#havells led light | Explore Tumblr Posts and Blogs

centaurpowers · 1 year

Text

Illuminating Your Space with Efficiency and Elegance with LED Wall Lights in Bhopal

Centaur Powers & Solar Energy is your one-stop destination for high-quality LED wall lights in Bhopal. We pride ourselves on providing innovative lighting solutions that combine energy efficiency, durability, and stylish designs. Whether you are looking to enhance the ambiance of your home, office, or commercial space, our LED wall lights offer the perfect blend of functionality and aesthetics.

Why Choose LED Wall Lights?

LED (Light Emitting Diode) technology has revolutionized the lighting industry, and for good reason. LED lights offer numerous advantages over traditional lighting options, making them the preferred choice for modern lighting applications. Here are some compelling reasons why you should consider LED wall lights for your lighting needs in Bhopal:

Energy Efficiency: LED lights are highly energy-efficient, consuming significantly less power compared to traditional incandescent or fluorescent lights. This translates into substantial energy savings, helping you reduce your electricity bills and contribute to a greener environment.

Longevity: LED wall lights have an impressive lifespan, far exceeding that of conventional lighting options. With an average lifespan of 50,000 to 100,000 hours, LED lights require minimal maintenance and replacement, reducing both your hassle and long-term costs.

Eco-Friendly: LED lights are environmentally friendly, as they do not contain harmful substances like mercury or lead. Additionally, their energy efficiency helps in reducing carbon emissions, making them a sustainable lighting choice.

Durability: LED wall lights are highly durable and resistant to shocks, vibrations, and external impacts. This makes them perfect for both indoor and outdoor applications, ensuring their longevity and reliability even in challenging environments.

Instantaneous Lighting: Unlike traditional bulbs that require time to warm up, LED lights provide instant illumination when switched on. This feature is particularly advantageous in spaces where immediate bright lighting is necessary, such as hallways, staircases, or outdoor areas.

Design Flexibility: LED wall lights come in a wide range of designs, sizes, and shapes, allowing you to find the perfect fit for your space. Whether you prefer sleek and minimalist designs or more decorative options, LED lights offer versatile options to match your aesthetic preferences.

Enhanced Ambiance: LED lights provide excellent lighting quality, with the ability to produce a range of colour temperatures and brightness levels. This versatility allows you to create the desired ambiance in your space, whether it's a cosy warm glow for a bedroom or a bright and vibrant light for a commercial setting.

Why Choose Centaur Powers & Solar Energy?

At Centaur Powers & Solar Energy, we are committed to delivering the best LED wall lights in Bhopal. Here's what sets us apart

Extensive Product Range: We offer a wide selection of LED wall lights, catering to various needs and preferences. From modern and contemporary designs to classic and traditional styles, our collection has something for everyone.

Superior Quality: We prioritize quality and ensure that all our LED wall lights meet stringent industry standards. Our products undergo rigorous testing to ensure long-lasting performance and reliability.

Energy Efficiency Solutions: We believe in promoting sustainable lighting practices. Our LED wall lights are designed to optimize energy consumption; reducing your carbon footprint and helping you save on electricity bills.

Professional Guidance: Our experienced team is dedicated to providing personalized assistance and expert advice to help you choose the right LED wall lights for your specific requirements. We understand that every space is unique, and we strive to find the perfect lighting solution tailored to your needs.

Installation Services: We offer professional installation services to ensure that your LED wall lights are properly installed for optimal performance and safety. Our technicians have the expertise to handle installations efficiently and effectively.

Customer Satisfaction: We prioritize customer satisfaction and strive to deliver exceptional service at every step of the way. From the moment you walk into our showroom to long after your purchase, we are committed to ensuring a seamless and enjoyable experience.

Illuminate Your Space with LED Wall Lights from Centaur Powers & Solar Energy

Upgrade your lighting with LED wall lights from Centaur Powers & Solar Energy in Bhopal. Experience the perfect combination of efficiency, elegance, and durability. Visit our showroom today or get in touch with our friendly team to explore our extensive range of LED wall lights and discover the ideal lighting solution for your space. Let us brighten up your world with our exceptional lighting products and services.

For More Info:-Home interior led lights in Bhopal

#LED Wall Lights in Bhopal #Commercial Ceiling Lighting in Bhopal #led batten tube light in bhopal #led lights for home decoration #led lights for home #Glitz LED Bulbs in Bhopal #havells light led #light and shadow

0 notes

justforbooks · 11 months

Text

In December 1968, a plane carrying Gabriel García Márquez and Carlos Fuentes touched down in Prague. The two authors had come to show solidarity with Czechoslovakia’s writers and to discuss the year’s historic events: how the hopes of Alexander Dubcek’s Prague Spring had ebbed into the interminable autumn of the Soviet patriarch.

Their host was the Czech novelist and essayist Milan Kundera, who has died aged 94. Mindful of the need to talk freely, Kundera took his guests to a sauna, the one place in the city impossible to bug. As the steam rose and their bodies began to overheat, the visitors asked where they might sluice off the sweat. The Czech led them to a back door opening on to a hole in the frozen Vltava. He motioned towards the river and they clambered down, expecting him to follow. But Kundera remained on the bank, laughing as these hothouse flowers of Latin-American literature emerged like popsicles from the icy waters.

“The second Czech K”, as Fuentes called Kundera, in 1968 had a growing reputation as poet, dramatist, essayist and intellectual. His first novel, The Joke (turned down initially for opposing official ideology), had finally been published the year before, gaining cult success, but this moment when socialism with a human face met the “threatening fists” of power was decisive, providing not just the setting for his best known work, The Unbearable Lightness of Being (1982), but the governing theme of his oeuvre: how to be a novelist in an age when “political demagoguery has managed to ‘sentimentalise’ the will to power”.

For Kundera, who once defined himself as “a hedonist trapped in a world politicised in the extreme”, and whose novels are replete with bodily pleasures and humiliations, the lyrical intoxication of poet and revolutionary were dangerously allied. From the start, being funny was a serious business. In The Joke, a man sends a postcard with the mock salutation: “Long Live Trotsky!” The irony is lost on the censors, the result disastrous. Similarly, the stories that make up Laughable Loves (1963-68), move in a blink from farce to horror: the book was completed three days before the Russian invasion.

Like many intellectuals, Kundera was involved in the movement to create a de-Stalinised socialism. At the Fourth Congress of the Writers’ Union in 1967, Kundera gave a rallying speech arguing that Czechoslovakia’s existential precariousness (frequently overrun, its language threatened) placed it in a unique position from which to address the 20th century, but this could be relished “only [in] conditions of total freedom”.

However, after the invasion, his belief in the possibility of change unravelled: he lost “the privilege to work”, his books were removed from libraries and, by 1970 and “normalizace” – the policy of undoing Dubcˇek’s reforms – he could no longer publish.

His Kafkaesque view of power led to disagreements with the dissident playwright Václav Havel, whom Kundera attacked for encouraging the illusion of hope (“moral exhibitionism”) in a situation where history preordained defeat.

Only apart from the fray could you record your testament: this is how the novel faces power, he argued famously, with “the fight of memory against forgetting”. Havel, who remained in “the country of the weak” (as Kundera described it in The Unbearable Lightness of Being), was jailed and then fought to lead a new Czech nation in the successful Velvet Revolution, admonished him: history is not a clever divinity playing jokes on us – we are “creators of our own fate”. But Kundera had long since left the stage.

At about this time, he had started being translated abroad, a “traumatic” experience for him: he accused publishers in the west of acting like Moscow censors, when they, too, tried to “normalise” his work to fit western standards. But in 1975 he took a job in France at the University of Rennes, and four years later his Czech citizenship was revoked. He took French citizenship in 1981.

The Book of Laughter and Forgetting (1979), the first novel to come from his exile – essayistic, multi-storied – stages a battle between devilish anti-meaning and the angelic one true idea of communism. Kundera pictures these celestial figures laughing in the face of one another, a murderous dialectic against which the writer, with his love of variety and inconclusiveness, has no defence: “the terrifying laughter of angels … covers my every word with its din”.

His writing contains much of this dark laughter, strewn with gags, pranks and paradoxes, and there are good reasons for this. He exploits the vein of black comedy that central European history gives its writers as a birthright, but more ambitiously it is humour, originating in the laughter of Boccaccio, Cervantes and Rabelais, that he sees underpinning the European novel, and which he argues, in four volumes of essays, has shaped western consciousness.

The Mexican poet Octavio Paz thought “humour … the great invention of the modern spirit”, and for Kundera nothing better disseminated this idea than the generations of novels that flowed from Cervantes, producing an art of ambiguity and polyphony. These novels gave rise to our understanding of what it is to be an individual, Kundera argued, and with this, the idea of “human rights”.

All of which perhaps explains why some critics find his writing too didactic (“all talk and no story”). For all Kundera’s engaging intelligence, John Updike also felt a “strangeness that locks us out”.

Unlike Márquez, or Salman Rushdie – the company to which Kundera aspired – there is no sign of the shaman, no risk of being thought a sham. Perhaps his refusal to fall for anything – neither politics’ nor poetry’s intoxications – his pedagogic desire to disabuse, and his view of the novel as a supremely moral and rational art, leaves Kundera, peculiarly, a novelist disinclined to enchant.

For some though, such as the writer Geoff Dyer, Kundera’s importance lies precisely in this extension of the novel into meditative interrogation, by which, Dyer thinks, he “recalibrated fiction to create forms of new knowledge”.

Born in the Moravian capital Brno, Milan was the son of Milada Janosikova and Ludvik Kundera, a pianist, composer and musicologist who was head of the Janácˇek Music Academy. The son also studied composition, and music was a lifelong love, often summoned in his novels and essays. At Charles University in Prague, Kundera studied literature and aesthetics and, like most of his generation, was caught up in the great postwar euphoria, attracted to the possibilities held out by communism, after the blight of Nazism, of a Czech society reborn.

The Russians liberated the country in 1945 and nobody was surprised when, the following year, the Communist party won 38% of the vote and formed a coalition government. Kundera joined the party (“I too once danced in a ring. It was the spring of 1948,” he confesses in The Book of Laughter and Forgetting), and some of his poetry displays the kind of lyrical enthusiasm he would later decry.

He switched his degree to film, but in 1950 was expelled for “anti-party activities”, an incident that gave birth to The Joke. Allowed to return to his studies, he rejoined the political fold in 1956, remaining in the party for the next 14 years. His freewheeling, speculative manner as a teacher of world literature at the Prague film school from 1958 until 1969 influenced many Czech new wave directors, Miloš Forman among them.

Living in exile in Paris, Kundera revised into French all his works written in Czech, then set a novel in France, Immortality (1988). The same year, The Unbearable Lightness of Being was adapted for film, directed by Philip Kaufman and starring Daniel Day-Lewis and Juliette Binoche, and Kundera found celebrity as an author, a status he was not entirely comfortable with. He began writing in French (despite which, he won the 2007 Czech state prize for literature). Slowness (1996), Identity (1998) and Ignorance (2000) were well-received, though none had the impact of the earlier Czech works.

In 2008, after an investigation, an accusation was made against Kundera in the Czech magazine Respekt. It was claimed that in 1950 he gave the name of Miroslav Dvoracek to the police. Dvoracek, a pilot, had escaped from Czechoslovakia but returned as a western intelligence agent; he was subsequently arrested, narrowly escaped the death penalty, and served 14 years in a labour camp.

Kundera denied that he was the informant and a group of writers including Fuentes, Márquez, Rushdie, Philip Roth, Orhan Pamuk, Nadine Gordimer and JM Coetzee came swiftly to his defence in a letter declaring him the victim of “orchestrated slander”.

Havel said he thought the way events unfolded too “stupid” for Kundera to have been involved, and that his old friend and adversary, who had scrupulously kept away from the media, rarely giving interviews, had “become entangled in a thoroughly Kunderaesque world, one that he has so masterly managed to keep at a distance from all his real life”.

The following year, Kundera published Encounter, a series of essays, some going back 20 years. In one, discussing Bohumil Hrabal, the author of Closely Observed Trains, Kundera reiterates his view of the relation of politics and art, and his belief in the pre-eminence of the novel in the struggle for human liberation: “One single book by Hrabal does more for people, for their freedom of mind, than all the rest of us with our actions, our gestures, our noisy protests!”

His final novel, The Festival of Insignificance, was published in 2015. Four years later, his Czech citizenship was finally restored.

He is survived by his wife, Vera Hrabankova.

🔔 Milan Kundera, writer, born 1 April 1929; died 11 July 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Milan Kundera #in memoriam

12 notes · View notes

dreaminginthedeepsouth · 1 year

Photo

Simon Schama: art versus the tyrants

From Václav Havel to Ai Weiwei, writers and artists have led the way in the fight for human rights

* * * *

Simon Schama: art versus the tyrants

From Václav Havel to Ai Weiwei, writers and artists have led the way in the fight for human rights

* * * *

I know a poem can’t stop a tank. But the reverse is also true. As I’m writing this, the streets of China and Iran have been alive with infuriated, chanting crowds, so tired of being institutionally deceived and robbed of any personal agency or independence of mind that they are prepared to risk arrest and imprisonment rather than be silenced by regimes demanding obedience to lies. “Culture wars” ought not to be confused with the laborious woke-baiting that has become the default position of populist media in the west. The women’s revolt in Iran is a culture war; Ukrainian resistance to the militarised fantasies of Russian imperialism is at root also a culture war, a refusal to accept Vladimir Putin’s contention that their nation’s language and history are a delusion. It is not accidental that one of the most powerful weapons that the actor-writer President Volodymyr Zelenskyy leading Ukraine has at his command is the gift of candid human communication.

Growing up in the 1950s, my baby-boomer generation assumed that the screamers of hate, the destroyers of culture, had gone with the war. “Well, boys,” our school history teacher confidently proclaimed around 1958, “we don’t really know what the rest of the 20th century has in store for us, but you can at least be sure of this: religious oppression and rabid nationalism are things of the past.” When, in that same year, Boris Pasternak won the Nobel Prize for Dr Zhivago, we thought that even the adamantine rock face of Soviet authoritarianism could somehow be cracked open just far enough for truth, memory and a faint breeze of freedom to be admitted. Even if Pasternak was demonised as an enemy of the Soviet people and forced to decline the prize, we believed that, sooner or later, light would return, as for a while, 30 years later, it did.

Becoming a historian was, we thought, a vote of confidence in the victory of the Enlightenment. When the civil rights movement in the US flowered in the 1960s, we bought into Martin Luther King Jr’s conviction that “the arc of the moral universe is long, but it bends towards justice”. Often enough, though, it snaps. Four days after he spoke those words in 1968 at the National Cathedral, Washington DC, he was murdered in Memphis.

My new BBC2 television series is the fruit of sombre, late-life reflection that the History of Now was prefigured in the History of Then; that what we had imagined to be things of the past have returned to shadow the present and future. Shrieking, whether online or on platforms, is back; hate is sexy and stalks the world as “disruption”. So those old battles need to be refought, and with the help of the unlikely weapons that once opened eyes and changed minds: the soft power of culture — poetically charged words, images, music, all of which can, in some circumstances, exert a force beyond the workaday stuff of politics. Culture can do this because it can connect with human habits, needs and intuitions in ways that expose the inhuman hollowness of official propaganda.

...

What Václav Havel, in his most original and penetrating text, called “the power of the powerless” is capable of putting despotisms on the back foot, simply by being in sync with the simplest and most natural human instincts. Authoritarians can mobilise their heavy artillery of terror, torture, imprisonment and persecution; but in the end, Havel argued, they are not that well equipped to fight the asymmetric battle between lies and truth. Havel believed that the vast majority of people are not content to be forever walled within a prison of falsehood, where the price of material security and domestic safety is the unconditional surrender of personal freedom.

For a while — perhaps many decades — punitive disincentives against disruptive truth-speaking can prevail, especially when reinforced by visceral appeals to tribal loyalty: the demonisation of hate figures (such as George Soros) said to personify foreign manipulation. In the end what Havel calls the “trapped air”— a natural human wish to be able to speak one’s mind in a café, dress as one wishes (including visible hair), listen to unauthorised music, all the innumerable small acts of social defiance — can build into a rising tide of disgust. When Czech police infiltrated the underground concerts of the Plastic People of the Universe in the 1970s — concerned, as their saxophonist Vratislav Brabanec remembered, that the music was some sort of “black illness” that would grow and generate disaffection — they only guaranteed more risible contempt. But there was a price. In 1976 the band was jailed for months, a wound Brabanec says you carry for ever. Why the wound? “Because I was innocent,” he says over his morning beer. “I was jailed for playing the saxophone.”

[MORE]

#Simon Schama #protest #essay #culture #FT #art verses the tyrants #words and writing

10 notes · View notes

quantmarketinsights · 19 days

Text

LED Curtain Lights Market Market Innovations: Mapping Growth and Share till 2031

The comprehensive analysis report on global “LED Curtain Lights Market market "LED Curtain Lights Market market" trends encompasses a thorough study of the ongoing growth factors driving the LED Curtain Lights Market market, the current market scenario, development status, and future opportunities. The market size of the LED Curtain Lights Market segment is predicted based on a detailed analysis of types, applications, and end-use industry segments. The report incorporates effective strategies within the business framework aimed at improving the growth rate of the industry. Additionally, the forecast report on the LED Curtain Lights Market market provides complete information regarding industry production, sales, consumption status, and market prospects, along with an in-depth LED Curtain Lights Market market share analysis.

Get a Sample Copy of the Report - https://www.proficientmarketinsights.com/enquiry/request-sample/1476

The LED Curtain Lights Market size was USD 1011.4 million in 2024 and the market is projected to touch USD 2271.9 million by 2031, exhibiting a CAGR of 12.3% during the forecast period.

Global Key Manufacturers Covered in LED Curtain Lights Market Market:

General Electric (U.S.)

Havells India (India)

OSRAM (Germany)

Panasonic (Japan)

Signify (Netherlands)

LED Curtain Lights Market market Segment by Type:

Monochromatic

Multicolor

LED Curtain Lights Market Market Segment by Application:

Offline

Online

Get a Sample Copy of the Report - https://www.proficientmarketinsights.com/enquiry/request-sample/1476

Regional Analysis:

North America

Europe

Asia-Pacific

Rest of the World (RoW)

LED Curtain Lights Market Market Report Highlights: -

The report covers forecast and analysis for the market on a global and regional level.

The report includes the drivers and the restraints that affect the growth of the market.

The report discusses detailed information about the market opportunities.

The market is segmented on the basis of product and end-user industry which in turn is bifurcated on the regional level.

The key target audience for the market has been determined in the report.

The revenue generated by the prominent industry players has been analyzed in the report.

Key Questions Answered in The LED Curtain Lights Market Market Report:

What will the LED Curtain Lights Market market growth rate?

What are the key factors driving the global LED Curtain Lights Market market?

Who are the key manufacturers in LED Curtain Lights Market market space?

What are the market opportunities, market risk and market overview of the LED Curtain Lights Market market?

What are sales, revenue, and price analysis of top manufacturers of LED Curtain Lights Market market?

Who are the distributors, traders and dealers of LED Curtain Lights Market market?

What are the LED Curtain Lights Market market opportunities and threats faced by the vendors in the global LED Curtain Lights Market Industry?

What are sales, revenue, and price analysis by types and applications of LED Curtain Lights Market Industry?

What are sales, revenue, and price analysis by regions of LED Curtain Lights Market industry?

Purchase this Report (Price 4900 USD for single user license) - https://www.proficientmarketinsights.com/purchase/1476

0 notes

xtrememarketinsights · 20 days