent government regulations to minimize airborne emissions are also to drive the global LNG bunkering market size. The ability to reduce carbon emission by 20% to 25% will make its adoption preferable over other available counterparts. In the case of point, back in the year 2015, IMO and MARPOL introduced strict norms to diminish the sulfur and nitrous content to reduce marine pollution.

Technological advancement in vessel designs to enhance fuel-efficiency, reduce maintenance, and improve performance along with maintains reliability and safety are some of the other main parameters that will stimulate the product demand as well as the market to a great extent. An influential order book for LNG-propelled vessels subject to the implementation of IMO Tier III norms will further complement the industry growth for the forecast period.

Segmentation of Market: LNG Bunkering

As per MRFR’s analysis, the global LNG bunkering has been studied among the segments of vessel type and product type.

Among the product type segment, the market has included a port in shipping, portable tanks, truck to ship, and ship to ship. The truck to ship segment leads the market as truck to ship is the most widely used for supplying LNG to ships. Thus, it is considered a cost-intensive method, and it is likely to observe a lower market share during the assessment period.

Among the vessel type segment, the market has included container ships, tankers, bulk & general cargo vessel, ferries & offshore support V vessel.

Regional Outlook

LNG bunkering market size in the U.S region was valued over USD 100 million in the year 2016. The ongoing shale production with strict emission norms will enlarge the business growth. Back in the year 2015, the U.S. Environment Protection Agency implemented the TIER III norms under MARPOL annexure VI governed by IMO to reduce sulfur and NOx emissions from marine vessels across Emission Control Areas (ECAs). The U.S. Coast Guard regulations, as regards shipbuilding with gas-fuelled engines, will further boost the business.

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Norway LNG bunkering market leads the European region with over 18000 bunkering operations. The increasing focus to maintain fossil fuel sustainability along with mounting concern to diminish environmental impact will oblige the business growth. In fact, mounting investments towards the up gradation and rebuilding of LNG infrastructure will further complement the industry outlook. In 2014, the EU announced to devote USD 85.44 million to build the GATE terminal in Rotterdam to facilitate quick access to gas for foreign ships.

Also, the rising demand for gas-fuelled vessels due to increasing environmental concerns along with government initiatives towards the adoption of clean fuel will motivate the Singapore market share. In 2017, the Ministry of Port Authority (MPA) of Singapore announced an offense with USD 1.45 million funding for vessels under the pilot program.

#LNG Bunkering Industry

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swedishwayoflife · 3 years

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Travel

reser (travel, traveling)

kör (drive, driving)

går (leave,leaving)

tar (take, taking)

åker (go by, going by)

ett fordon (a vehicle)

en cykel (a bicycle)

en motorcykel (a motorcycle)

ett tåg (a train)

en bil (a car)

en buss (a bus)

ett skepp (a ship)

en båt (a boat)

ett flygplan (an airplane)

ett plan (a plane)

en tunnelbana (a subway)

en bro (a bridge)

svänger (turn,turning)

runt i (around)

vänster (left)

höger (right)

—

en resa (a trip)

en turist (a tourist)

en guide (a guide)

ett besök (a visit, visitor)

en biljett (a ticket)

en hållplats (a stop)

på semester (on vacation)

har semester (is on vacation)

ett äventyr (an adventure)

utomlands (abroad)

internationell (international)

ett pass (a passport)

en resväska (suitcase)

en ryggsäck (a backpack)

en karta över (a map of)

norr om (north of)

söder om (south of)

väst om (west of)

öst om (east of)

—

Norden (the North, the Nordic countries)

Skandinavien (Scandinavia)

Europa (Europe) europé-europeisk (European)

For Swedish countries and nationalities, the noun refers to a person and the adjective refers to the nationality. If you want to refer to the language, you generally add -a to the adjective: svenska is Swedish, engelska is English, etc.

Norge (Norway) norrman-norsk (Norwegian)

Sverige (Sweden) svensk-svensk (Swedish)

Finland (Finland) finländare/finne (Finn) finländsk/finsk (Finnish)

Danmark (Denmark) dansk-dansk (Danish)

Island (Iceland) islänning-isländsk (Icelandic)

Check the full list here. (x)

#swedish #svenska #langblr #duolingo

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folerdetdufoler · 4 years

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hey kerry!! would you ever write a fic set during the pandemic? or would that be to stressful? what kind of fic would that be?

ah, i think this was prompted by this tweet, and i didn’t want to answer until i had updated that au.

officially? no. or at least not yet. It feels weird like…romanticizing a situation that is killing people across the globe. i don’t watch or read horror/thriller/sci-fi to have any other base knowledge on how a pandemic happens or is contained, even in a fictional setting, so i don’t know if creating a different kind of pandemic would feel less weird and/or accurate.

but i’ve been thinking about it. It’s hard not to, to not exist in a literal nightmare and use comfort characters to mentally survive it. i’ve projected my desires onto them, i’ve hoped for the idea of love to be enough to change people’s behaviors and move them to protect each other. i’m interested in how people have built and destroyed trust, how it’s shaped relationships, and how it’s challenged different worldviews. add a dash of competent government and i go feral. so like, technically…yes. vaguely.

it should go without saying, but it’s (always) a skam AU. it’s always isak and even. i don’t know how it’s being handled in norway, so it would have to be set in america. isak and even would still be norwegian though. and we’re going to add a little unrealistic emergency to make their meeting actually happen.

the borders closed. by the time isak got to the airport, every possible flight was cancelled. he couldn’t even do some kind of convoluted frog-leap through different countries just to get back to his own continent. he was stuck. the ticketing agent behind the desk gave him a sympathetic look and then waved him away, inviting the next soon-to-be-disappointed customer forward. before he left, though, he reached into his backpack and pulled out a disposable mask from the large pack he’d managed to buy before heading to the airport. he slammed it onto the counter. “wear it.”

isak dragged his bag over to the far wall of windows, near the entrance, where the benches were quickly filling up with disgruntled international travelers. he had to sit down and think and research, to figure out what his next step would have to be.

“they’re still not letting people in, eh?” a deep voice two seats to his left asked in english. isak looked over at it, because he wasn’t sure if it was a genuine or sarcastic answer. unfortunately the face he needed to read was devastatingly handsome, and caused his throat to close up before he could answer properly.

“uh….”

“no english?”

“um, no. i mean yes, i speak english.” isak was fluent from his upbringing, but the last year of attending school in america definitely helped. his inability to communicate in this moment was due to the other man’s mouth, not his own. “and no, i can’t get a flight because the borders are closed.”

“i would say it’s a smart move except i’m locked out too.” the man smiled, and his eyes softened, so if he had been sarcastic before, he wasn’t anymore.

“norway?” isak asked, hopeful. he’d clocked the man’s accented english, and they were both sitting across from a scandinavian airline counter, but he couldn’t distinguish between the countries.

“norge,” he confirmed with a little nod.

for some reason isak continued in english. perhaps he felt like he had more authority with it. he bent over to his bag to get another mask out, pulling it by the straps. he offered it to his new norwegian acquaintance. “please put this on.” he got a confused look in return, and no move to accept the protective covering. it pained isak to insist that the man cover up half of his face, but he pressed. “please, for your safety.”

“is that why you’re wearing one?”

“i’m wearing one because norway closed its borders. norway knows how dangerous this virus is. you should wear one too.”

the man reached out a hand but didn’t quite grab the mask. “i can’t tell if you know more about what is actually going on or if you’re…crazy.” the soft eyes had gone serious and calculating. “but if i put it on, will you tell me?”

“what?”

he took the mask. he was clumsy putting it on, but anyone would be if it were their first time. he hooked it around his ears and pulled it up over his nose and mouth, watching isak while he did, as if he were a mirror. isak pinched the bridge of his nose to get the man to copy him, fitting the mask to his face. once he did, the man twisted to face isak straight on. “i’m even.” his voice was muffled, but isak’s ear was already straining to distinguish it from the rest of the airport noise around them. “i want to go home. you do too. can we figure out a plan together?”

“i—um, i don’t know. i have to talk to my school first. and then maybe the consulate.”

“what’s your name?”

“isak.”

the mask did nothing to stop the man—even—from smiling. the mask traveled with his cheeks right up to his squinting eyes. “i’d shake your hand but i feel like that’s not a good idea.”

“you are correct. we shouldn’t be touching.”

“okay, i won’t touch you. but can we talk? my employer said i should fly home, but i think it’s too late. i don’t know what to do.”

isak took a deep breath. he looked around them, at the way the counters were drawing lines of increasingly anxious travelers. the empty seat between them was going to be high value real estate soon, and he could tell someone wasn’t going to allow it to remain a buffer for their safety. “i don’t know either.” he looked back at even. “do you work in manhattan?”

“yes. is that where you go to school?”

isak nodded. it was a small comfort, meeting a neighbor from the other side of the ocean, who also happened to be a neighbor on the other side of the east river. “okay. well. i don’t want to stay here. it’s going to get crazy as more borders close. we should…we should go back.”

“share a cab?”

isak took in the man’s face, still handsome even when it was hidden behind a mask. some of his hair was stuck in the straps at his ears, and isak noticed that the style was slightly disheveled, probably from anxious fingers. but it was the eyes that convinced him. in just a few minutes, in such a short conversation, isak had come to trust them. he trusted the eyes that glanced out the window at the taxi stand. and when Even stood up and threw the long strap of his bag across his chest, isak followed. they stepped out into a gust of cold, early spring air, and headed toward a waiting taxi. whatever their next step would be, they would take it together.

anyway yeah, that’s the start. that’s the beginning of the pandemic, and that’s the beginning of isak and even. isak is a student, going for his masters at NYU in biology, but he’s going to switch to epidemiology almost immediately, for obvious reasons. even…well, i don’t know where he works, or why, but he’s not in school. his office is going to close and he’s going to have to work remote. isak’s basic understanding of diseases and community spread give him a slight advantage in that he knows what he needs to stock up on and is doing it now. so he has a small, but safe apartment to stay in. isak shares some of his hand sanitizer and masks and they go to opposite ends of the island. he bonded with even initially, while they tried to figure out their status in lockdown, but then they separate and try to go about their lives as normally as possible. isolation will hit hard of course, and they’ll reach out to each other again, looking for answers and any kind of connection back home. even shares what his mother reports on in oslo, and isak shares the research that he has better access to. they zoom for work, and for school, and then they zoom each other. isak still trusts those eyes through a screen, and he wonders if he should trust them in person as well. because as the fear and uncertainty grows over the next few weeks, while they still can’t get home, at least there’s a little bit of steady right in front of them. And they crave it more and more. And…more….

#kerrywrites #idk maybe i'll make this into a one shot later #i feel like i would have to finish magic eight ball first #and sorry if the cut didn't work #if this is taking over your dash

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limetrea · 4 years

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Interview in Dagbladet 18/09/2020

We have come home from the US on March 12th and took the second to last plane flying from New York to Norway. I was sitting in the plane seat, reading that everything is closing down at home on my phone, reveals Vegard Ylvisåker (41). - Yes, that was lucky, adds Bård Ylvisåker (38).

The two brothers, who eventually became world-famous as the comedy duo Ylvis, are sitting in a meeting room at Concorde TV in Oslo. Behinds them is a huge board with post-it notes with ideas for their new show „Ylvis på Holmen with Calle and Magnus“. They have just started filming the comedy programme which premieres September 20th on TV Norge. But it wasn’t actually På Holmen the brothers were supposed to be working on this autumn.

- We were working on something completely different, but then corona came and we had to close the taps, says Bård.

- We turned around and came up with something different. There are so many summer shows on TV right now. We wanted one too, that’s why we showcase our summer place on the islet, continues the big brother.

- Yes, we walk around in summer clothes and white pirate breeches and film outside right up until Christmas, smiles the younger brother.

Became superstars

Ylvis became, as most people know, global stars after The Fox became a viral hit in 2013. The song climbed to the top of the charts all over the world, and currently has almost one billion views on YouTube. Ylvis have since received a number of job offers from the other side of the Atlantic, but the brothers who both live family life with children and dogs rather wanted to work in Norway.

- We can’t live better than here, have an office 20 minutes from the house and family, make what we feel like making and get paid for it. We can dream of big things abroad, but it isn’t always more fun, Bård admits.

- We still get offers but they would have to be made of gold before we would tear down existing plans and move on to something else, Vegard adds.

Challenging

The brothers don’t want to reveal what they were doing in the US when the first wave of coronavirus hit. But since Norway closed down they have used a lot of the time to work with ideas for Ylvis på Holmen, a show which they are hosting with former partners from „I kveld med Ylvis“ Magnus Devold and Calle Hellevang-Larsen.

- Us four take turns in being the main host, and when I have the position, the others don’t know what is going to happen. They just have to improvise and go along as good as they can. It’s fun to see the anxiety in others‘ eyes, Bård admits.

- It’s also fun to sit down in my chair and be open for everything, adds his brother.

On the board behind them there is a scribble of ideas full of notes with guest or secret written on them, but nothing about who is coming or what is to be done. The planning has therefore been challenging.

- It is logistically challenging. We sit in our respective rooms and plan. There are many e-mails we had to hide from each other and it required tons of brainpower to work like this, Bård admits.

Played with a fox

Those who follow the brothers on social media may have seen that one of the fox artists utilized corona-time to play with an actually fox. There are many fox dens on Ormøya in Oslo where Vegard lives.

- Some of the foxes have become very approachable and receive food from the neighbours. They have almost become tame. One day when I was standing outside a fox came. When I threw a ball the fox ran after it, picked it up and dropped it again to play. It was fun, says Vegard, but adds that the fox didn’t make particularly many sounds.

- He said nothing, but we have found out that what foxes say sounds like cats being beaten to death.

Neither of the brothers is actually interested in foxes, even though Ylvis will always be associated with the song (and children’s book) which made everybody wonder about what the fox actually say. But now the brothers consider the experience of playing „What does the fox say“ on stages all over the world absurd.

- It‘s quite funny when you can live off being an artist as a joke, says Bård while Vegard tells how strange it felt when the duo was on MTV award show in Amsterdam. They sat next to Ariana Grande, among numerous celebrities, but nobody knew who they were before they were supposed to go on stage and had to put on fox costumes.

- Then suddenly everyone was looking at us and Miley Cyrus came and jumped on my back, Vegard laughs.

- It is a bit nice that one can put on and off celebrity status, continues Bård. It was at its worst for a year, and that is exactly the right amount of time. We got to see how surreal and in many ways idiotic the circus is. It’s quite nice for things to be as they are now.

Received a porn offer

After the foxy success the duo also got an offer from more shady sources and Dagbladet has earlier written that Ylvis got an offer to make a comedy porn for the biggest porn company in Europe and USA, xHamster.

- Yes, we received an e-mail from xHamster but we didn’t not make contact. But it’s flattering, Bård smiles.

- Yeah, porn grows quickly these days. It has become mainstream, so maybe that is where we will go, his brother jokes.

Award in Cannes

The brothers have become comedy veterans and can celebrate 30 years as a comedy duo in October, when they received their professional breakthrough with „Ylvis – a cabaret“ in Bergen already in October 2000. They both think that the IKMY has been one of the highlights of their projects, but they still left the programme in favour of making new things in 2016.

- We are a bit spoiled by being in a industry where there often is a connection between how much fun we have at work and how good the concept becomes. We have always shifted the course when we begun to get bored, and after 5 seasons of IKMY became a bit too safe, Bård admits.

After IKMY the duo found success with their peculiar musical-documentary project „Stories from Norway“, a concept which was awarded the best comedy programme at Gullruten 2018 and received the awaed for best comedy concept at the International format awards (MIPTV) in Cannes in 2019. Next time the brothers sit on an international plane might be in order to make a version of this programme in another country. But the comedians keep their cards close to my chest, both in regards to an international version or if it would be something new in Norwegian.

- Such projects také long time to work out and it isn’t easy to get started with season two, says Bård.

- We are hoping to také the concept to new places but so fat it is a side-project that we have, says Vegard.

The duo has no plans to celebrate the 20th anniversary and they aren’t much concerned that they are in or nearing their 40s.

- We have always found joy in throwing ourselfs into deep water and therefore we don’t feel so sat (?), says the younger one.

- Yes, we always come up with something new. And we don’t have an idea what the next thing might be, says the big brother.

#ylvis #vegard ylvisåker #bård ylvisåker #ylvis på holmen med calle og magnus

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aioinstagram · 6 years

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Plan Norge Sultkatastrofen i 2017 fikk bare en femtedel av Listhaug-innsamling is Trending on Monday March 19 2018 https://www.aioinstagram.com/plan-norge-sultkatastrofen-i-2017-fikk-bare-en-femtedel-av-listhaug-innsamling-is-trending-on-monday-march-19-2018/

NRK says: Sultkatastrofen i 2017 fikk bare en femtedel av Listhaug-innsamling

Top 1 articles about Plan Norge:

I skrivende stund har Facebook-aksjonen quot;For et varmere samfunnquot; samlet inn over 15 millioner kroner. Innsamlingsaksjonen ble startet som en reaksjon på blomsteraksjonen til støtte for Sylvi Listhaug, og pengene går til Leger Uten Grenser. Ikke alle

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Les mer på Seoghør.no (link i bio)

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Description: Malawi, tusen tusen takk for meg

Takk for alle smil og alle historier dere har delt. Dette har vært en følelsesmessig berg-og-dal-bane. Ser frem til å vise dere hva vi har jobbet med her nede til høsten

#stoppbryllupet #plannorge

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Description: Gjør som stjERNA og hør på Barnebruden

#stoppbryllupet #plannorge @erna_solberg

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Description: Denne uka er det #demokratiuke på #mailandvgs. Gjennom hele uka er det fokus på #demokrati gjennom undervisningsopplegg og gjesteforelesere fra bla. FN, NUPI, #amnestyinternational #changemaker #plannorge Biblioteket følger opp med bøker

#rysjedamene #bøkertilfolket

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vivekbajaj-grs · 3 years

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LNG Bunkering Market - Global Outlook and Forecast 2021-2027

This report contains market size and forecasts of LNG Bunkering in global, including the following market information:

Global LNG Bunkering Market Revenue, 2016-2021, 2022-2027, ($ millions)

Global LNG Bunkering Market Sales, 2016-2021, 2022-2027, (K MT)

Download FREE Sample of this Report @ https://www.grandresearchstore.com/report-sample/global-lng-bunkering-2021-2027-32

Global top five LNG Bunkering companies in 2020 (%)

The global LNG Bunkering market was valued at 3709.6 million in 2020 and is projected to reach US$ 10550 million by 2027, at a CAGR of 29.9% during the forecast period.

We surveyed the LNG Bunkering manufacturers, suppliers, distributors and industry experts on this industry, involving the sales, revenue, demand, price change, product type, recent development and plan, industry trends, drivers, challenges, obstacles, and potential risks.

Total Market by Segment:

Global LNG Bunkering Market, By Type, 2016-2021, 2022-2027 ($ Millions) & (K MT)

Global LNG Bunkering Market Segment Percentages, By Type, 2020 (%)

Truck-to-Ship

Ship-to-Ship

Port-to-Ship

Others

Global LNG Bunkering Market, By Application, 2016-2021, 2022-2027 ($ Millions) & (K MT)

Global LNG Bunkering Market Segment Percentages, By Application, 2020 (%)

Container Vessels

Tanker Vessels

Bulk & General Cargo Vessels

Ferries & OSV

Others

Global LNG Bunkering Market, By Region and Country, 2016-2021, 2022-2027 ($ Millions) & (K MT)

Global LNG Bunkering Market Segment Percentages, By Region and Country, 2020 (%)

North America

Canada

Mexico

Europe

Germany

France

U.K.

Italy

Russia

Nordic Countries

Benelux

Rest of Europe

Asia

China

Japan

South Korea

Southeast Asia

India

Rest of Asia

South America

Brazil

Argentina

Rest of South America

Middle East & Africa

Turkey

Israel

Saudi Arabia

UAE

Rest of Middle East & Africa

Competitor Analysis

The report also provides analysis of leading market participants including:

Key companies LNG Bunkering revenues in global market, 2016-2021 (Estimated), ($ millions)

Key companies LNG Bunkering revenues share in global market, 2020 (%)

Key companies LNG Bunkering sales in global market, 2016-2021 (Estimated), (K MT)

Key companies LNG Bunkering sales share in global market, 2020 (%)

Further, the report presents profiles of competitors in the market, key players include:

Gasum

Shell (Gasnor)

Equinor

Barents Naturgass

Engie

Bomin and Linde

Eni Norge

Harvey Gulf

Polskie LNG

Korea Gas Corp

Gaz Metro

Get the Complete Report & TOC @ https://www.grandresearchstore.com/chemicals-and-materials/global-lng-bunkering-2021-2027-32

Table of content

1 Introduction to Research & Analysis Reports 1.1 LNG Bunkering Market Definition 1.2 Market Segments 1.2.1 Market by Type 1.2.2 Market by Application 1.3 Global LNG Bunkering Market Overview 1.4 Features & Benefits of This Report 1.5 Methodology & Sources of Information 1.5.1 Research Methodology 1.5.2 Research Process 1.5.3 Base Year 1.5.4 Report Assumptions & Caveats 2 Global LNG Bunkering Overall Market Size 2.1 Global LNG Bunkering Market Size: 2021 VS 2027 2.2 Global LNG Bunkering Revenue, Prospects & Forecasts: 2016-2027 2.3 Global LNG Bunkering Sales (Consumption): 2016-2027 3 Company Landscape 3.1 Top LNG Bunkering Players in Global Market 3.2 Top Global LNG Bunkering Companies Ranked by Revenue 3.3 Global LNG Bunkering Revenue by Companies 3.4 Global LNG Bunkering Sales by Companies 3.5 Global LNG Bunkering Price by Manufacturer (2016-2021) 3.6 Top 3 and Top 5 LNG Bunkering Companies in Global Market, by Revenue in 2020 3.7 Global Manufacturers LNG Bunkering Product Type 3.8 Tier 1, Tier 2 and Tier 3 LNG Bunkering Players in Global Market 3.8.1 List of Global Tier 1 LNG Bunkering Companies 3.8.2 List of Global Tier 2 and Tier 3 LNG Bunkering Companies 4 Sights by Product 4.1 Overview 4.1.1 By Type - Global LNG Bunkering Market Size Markets, 2021 & 2027 4.1.2 Truck-to-Ship 4.1.3 Ship

CONTACT US: 276 5th Avenue, New York , NY 10001,United States International: (+1) 646 781 7170 / +91 8087042414 Follow Us On linkedin :- https://www.linkedin.com/company/grand-research-store/

#LNGBunkeringMarket

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wiadomosciprasowe · 4 years

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Multiconsult awarded two large hydropower projects in Tanzania

https://www.y6.no/multiconsult-awarded-two-large-hydropower-projects-in-tanzania/

Multiconsult awarded two large hydropower projects in Tanzania

Hilde Gillebo, EVP Energy in Multiconsult Dato: 30-07-2020 11:59 CEST Opprinnelig tittel på pressemeldingen: Multiconsult awarded two large hydropower projects in Tanzania Kategori: , Energy Meeting Tanzania’s rising electricity demand

Tanzania Electric Supply Company Limited (TANESCO) has awarded Multiconsulttwo major consultancy contracts for the Rumakali and Ruhudji Hydropower and Tranmission Lines projects in Tanzania. The projects will play asignificantrole in meeting the country’s increasing electricity demand.

Through the project, Multiconsult will undertake feasibility studies, prepare conceptual design and tender document, as well as conduct environmental and social impact assessment studies for the two proposed hydropower projects and associated transmission lines.

Meeting Tanzania’s rising electricity demand The 222MegaWatt Rumakali and 358 MegaWatt Rhuhudji projects are both located in the Njombe region and could double the total installed hydropower capacity in Tanzania, from 562 MW to 1142 MW.

– We are very proud tobe participating in the energy development in Tanzaniaby being awardedthese large and important projects,” says Hilde Gillebo, EVP Energy in Multiconsult.

According to the International Energy Agency and the World Bank, Tanzania’s GDP is expected to grow by around 5-7 per cent annually over the next years. However, despite a huge hydropower and solar potential, only an estimated 36.6 per cent of the population in Tanzania currently has access to electricity. The Tanzania government has set aggressive electrification targets, aiming to achieve 75 percent electrification by 2035. The Rumakali and Ruhudjihydropower projects will be significant in meeting the country’s increasing electricity demand.”

The projects are scheduled to start immediately and are planned to be completed by Q3 2021.Norplan Tanzania Ltd and Tanzania Photomap Ltd will act as subcontractors to Multiconsult.  

Local knowledge With extensive specialist competence on renewable energy, Multiconsult has delivered services to a wide portfolio of renewable energy projects in Tanzania. 

– With more than 40 years of experience from Tanzania, we are pleased to continue our good co-operation with TANESCO on these important projects.  Multiconsulthavea unique position which enable us to combine our international expertise with the local competence ofNorplan Tanzania, and to further contribute to clean and renewable energy development in this region, says Tom Ødegaard, SVP for Sales Renewable Energy.

Multiconsult`s other current engagements in Tanzania include various T&D and Electrification projects including Master Plan for Rural electrification, Water Resource Management projects (WRM), Solar projects and ESIA studies.

Recent hydropower engagements in Africa include Kakono HPP in Tanzania, other various small hydropower projects in Tanzania, Kenya, Uganda, Zambia, and Mount Coffee in Liberia.

Kilde: Pressekontor Multiconsult – PRESSEMELDING –

————

Multiconsult er et av Norges ledende miljøer innen prosjektering og rådgivning. Med røtter tilbake til 1908 har selskapet hatt en sterk innvirkning på Norges utvikling og økonomiske vekst. Sammen med samarbeidspartnere og kunder har vi skapt historie og det skal vi fortsette å gjøre i fremtiden også. For oss handler det om erfaring, rett kompetanse, effektiv prosjektstyring og riktig kompetansesammensetning blant våre medarbeidere. Vi oppfordrer både medarbeidere og kunder til å se muligheter der andre ser hindre – og å sprenge grenser der andre fristes til å gå rundt.

Multiconsult tilbyr multifaglig rådgivning, design, prosjektering, prosjektoppfølging, verifikasjon og kontroll. Multiconsult har 30-talls kontorer i Norge og internasjonalt. Hovedkontoret ligger i Oslo, men Multiconsults totale kompetanse er tilgjengelig fra alle våre kontorer. Multiconsults tjenester dekker alle prosjektfaser. Våre oppdragsgivere og samarbeidspartnere finnes over hele landet og i store deler av verden.

Hashtags: # #Energy Energy

#Energy #Multiconsult #Pressemeldinger

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earaercircular · 3 years

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Iberdrola and Irizar join forces in electric mobility

Plan for urban buses, battery recycling and smart recharging network

The Spanish company Iberdrola[1] has sought as a partner in the field of electric mobility the Basque cooperative company Irizar[2], one of the world leaders in the construction of new generation buses and coaches. Both partners will develop a project that will include the electrification of urban bus fleets, the recycling and reuse of batteries and the deployment of a smart recharging network.

Based on this agreement, the group chaired by Ignacio Galán will supply renewable energy to Irizar facilities, to contribute to the decarbonisation of the life cycle of its buses. Iberdrola will also advise the Ormaiztegi cooperative (Gipuzkoa) on issues related to energy efficiency and self-consumption.

The agreement will be valid for two years. Iberdrola, in its sustainable mobility plans, will make investments of 150 million, especially in the deployment of rechargers for electric vehicles. It foresees the installation of 150,000 supply points, both in homes and in companies and in cities and highways.

Source

Javier Vadrillo, Iberdrola e Irizar se alían en la movilidad eléctrica, in: El PAÍS, 20-7-2021 https://cincodias.elpais.com/cincodias/2021/07/20/companias/1626778110_839044.html

[1] https://www.iberdrola.es/en Iberdrola is a Spanish multinational electric utility company based in Bilbao, Spain. Iberdrola has a workforce of around 34,000 employees in dozens of countries on four continents serving around 31.67 million customers. Subsidiaries include Scottish Power (United Kingdom) and a significant part of Avangrid (United States), amongst others. In 2013, the largest shareholder of the company was Qatar Investment Holding. Other significant shareholders included Norges Bank, Kutxabank and Bankia [2] https://www.irizar.com/ Irizar is a business group with an international presence whose business is focussed on the passenger transport, electromobility, electronics, electric motors and generators, connectivity and energy sectors.. Irizar, S. Coop is the parent company of the conglomerate and its headquarters are located in Ormaiztegi (Gipuzkoa, Spain) where Creatio, the Group’s Research and Development Centre, is also located.

#circular economy #battery recycling

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yash-tiknayat · 3 years

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LNG Bunkering Market Research Report - Global Forecast till 2024

Industry Insight

Top Impacting Factors

Segmentation of Market: LNG Bunkering

As per MRFR’s analysis, the global LNG bunkering has been studied among the segments of vessel type and product type.

Among the vessel type segment, the market has included container ships, tankers, bulk & general cargo vessel, ferries & offshore support V vessel.

Regional Outlook

Top Market Contenders

The top market players of the global LNG bunkering market size are listed as Bomin Linde LNG GmbH & Co. KG, Barents Naturgass AS, Gasnor AS, ENI Norge AS, Korea Gas Corp, Harvey Gulf International Marine LLC, Statoil ASA, Polskie LNG SA, SEA\LNG Ltd, and Skangas AS.

Browse Full Report Details @ https://www.marketresearchfuture.com/reports/lng-bunkering-market-7741

About Market Research Future:

Market Research Future (MRFR) is an esteemed company with a reputation of serving clients across domains of information technology (IT), healthcare, and chemicals. Our analysts undertake painstaking primary and secondary research to provide a seamless report with a 360 degree perspective. Data is compared against reputed organizations, trustworthy databases, and international surveys for producing impeccable reports backed with graphical and statistical information.

We at MRFR provide syndicated and customized reports to clients as per their liking. Our consulting services are aimed at eliminating business risks and driving the bottomline margins of our clients. The hands-on experience of analysts and capability of performing astute research through interviews, surveys, and polls are a statement of our prowess. We constantly monitor the market for any fluctuations and update our reports on a regular basis.

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thetejasamale · 2 years

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LNG Bunkering Market | Trends, Share, Growth, Demand, Industry Analysis, Key Player profile and Regional Outlook by 2030

Top Market Contenders

Browse Full Report Details @ https://www.marketresearchfuture.com/reports/lng-bunkering-market-7741

Top Impacting Factors

Segmentation of Market: LNG Bunkering

As per MRFR’s analysis, the global LNG bunkering has been studied among the segments of vessel type and product type.

Among the vessel type segment, the market has included container ships, tankers, bulk & general cargo vessel, ferries & offshore support V vessel.

Get a FREE Sample@ https://www.marketresearchfuture.com/sample_request/7741

Regional Outlook

#LNG Bunkering Market

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anettetheresepettersen · 5 years

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Usynlig teater?

Hvorfor er ikke Radioteatret i Scenekunst.nos kalenderoversikt, hva slags huskunstnere har Radioteatret og hva er lyden av avantgardistisk radioteater?

Jeg har tidligere tatt for gitt at min teaterdebut må ha kommet da jeg var rundt seks år, i forbindelse med en av Kristiansand barne- og ungdomsteaters juleforestillinger. Men etter å ha pløyd meg gjennom store deler av NRK Radioteatrets tilgjengelige program for 2018, slår det meg at den etter all sannsynlighet forekom mye tidligere enn jeg har pleid å tro. Lenge før jeg entret Kristiansands teaterlokaler var jeg en ivrig radiolytter – og da fortrinnsvis hørespill og opplesninger. Sittende tett inntil en av høyttalerne i stua, eller med et gigantisk sett med høretelefoner på hodet, kunne jeg holde det gående i timesvis. Uten at jeg har anerkjent det som det før nå, så må vel egentlig hørespillene i NRK regnes som en form for landsdekkende barneteater.

Radioteatrets utestenging fra det gode teaterselskap kan skyldes Eric Bentleys velkjente teaterdefinisjon om at teater er A spiller B mens C ser på. Ettersom det uansett er lenge siden denne definisjonen har vært utfordret, hvorfor befinner radioversjonen av scenekunst seg sjelden, om noen gang, på samme flate som den mer visuelt anlagte delen?

Men hvordan kan radiodans se ut? Hva er radioteatrets ekvivalent til fysisk teater og visuell dramaturgi? Jeg får umiddelbart lyst til å lytte til andre måter å tenke radioteater på, andre oppsett enn det jeg først og fremst har hørt: skuespillere som fremfører tekst mot et stemningsgivende og handlingsskapende lydbilde (dører som slår, måkeskrik, regn som faller, stoler som skraper etc.). Det er flere scenekunstnere som har lekt med hørespillformatet de siste årene, som Tormod Carlsen med blant annet Radio Don Quijote og Radio Fjellom, og Trine Falch og Ingvil Holms live hørespill Draum om våren. Mette Edvardsens radiooverføring av We to be (2015) er den eneste radiokoreografien jeg kommer på, men det er først og fremst en radiooverføring av en romlig koreografi, og jeg vil anta at det også finnes andre måter å koreografere for radio på.

Usynlig eller forsmådd teater? Etter at jeg har begynt på denne teksten, og skrevet avsnittene over, begynner jeg å lese Tilman Hartensteins Det usynlige teatret – Radioteatrets historie 1926-2001(2001), og oppdager at min egen tekst så langt speiler bokas innledning: Undring over hvorfor Radioteatret ikke mottar anmeldelser og på andre måter inngår i samme diskurs som øvrig teater, Radioteatret som landsdekkende teater – samt, det som var tenkt som mitt neste punkt: måten man gjerne opplever Radioteater og hørespill alene. Hartenstein omtaler dette som en ‘sekundærkvalitet’, men kanskje er det tiden mellom hans utsagn og mitt, og måten radio, musikk og podcast er fullstendig integrert i min hverdag, som bidrar til at jeg ikke tenker på dette som noe negativt.

Tvert imot er dette noe jeg liker ved denne sjangeren, det å gå der og lytte, tilsynelatende alene. På samme måte som når jeg leser en bok opplever jeg at jeg er i selskap med noen likevel. At jeg ikke nødvendigvis trenger andre lyttere eller medpublikummere i samme rom for å oppleve en form for selskap, dialog eller samhold. Dette skyldes muligens delvis sjangerens tekstfokus, samt nærheten som oppstår når man lytter gjennom høretelefoner. Basert på min egen lytting, samt Hartensteins historiske gjennomgang, virker Radioteatret nesten uløselig knyttet til teksten og til dramaet. Radioteatrets såkalte fødsel var da også en produksjon av ingen ringere enn Ibsen, nemlig en direktesendt versjon av Peer Gynt i 1926. Nå var det meste som ble kringkastet på den tiden direktesendt, men det betyr også at radioteatret opprinnelig hadde et publikum som satt og lyttet samtidig som handlingen utspilte seg i Radioteatrets studio. Et radioteaterets kopresens eller et samvær via rikskringkastingen.

Dramatisering Tidligere i år skrev jeg om Radioteatrets iscenesettelse av Finn Iunkers Stemmer fra Israel. Iunker publiserte teksten som prosa i 2017, og den består av et utvalg historier fra de okkuperte områdene på Vestbredden. I bokens etterord omtaler Iunker sin egen tekst som ‘et stykke’, så selv om radioiscenesettelsen av teksten kan kalles en dramatisering er jeg også fristet til å kalle Iunkers bok en kamuflering av dramatikk i prosa.

Dramatisering av romaner, noveller og prosa er en godt innarbeidet og etablert del av både radioteater og øvrig teater. Med vekslende hell, vil jeg si. Radioteatrets produksjon av Ole Robert Sundes Penelope er syk (2018) hører til blant de mer vellykkede variantene. Jeg lyttet til denne tidligere i høst, og den er særlig fin å lytte til mens man selv beveger seg rundt i Oslo. Romanen utspiller seg i et lite tidsrom, hvor jeg-stemmen (Lasse Kolsrud i Radioteatrets versjon) forlater leiligheten på Adamstuen i Oslo for å handle brød, snus og sushi til sin syke kone. Gjennom ti episoder følger man både ytre og indre handling. Den ytre handlingen fører via assosiasjoner inn i bekymringer over konas sykdom videre til lange utlegninger om litteratur, språk og kunst.

Parallell tankestrøm Jeg-stemmen snakker nesten uopphørlig, mens andre stemmer bryter inn. Noen ganger er det forbipasserende, andre ganger er det kona Marits stemme som bryter inn i tankestrømmen for å minne ham på noe. Hun har en slags konstant tilstedeværelse i hans bevissthet som ikke på noen måte gjør det rart at hun også bryter inn i tankene hans som en egen stemme.

Lydene fra Radioteatrets fiktive gatebilde blander seg med det faktiske gatebildet jeg selv beveger meg i. Mens jeg-et beretter om sine handlinger, hvor han går og hva han ser, blir situasjonen virkelig for meg på flere plan. Lyden av regn i høretelefonene får meg til å tro at det regner mer i mitt Oslo enn hva som er tilfelle, og jeg skvetter og ser meg automatisk over skulderen av lyden av en trikk. Samtidig er jeg helt bevisst fiksjonen i lyden av stemmer, slik at jeg aldri på noe tidspunkt er i tvil om hvilke stemmer som hører til hvor. Kanskje kan vi kalle dette en synliggjøring av (radio)teatrets virkemidler? En måte å koble lesepraksis med teater og koreografi, slik at Penelope er syk fremhever dramatikken i hverdagen og lar fiksjon og virkelighet overlappe på enkelte punkter. Jeg lever meg inn i den indre handlingen, mens den ytre handlingen og lydbildet (og da særlig den ikke-vokale) er vanskelig å skille fra det lydbildet jeg selv vandrer i.

Kriminalhørespillet Jeg har i denne omgangen ikke lyttet til NRKs barne- og ungdomsprogram eller Radioteatrets produksjoner for denne målgruppen. Foruten Stemmer fra Israel og Penelope er syk, har jeg lyttet til Macbeth (2018), Katastrofealarm (2016), deler av kortepisodeserien Visit Noreg (2017), Dødens elv (2018), Det er fra kriminalpolitiet (1994) og Gjerningsmann ukjent (1984).

Kriminalhørespillet har en særposisjon innenfor Radioteatret, og ifølge Hartenstein har de vært «NRKs mest populære dramatiske programpost – fjernsynets produksjoner inkludert»[i]. Ettersom Hartensteins bok kom ut i 2001 vet jeg ikke hvorvidt dette lenger er gyldig. Men av de to hørespillene jeg har hørt i sjangeren denne gang, så foretrekker jeg de litt eldre produksjonene Gjerningsmann ukjent og Det er fra kriminalpolitiet fremfor den nyere Dødens elv. De to førstnevnte ser ut til å være skrevet for radio, mens sistnevnte er en dramatisering. I Dødens elv skulle jeg ønske noen hadde jobbet mer med manus. Som i flere av Radioteatrets produksjoner hører jeg en utstrakt klisjébruk. Det er gjerne en teatral stemmebruk som understrekes av en lett overdreven fremheving av dialekter, noe som er et effektivt grep for å skille stemmer og dermed karakterer fra hverandre.

De fleste av årets radioteaterproduksjoner er laget av samme gruppe kunstnere: Steinar Berthelsen eller Else Barratt-Due på regi, Arne Barca på lyddesign og Sjur Miljeteig som komponist. Det er ikke uvanlig i teaterhus heller med gjentakende samarbeid, og her kan man kanskje kan man kalle dem husregissør, huskomponist og huslyddesigner? Det er med på å sette et eget preg på produksjonene og gjør dem gjenkjennbare som Radioteatrets produksjon. Det mest fremtredende i samtlige hørespill jeg har hørt nå er likevel stemmene, og de tilhører for det meste skuespillere som er velkjente for aktive teatergjengere.

Landsdekkende teater Hartensteins bok er interessant lesning, og svarer på mange av mine undringer. Som at BBC har en større tradisjon for regi-radioteater, mens det norske Radioteatret står i en større folkeopplysningstradisjon:

I 1933 fikk Norge et statseid og landsdekkende teater: Radioteatret. Samme år gikk den nye kirkeministeren, Knut Liestøl, med på å opprette en teaternevnd, som skulle besvare spørsmålet: «Bør staten som kulturstat støtte den dramatiske kunst, om den trenges, og på hvilken måte?» Arbeidet førte til en foreløpig nokså beskjeden støtte til teatrene over statsbudsjettet fra 1936, og til utarbeidelse av forslaget om et «ambulerende riksteater». At et riksteater måtte ses i forbindelse med den nye rikskringkastingen var opplagt. (…) Teaternevnden baserte forslaget om et teater for hele landet på tre pilarer: et eget omreisende ensemble, statsstøttede turneer av de etablerte teatre – og utsendinger gjennom radioen. NRK skulle derfor ha en fast plass i Riksteatrets styre og repertoarråd.[ii]

Dette befestet Radioteatret som nasjonalt og riksdekkende teater, men det førte også til en mindre kunstnerisk fri posisjon hvor programsjefer, politikere og Radioteatrets egne folk inngikk i dragkamper om repertoarets innhold.

Allerede på 1970-tallet, med fjernsynets fremtreden, stod Radioteatret i fare for å avskrives som rent museum, et medium som var underlegent fjernsynet. Blant grepene som ble gjort for å fornye mediet den gang var en form for dokumentarisme, med politisk-dokumentariske hørespill. Der har Radioteatret i dag intern konkurranse i NRK, med podcaster som forener det dokumentariske med en dramaturgi som kan minne om kriminalhørespillene. Deriblant Familiene på Orderud, To hvite menn og Purk eller skurk?.

Det er likevel teksten som lytteopplevelse de alltid har satset på i Radioteatret. Cecilie Løveids hørespill Måkespisere (1982) trekkes av Hartenstein frem som en som «leker med elementene som mediet har til rådighet»[iii]. Radioteatret radio(iscene)setter mye samtidsdramatikk, som Liv Heløe, Kristofer B. Grønskag, Jon Fosse og Jesper Halle. Tore Vagn Lids Operasjon Almenrausch finnes også i en radioteatervariant, med navnet Almenrausch. Som annet teater er foregående sesonger og produksjoner kun unntaksvis tilgjengelig. Men det finnes en rekke tomme programposter hvor det kun står «Nytt og aktuelt drama fra Radioteateret med tidløse temaer om mennesker i kamp med tilværelsen, samfunnet og seg selv.»

Spørsmålet er hva en lek med radioteatermediets elementer i dag kan bety, og hvordan kan Radioteatret inngå i samme diskurs som øvrig scenekunst? Én mulighet er å leke med publikumssituasjonen og gjøre som danskene som har opprettet ‘radiobiografer’ hvor publikum sitter sammen og lytter til radioteater. Jeg tenker også at Radioteatret helt fint kunne vært én av arenaene/samarbeidspartnerne til festivaler som Dramatikkfestivalen. Kanskje kunne man også kombinert formeksperiment med samlytting, og fremført dette enten på teaterscener som Dramatikkens Hus, Black Box teater eller Det Norske Teatret? Jeg håper uansett at Radioteatret melder inn sine premierer i Scenekunst.nos kalenderoversikt, slik at det er lettere å få med seg deres produksjoner mens de er tilgjengelige. Selv skal jeg ta et dypdykk i arkivet for å finne et passende hørespill for togturen hjem til jul.

[i] Hartenstein, Tilman: Det usynlige teatret – Radioteatrets historie 1926-2001, Norsk Rikskringkasting, Oslo, 2001, s.80

[ii] Hartenstein, s. 31

[iii] Hartenstein, s.137

FAKTA

Penelope er syk (2018)

Av: Ole Robert Sunde Manusforfatter: Mathias Calmeyer Dramaturg: Gunhild Nymoen Komponist: Sjur Miljeteig Lyddesigner og redigerer: Arne Barca Regissør: Steinar Berthelsen Med: Lasse Kolsrud, Ågot Sendstad, Gisken Armand med flere.

Dødens elv (2018)

Av: Frits de Bourg Dramaturg: Else Barratt-Due Regi: Steinar Berthelsen Komponist: Sjur Miljeteig Lyddesigner: Arne Barca Med blant annet Halvard Holmen, Mads Ousdal, Eindride Eidsvold med flere.

Macbeth (2018)

Av: William Shakespeare Oversettelser av Morten Krogstad, Ragnar Olsen og Inger Hagerup Komponist: Marius Christensen Lyddesign: Nils Jakob Langvik Regi: Else Barratt-Due Produsent: Øystein Kjennerud Med: Nicolai Cleve Broch, Charlotte Frogner, Bartek Kaminski med flere

Stemmer fra Israel (2018) Av: Finn Iunker Regi: Steinar Berthelsen Lyddesign: Arne Barca Komponist: Sjur Miljeteig Med: Lena Kristin Ellingsen, Ine Marie Wilmann, Benjamin Helstad, Bartek Kaminski og Jan Gunnar Røise

Visit Noreg (2017)

Av: Bahareh Badavi og Robert Næss Lyddesign: Virvel v/Geir Atle Johnsen Produsent: Øystein Kjennerud Regissør/showrunner: Magnus Berg Radiofonisk tekstprodusent: Mathias Calmeyer Med Charlotte Frogner, Marit Synnøve Berg, Assad Siddique med flere

Det er fra kriminalpolitiet (1994)

Av: Johs Solberg Bearbeidet av og regi ved Nils Nordberg Teknisk regi: Anne Carine Mostad Med blant annet Marianne Krogh, Anne Krigsvoll, Bjørn Sundquist med flere.

Gjerningsmann ukjent (1984)

Av: Johs Solberg Bearbeidet av og regi ved Nils Nordberg Teknisk regi: Odd Johan Nilsen Med blant annet Pål Skjønberg, Anne Krigsvoll, Bjørn Sundquist med flere.

Teksten ble opprinnelig publisert på Scenekunst.no 20.desember 2019

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siliconwebx · 5 years

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WordPress Governance Project Flagged as Unsanctioned, First Meeting Set for January 15

The WordPress Governance Project is a new community initiative, led by Rachel Cherry and Morten Rand-Hendriksen, that will host its first meeting Tuesday, January 15 2019.

The purpose of the project is to address two objectives:

The governance of the WordPress open source project and its various community components, and

WordPress’ role in the governance of the open web including representation in forums where decisions about the web platform and the Internet are made.

Hendriksen advocated for open governance when he introduced the project at WordCamp US in his presentation, Moving the Web forward with WordPress. He discussed how the decisions made for WordPress’ future affect a large portion the web. The project will first look at WordPress’ internal governance structure and then move into the second aspect of getting WordPress a seat at the table in important discussions affecting the broader web.

Contributors on the project are aiming to propose a governance model for WordPress at or before WordCamp Europe 2019 or the Community Summit, if one is planned for 2019. The group plans to research existing governance models from corporations, government, and the open web community and submit their proposal to WordPress’ current leadership for consideration.

WordPress Governance Project Seeks to Change Leadership Structure, Rand-Hendriksen Says Status Quo is “Not Tenable”

The governance project has piqued the public’s interest but some have found its objectives confusing. It is not clear what actions will be within the realm of possibility with the current benevolent dictator model WordPress has used. Part of the scope of the project is to “propose a leadership and governance model for the WordPress open source project and its communities.”

That's part of the job: to figure out how it can and should work. The status quo is not tenable, and leaves us out of important conversations about where the web and the internet is headed.

— Morten i Norge

(@mor10) December 18, 2018

The idea of governance means different things to audiences across cultures. The second aspect of the project that aims to get WordPress a seat at the table seems more feasible and more likely to be well-received by the project’s leadership. It might make more sense to split up the two objectives into different projects. WordPress’ internal governance and its role in the greater web are very different topics, but the project’s creators seem to view them as inseparable.

Matt Mullenweg hasn’t joined in the Twitter conversation about governance but he did address the topic on a recent Post Status podcast episode.

“When he was talking about open governance, my take was that he was talking about getting WordPress a seat at the table, and discussing these regulation changes and et cetera happening,” Mullenweg said. “I think the example last year was that there was this meeting at 10 Downing Street. Who was there? Was WordPress represented?

“And he started talking about the Web Foundation, and I began thinking, “Wow, WordPress only represents a third of websites, and not even, really. It’s a third of the top 10 million. Another foundation like the Web Foundation actually might be a better vehicle to try to advocate on the open Web as a whole, versus just the people who happen to be using a single CMS.”

When asked more about WordPress’ leadership structure, Mullenweg reviewed the different approaches he has taken with the project. In 2018, the expression of his BDFL-style leadership was manifestly more overt than previous years, which may have influenced or even inspired the creation of the WordPress Governance Project.

“There’s been a lot more leaders, but I would actually argue the point that WordPress has always been sort of my vision being set, or even my direct leadership,” Mullenweg said. “There was a good four or five years there where the leadership structure, because we’ve experimented with lots of different – we don’t call it governance – but essentially leadership structures in WordPress. For a while, we had kind of the … It wasn’t a committee approach, but essentially like the lead developers consensus approach. We did that for a few years.

“Even from the beginning it wasn’t just me. It was me and Mike Little, so it’s never been solo. Then we went to where the release lead was the final decider, including over me, so that was probably, I don’t know, 3.9 to 4.7 maybe, that included overruling me as project lead for what was in the release or not, and that was to try to give a little more autonomy and flexibility to release leads. But the big change was a few years ago I said, ‘Okay, I’m going to take back over core WordPress development,’ and that was to try to make some of these big changes happen. So right now it is much more of a benevolent dictator model, although both of those words are questionable. But, I don’t see that as the permanent forever structure.”

Mullenweg may not be able to sustain this level of involvement in core leadership indefinitely, with all of his other responsibilities at Automattic. He said he is open to WordPress empowering other leaders in the future.

“I’m not saying it always has to be me, but what I want is a strong, opinionated, thoughtful leader setting a bold direction, taking experiments and being willing to fail, comfortable with failure, is I think what you need to create great software,” he said.

Brian DeConinck, a WordPress developer who has recently been a vocal critic of the project’s leadership, called for more transparency around the decision-making process in his initial thoughts on the governance project.

“Matt is the central figure of the WordPress project,” DeConinck said. “He’s been a guiding force since the beginning. Without a doubt, he’s an important and valued member of our community. I don’t imagine governance as a means of usurping him.

“But should there be a single human face at the head of a project and a community at this scale? When people are critical of decision-making, having Matt at the center makes it easy to make criticism needlessly personal. This dynamic is hard on Matt and others in the project leadership, and ultimately toxic for the community.”

DeConinck said in order for the governance project to be successful he thinks it needs to be international, multicultural, and multilingual, with diverse voices, as well as clear mechanisms for WordPress users to provide feedback. He outlined a detailed list of success criteria that hasn’t officially been embraced by governance project as it has yet to hold its first meeting.

DeConinck’s suggestions are incompatible with the current BDFL-style leadership, as he claims that “feedback from a community of millions of users can’t adequately be processed and acted upon by a single individual listening and making decisions for the project.” WordPress has risen to become a dominant force on the web during the past 15 years under this style of leadership. Any meaningful proposal of change to the leadership structure will need to demonstrate how the new model can continue to enable WordPress to make rapid progress and maintain its relevance on the web.

WordPress Governance Project Flagged as Unofficial and Removed from WordPress.org

Earlier this morning, WordPress Community Team representative Francesca Marano posted a notice on behalf of the governance project’s leadership to announce that the project has been removed from WordPress.org.

“Concerns have been raised about the posting of news about the WordPress Governance Project on make.wordpress.org and use of the #community-team Slack channel giving the impression the project is sanctioned as an official WordPress project,” Marano said. “It has not received such sanctions from WordPress leadership.”

“We went through what we believed were the appropriate channels for launching the project through the Community group (ie speaking to group members, asking for access to the Make blog, coordinating with the team and others to find a meeting time which didn’t collide with others, etc),” Morten Rand-Hendriksen said. “We were later informed the project was not sanctioned by WordPress leadership and therefore cannot use the Make blog or Slack.” He would not comment further on what transpired or the communication his team received.

For the time being, it looks like the governance project will need to prove its worth independently before being officially adopted by WordPress. Many other community-led efforts and tools have followed this same process before coming under the umbrella of core.

The project now has its own dedicated website at wpgovernance.com and a Slack instance at twgp.slack.com. The first meeting was set for January 8 but has been postponed to January, 15, 1600 UTC to allow participants to sign up at the new Slack workspace.

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