Respone to Say Anything essays

Respone to Say Anything essays Say Anything is a film that seems not to have enough meaningful content at the first glance. To the contrary, the film is full of meaningful insights; and disillusionment is one of the most obvious themes that are illustrated clearly by the director in parts of the film. Dianes father, Jim Court, has always been pushing her daughter to even higher academic achievements all her life; he would do whatever it took to provide his daughter with the best things. Diane trusted her dad and had a very intimate relationship with him. Like most children, Diane had the image of her dad being a hero all her life; she could not imagine her dad being a criminal. Unfortunately, nobodys perfect, including Jim Court. One night, two investigators knocked on the door of Dianes house and informed Jim Court that he was illegally using money of seniors who died in senior homes. Diane was standing right beside her father when the two investigators talked, but she did not take the conversation seriously because she has always trusted her dad. Several days later, Diane started to recall what the investigators have said about her dads criminal records; she decided to find out the truth by herself. One afternoon, Diane was at home alone; so she started her search for evidence of her fathers crime. To her surprise, Diane saw four stacks of money neatly put in a wooden box. She could not believe her eyes! Most people believe what they have been told or how they have felt. They seldom think questions in multi-ways. Say Anything deliberately shows us the disillusionment between Diane and her father through one simple event. (however, dont stop admiring your father after watching the film...at least, not until when you see the investigators!!) ...

Old and New Architecture in Vienna, Austria

Old and New Architecture in Vienna, Austria Vienna, Austria, by the Danube River, has a mixture of architecture representing many periods and styles, ranging from elaborate Baroque-era monuments to a 20th century rejection of high ornamentation.  The history of Vienna, or  Wien as its called, is as rich and complicated as the architecture that portrays it. The city doors are open to celebrate architecture - and anytime is a great time to visit. Being centrally located in Europe, the area was settled early on by both the Celts and then the Romans. It has been the capital of the Holy Roman Empire and the  Austro-Hungarian Empire. Vienna has been invaded both by marauding armies and medieval plagues. During the Second World War, it ceased to exist completely as it was enveloped by Nazi Germany. Yet today we still think of Vienna as the home of the Strauss waltz and the Freudian dream. The influence of Wiener Moderne or Vienna Modern architecture on the rest of the world was as profound as any other movement in history. Visiting Vienna Perhaps the most iconic structure in all of Vienna is the Gothic St. Stephans Cathedral. First begun as a Romanesque cathedral, its construction throughout the ages displays the influences of the day, from Gothic to Baroque all the way up to its patterned tile roof. Wealthy aristocratic families like the Liechtensteins may have first brought the ornate Baroque style of architecture (1600-1830) to Vienna. Their private summer home, the Garden Palais Liechtenstein from 1709, combines Italian villa-like details on the outside with ornate Baroque interiors. It is open to the public as an art museum. The Belvedere is another Baroque palace complex from this time period, the early 1700s. Designed by Italian-born architect Johann Lukas von Hildebrandt (1668-1745), Belvedere Palace and Gardens is popular eye-candy for the Danube River cruise-taker. Charles VI, Holy Roman Emperor from 1711 to 1740, is perhaps responsible for bringing Baroque architecture to the ruling class of Vienna. At the height of the Black Plague pandemic, he vowed to build a church to St. Charles Borromeo if the plague would leave his city. It did, and the magnificent Karlskirche (1737) was first designed by Baroque master architect Johann Bernard Fischer von Erlach.  Baroque architecture reigned during the time of Charles daughter, Empress Maria Theresa (1740-80), and her son Joseph II (1780-90). Architect Fischer von Erlach also designed and rebuilt a country hunting cottage into a summer royal getaway, the Baroque Schà ¶nbrunn Palace. Viennas Imperial Winter Palace remained The Hofburg. By the mid-1800s, the former city walls and military enforcements that protected the city center were demolished. In their place, Emperor Franz Joseph I launched a massive urban renewal, creating what has been called the most beautiful boulevard in the world, the Ringstrasse. Ring Boulevard is lined with over three miles of monumental, historically-inspired neo-Gothic and neo-Baroque buildings. The term Ringstrassenstil is sometimes used to describe this mix of styles. The Museum of Fine Arts and the Renaissance Revival Vienna Opera House (Wiener Staatsoper) were constructed during this time.  Burgtheater, Europes second-oldest theater, was first housed in Hofburg Palace before this new theater was built in 1888. Modern Vienna The Viennese Secession movement at the turn of the 20th century launched a revolutionary spirit in architecture. Architect Otto Wagner (1841-1918) combined traditional styles and Art Nouveau influences. Later, architect Adolf Loos (1870-1933) established the stark, minimalist style we see at The Goldman and Salatsch Building. Eyebrows raised when Loos built this modern structure across from the Imperial Palace in Vienna. The year was 1909, and the Looshaus marked an important transition in the world of architecture. Yet, the buildings of Otto Wagner may have influenced this modernist movement. Some have called Otto Koloman Wagner the Father of Modern Architecture. For certain, this influential Austrian helped move Vienna from Jugendstil (Art Nouveau) into 20th-century architectural practicality. Wagners influence on the architecture of Vienna is felt everywhere in that city, as noted by Adolf Loos himself, who in 1911 is said to have called Wagner the greatest architect in the world. Born on July 13, 1841 in Penzig near Vienna, Otto Wagner was educated at the Polytechnic Institute in Vienna and Kà ¶nigliche Bauakademie in Berlin, Germany. He then went back to Vienna in 1860 to study at the Akademie der bildenden Kà ¼nste (Academy of Fine Arts), graduating in 1863. He was trained in the Neoclassical fine art style that was ultimately rejected by the Secessionists. Otto Wagners architecture in Vienna is stunning. The distinctive tiled facade of the Majolika Haus makes this 1899 apartment building desired property even today. The Karlsplatz Stadtbahn rail station that once  inked urban Vienna with its growing suburbs in 1900 is so revered an example of beautiful  Art Nouveau architecture that it was moved piece by piece to a safer venue when the railroad upgraded. Wagner ushered in modernism with the Austrian Postal Savings Bank (1903-1912) - the Banking Hall of the Ãâ€"sterreichische Postsparkasse also brought the modern banking function of paper transactions to Vienna. The architect returned to Art Nouveau with the 1907 Kirche am Steinhof or Church of St. Leopold at Steinhof Asylum, a beautiful church designed especially for the mentally ill. Wagners own villas in  Hà ¼tteldorf, Vienna best express his transformation from his neoclassical training to Jugendstil. Why is Otto Wagner Important? Art Nouveau in Vienna, a new art known as Jugendstil.Vienna Secession, founded in 1897 by a union of Austrian artists, Wagner was not a founder but is associated with the movement. The Secession was based on the belief that art and architecture should be of its own time and not a revival or imitation of historic forms such as Classical, Gothic, or Renaissance. On the Secession exhibition hall in Vienna are these German words: der zeit ihre kunst (to every age its art) and der kunst ihre freiheit (to art its freedom).Vienna Moderne, a transitional time in European architecture. The Industrial Revolution was offering new construction materials and processes, and, like architects of the Chicago School, a group of artists and architects in Vienna were finding their way to what we consider Modernity. Architecture critic Ada Louise Huxtable has described it as a time full of genius and contradiction, characterized by a kind of bipolar architecture of simple, geometric designs adorned with fanciful Jugendstil ornamentation. Moderne Architektur, Wagners 1896 book on modern architecture continues to be studied.Urban Planning and Iconic Architecture in Vienna:   The Steinhof Church and the Majolikahaus are even pictured on coffee mugs available to purchase as souvenirs. Otto Wagner, Creating Iconic Architecture for Vienna The same year Louis Sullivan was suggesting a form follows function in American skyscraper design, Otto Wagner was describing aspects of modern architecture in Vienna in his translated declaration that something impractical cannot be beautiful. His most important writing is perhaps the 1896 Moderne Architektur, in which he asserts the case for Modern Architecture: A certain practical element with which man is imbued today simply cannot be ignored, and ultimately every artist will have to agree with the following proposition: Something impractical cannot be beautiful. - Composition, p. 82 All modern creations must correspond to the new materials and demands of the present if they are to suit modern man. - Style, p. 78 Things that have their source in modern views correspond perfectly to our appearance....things copied and imitated from old models never do....A man in a modern traveling suit, for example, fits in very well with the waiting room of a train station, with sleeping cars, with all our vehicles; yet would we not stare if we were to see someone dressed in clothing from the Louis XV period using such things? - Style, p. 77 The room that we inhabit should be as simple as our clothing....Sufficient light, a pleasant temperature, and clean air in rooms are very just demands of man....If architecture is not rooted in life, in the needs of contemporary man...it will just cease to be an art. - The Practice of Art, pp. 118, 119, 122 Composition also entails artistic economy. By this I mean a moderation in the use and treatment of forms handed down to us or newly created that corresponds to modern ideas and extends to everything possible. This is especially true for those forms that are considered high expressions of artistic feeling and monumental exaltation, such as domes, towers, quadrigae, columns, etc. Such forms, in any case, should be used only with absolute justification and sparingly, since their overuse always produces the opposite effect. If the work being created is to be a true reflection of our time, the simple, the practical, the - one might almost say - military approach must be fully and completely expressed, and for this reason alone everything extravagant must be avoided. - Composition, p. 84 Todays Vienna Todays Vienna is a showplace of architectural innovation. Twentieth-century buildings include  Hundertwasser-Haus, a brilliantly colored, unusually shaped building by Friedensreich Hundertwasser, and a controversial glass and steel structure, the 1990 Haas Haus by Pritzker Laureate Hans Hollein. Another Pritzker architect took the lead converting the century-old and historically protected industrial buildings of Vienna into what today is known as  Jean Nouvel Buildings Gasometers Vienna  - a massive urban complex with offices and shops that became adaptive reuse on a grand scale. In addition to the Gasometer project, Pritzker Laureate Jean Nouvel has designed housing units in Vienna, as have the Pritzker winners Herzog and de Meuron on Pilotengasse.  And that apartment house on the Spittelauer Lnde? Another Pritzker Laureate, Zaha Hadid. Vienna continues to make architecture in a big way, and they want you to know that Vienna’s architecture scene is thriving. Sources The Dictionary of Art Vol. 32, Grove, Oxford University Press, 1996, pp. 760-763Vienna Moderne (November 26, 1978), Architecture, Anyone? by Ada Louise Huxtable, University of California Press, 1986, p. 100Modern Architecture by Otto Wagner, A Guidebook for His Students to This Field of Art, edited and translated by Harry Francis Mallgrave, The Getty Center for the History of Art and the Humanities, 1988 (translated from the 1902 third edition)

Reflaction paper for public health class (pbhl2000) Essay

Reflaction paper for public health class (pbhl2000) - Essay Example ver, hospitalization and morbidity statistics are too alarming that it remains a question whether our government is serious about its concern on public health. Published in 2004 in The International Journal of Tuberculosis and Lung Disease, Zaher’s article titled, â€Å"Smoking-Related Diseases: The Importance of COPD† presents the glaring reality regarding our present public health status, that is, the government’s efforts to reduce smoking and promote public health are ineffective. Zaher et al.’s article article is very informative as it presents data about smoking-related diseases, especially COPD. It is also very implicative as it analyzes different cases of smoking-related diseases, and suggests more concern on COPD cases. Moreover, it is predictive as it provides the smoking disability adjusted life years (DALYs) till year 2020. The article presents valuable information about smoking-related diseases. First, smoking is still rampant, given the number of smoking cases and smoking-related diseases. According to the article, there is continuous increase in the cases of smoking-related diseases from 1999 and the number is still expected to increase in the future. In particular, deaths related to smoking are expected to increase from 53,238 in 1999 to 76,390 in 2020 (Zaher et al. 1425). Cases of COPD are expected to rise even more than other reasons by the year 2020 (Zaher et al. 1425). Furthermore, the cost of public health on smoking-related diseases alone is yet to rise with the continuous increase in the number of cases. Among which, lung cancer cost will remain the highest as it has proven in the year 2000 survey. Zaher et al.’s article is also implicative as it carefully analyzes different cases of smoking-related diseases. According to the research, limited attention is given to COPD, considering the higher cases of lung cancer and chronic heart disease (CHD). Nevertheless, the authors emphasize that more attention should be given to COPD

Rites of Passage Research Paper Example | Topics and Well Written Essays - 750 words

Rites of Passage - Research Paper Example This gives him the energy and spirit to enter the next stage with valor and delight. The theme behind is that such rites help us stay connected to our natural events of life or life cycle. A person is able to go through a happy flashback of his life when he thinks in old age how cheerfully he entered each stage and coped with the hardships that come with every phase. This paper intends to compare and contrast the rites of passage in modern American and Indian cultures. Modern American society celebrates many rites of passage, like baby showers, bar mitzvahs, quinceaneras, and school graduations. There are very few definite events that mark a person’s shift from adolescence into adulthood. We see an absence of clearly defined rites of passage in the contemporary culture, which have prevailed in olden times in America. Indian culture also does not have very clearly defined rites of passage except some important ones like birth, marriage and funeral. However, there are some simil arities that both cultures share, for example grief is symbolized with color. American society relates black with grief and Indians link white with sadness. For example, on funerals, Americans wear black and Indians wear white. There are more differences in the carrying out of the rites of passage than similarities, in the two cultures. ... The expectant mother is dressed in a heavy dress with a lot of garlands. Elderly ladies shower blessings on her, and women share tips and tricks of mothering a child. The home deity is worshipped. The mother is given the gifts which are meant for her and not the baby. American culture celebrates adolescence ceremonies both for boys and girls, to honor their stepping into puberty. The most prominent adolescent rite of passage celebrated in America is the quincearena. Quinceanera celebrates a girl’s fifteenth birthday thus commemorating her past fifteen years into a get-together where people related to her make merry and congratulate her for her coming adulthood (Alvarez). Her journey from childhood to adulthood is recollected and she transforms from a naughty little kid into a delicate, pretty lady. The invited families are encouraged to select the customs that have special meaning to them and to add to the customs as they wish. That is what makes the celebration unique and ver y special. In contrast, in Indian culture, there is no such ceremony that celebrates the passing of fifteen years or steeping of a girl or boy into the sixteenth year of life. American practices have more or less become dependent on the economical and psychological aspects of life. For example, funeral practices in America depict true picture of capitalism and materialism. Corpse is displayed in the public for last viewing. This is a general acceptance of the fact that death is expected of all human beings and none of us resist to it. Corpses, nowadays, are prepared with makeup and expensive clothes before burial. Memorial services and cremations are also in practice. Hence, American funeral is an organized and

Sydney Opera House Construction Project

Sydney Opera House Construction Project The purpose of this assignment is to research the Sydney Opera House construction project and to prepare a report under the following headings: Jump to Project overview/Background Project team/Stakeholders Construction Project costs Executive summary/Conclusion Project Overview/Background The Sydney Opera House is one of the worlds iconic buildings and is recognized by most people universally. It is has become a global symbol of Australia. Planning for the Sydney Opera House began in the late 1940s, when Eugene Goossens, the Director of the New South Wales (NSW) State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for these productions, the Sydney Town Hall, was not considered large enough. By 1954, Goossens had gained the support of NSW Premier (Prime Minister) Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site for the Opera House. Joseph Cahill had originally wanted it to be on or near Wynyard Railway Station in the northwest of the CBD. In 1956 Joseph Cahill, announced an international competition for the design of an opera house for Sydney. The competition called for a structure that contained two theatres a large hall for opera, ballet, and large scale symphony concerts capable of seating 3,000-3,500 people, and a smaller hall for drama, chamber music and recitals, capable of seating approx 1,200 people. A total of 233 designs were submitted for the competition. In January 1957, Jorn Utzon was announced the winner after his design had originally been rejected by three of the four judges. His design was based on the sails of a ship and gull wings using architectural concepts borrowed from the ancient Chinese. He won AUS $15000 for his design. One of Utzons Original Sketches The Fort Macquarie Tram Depot, occupying the site at this time, was demolished in 1958. Originally the project was scheduled for four years with a budget of AUS $7 million. The goal was to have the project completed by the end of 1962 and have the grand opening at the start of 1963. The construction of the Opera House did not begin until March 1959. The project ended up taking 14 years to complete and cost AUS $102 million. Project Team/Stakeholders The project team consisted of the designer and architect Jorn Utzon as well as Ove Arup, who was in charge of the structure and the engineering. There were various other subcontractors who made up the remainder of the team. The team was in charge of mechanics, electrics, heating and ventilating, lighting and acoustics, basically all of the design and construction. There was no project manager appointed to the job, and it was assumed that Utzon was to take the managerial role for all decisions regarding any design, construction or development. In actuality, it was Arup who was in charge of construction and development, even though Utzon usually had the final decision. So while the responsibilities should have been evenly shared between Utzon and Arup, Utzon strived for more control than he had. In addition, since Utzon was unquestionably the leading professional in the team, the other members expected that he would control the program and produce the drawings for construction. Stakeholders are persons or organisations who will affect or be affected by the project. There were two main stakeholders at the beginning of the Sydney Opera House construction, Jorn Utzon and the state of New South Wales which encompassed the Australian Government who launched the competition for the project, especially the Labour Premier Joseph Cahill. Jorn Utzon When a more conservative Liberal Party won the elections in 1965 and a new government was created, Davis Hughes was appointed Minister for Public Works and became a main stakeholder as he had control over the funding for the project. Some other stakeholders were Ove Arup and his firm as well as the other external companies and consulting firms. The construction of the project required the use of new techniques (computer-based three dimensional site positioning devices, geothermal pumpsà ¢Ã¢â€š ¬Ã‚ ¦) and it was outsourced to new consulting bodies such as Unisearch. Finally, the public was an indirect stakeholder because they were concerned with the projects success. And while only some citizens would be customers of the Opera House, it would also prove to be an integral part of Sydney and the countrys history. The public also contributed to the funding of the Opera through a lottery set up by the Government. Construction The project was built in three stages. Stage I (1959-1963) consisted of building the upper podium. Stage II (1963-1967) saw the construction of the outer shells. Stage III (1967-1973) consisted of the interior design and construction. Stage 1 Stage 1 commenced on 2 March 1959 by the construction firm Civil HYPERLINK http://en.wikipedia.org/wiki/Civil__CivicHYPERLINK http://en.wikipedia.org/wiki/Civil__Civic Civic, monitored by the Ove Arups engineering firm. The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. There were still some major structural issues that were yet to be resolved. By 23 January 1961, work was running 47 weeks behind schedule, mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. Construction of the podium 1962 The forced early start led to significant later problems, one of the biggest problems being the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built Stage 2 The shells of the competition entry were originally of undefined geometry. Ove Arup and his engineering firm struggled to find an acceptable solution to constructing them. The formwork for using in-situ concrete would have been prohibitively expensive, but, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive. From 1957 to 1963, the design team went through at least twelve variations of the form of the shells trying to find an economically acceptable form before a realistic solution was agreed upon. The design work on the shells involved one of the earliest uses of computers in structural analysis, in order to understand some of forces to which the shells would be subjected. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. The shells were constructed by Hornibrook Group Pty Ltd, who were also responsible for construction in Stage 3. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes. The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height). Ove Arup and Partners site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed erection arch to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965. Construction of the shells 1963 Stage 3 By Stage 3, the interiors, the project was taking up so much of his time that Utzon moved his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works and put massive pressure on Utzon to finish the project. This ultimately led to his resignation in 1966. His position was taken over by Peter Hall who was mostly responsible for the interior design. At this point, the government asked for the number of seats to be increased from 2000 to 3000. The acoustic advisor, Lothar Cremer, was full of criticism of Utzons original design. He said this would not be possible and would be detrimental to the acoustics. Utzons design was coming under a significant amount of criticism at this point. Even the stage designer, Peter Jones, criticised the overall interior design. During all the criticism, work was still carried out with significant changes to Ut zons design. The final stage was eventually completed in 1973. Sydney Opera House Interior Project Costs The Sydney Opera House could probably be seen as one of the most financially disastrous construction projects in history. The winning design from the competition was originally supposed to have a budget of AUS$7 million. Initially the cost of the Opera House was estimated at AUS$3.6 million from the design entry. When Utzon submitted his refined designs the Red Book, the estimates were then calculated by a quantity surveyor at AUS$4,781,200. The NSW Government decided not to invest any money into the Opera House and decided to donate no more than AUS$100,000. They then set up the Opera House Lottery for the public, which ran through the course of the construction and generated enough funds to keep the construction going. The Opera House was formally completed in 1973, having cost $102 million. The following approximations were provided by the Hornibrook director in charge of the project Stage 1: Podium Civil and Civic $5.5 million Stage 2: Roof Shells $12.5 million Stage 3 : Stage equipment, stage lighting and organ $9 million Fees and other costs $16.5 million. 1974, the minister for public works announced the final bill for the project was $102 million, a total of $95 million over budget. Executive Summary/Conclusion The Sydney Opera House project was an unmitigated failure from a construction and project management point of view. The three major factors for a project to be successful are cost, time and quality. The project came in at a total of almost 1400% over budget and took ten years longer than expected. There were a number of factors in the failure of the project. At the beginning of any project, goals and objectives have to be clearly defined by the client to provide a guideline for what the project must contain. The project wasnt defined properly and the plans were changed constantly. The Australian Governments impatience and decision to start the construction before all the designs and drawings had been completed was a major factor in the project failures. This in turn made it extremely difficult for the design and construction teams as well as increasing the costs of the project. Jorn Utzon, being the designer and architect should have attempted to minimise changes to the plans unless absolutely necessary by simply rejecting unnecessary alterations. The lack of a project manager played a big role in the failure of the project. A project manager is absolutely essential for most construction projects and certainly a project of this size. In general, the project manager is responsible for the overall success of the project. The lack of leadership and guidance seemed to be a significant problem during the building of the Opera House. Without a project manager there was no clear leader or boss and therefore nobody for the contractors to liaise with in the event of uncertainties or concerns about any aspect of the construction except for Utzon who seemed to have his hands full with the constant design changes and updates. Although the construction of the project is generally seen as an absolute failure, it is impossible to argue that the Sydney Opera House is anything other than an outstanding success for Sydney and for Australia as a country. It is one of the most recognisable buildings in the world and attracts millions of visitors annually.

Importance of Non Conventional Energy by Shanavaz Khan

Research has shown that fuels such as oil, gas and even nuclear have a remaining life span of 70 years. As the industrialized modern world consumes increasing amounts of energy, finding non-conventional energy sources becomes essential to sustain worldwide energy demands. There is considerable debate about the efficiency of non-conventional energy and its ability to supply the world. The contribution of renewable sources of energy remains small however it’s a growing sector with expanding levels of investment. Non-Conventional energy sources can be defined in following types * Water Energy – Hydro-electric power plants are effective in utilizing potential energy stored in water. Ocean contains energy in form of temperature gradients, waves and tides and can be harnessed. * Wind Energy – Wind has kinetic energy that can turn turbines and can be converted to usable power. However the amount of energy that can be derived depends on the speed of the wind. Wind power is one of the most cost-efficient forms of non-conventional energy. Solar Energy – The Solar Photo Voltaic (SPV) technology which enables the direct conversion of sun light into electricity can be used to run pumps, lights, refrigerators, TV sets, etc and it has several distinct advantages since it does not have moving parts, produces no noise or pollution, requires very little maintenance and can be installed anywhere. * Other sources – Geo-Thermal energy, Biomass energy and Bio fuels are other sources of non-conventional energy. All over the developed world importance of these types of non-conventional energy sources has been recognized with international targets set for a massive increase in renewable generation, for example European Union has set 30 percent energy output by 2020. Nevertheless there is need of more thrust to the research and development of non-conventional energy sources not only to mitigate greenhouse effect but also to lessen dependence on fossil fuels. Last but not the least, it is for citizens also to believe in power of renewable energy sources and understand its necessity and importance.

Insects, Spiders, and Other Bugs