A Comparative Assessment of Embedded Energy Storage and Electric Vehicle Integration in a Community Virtual Power Plant

© 2018, ICST Institute for Computer Sciences, Social Informatics and Telecommunications Engineering. Among the key objectives of the smart grid technology are to foster the grid integration of renewable energy as well as market participation of domestic energy consumers through demand response program. Energy storage remains a key component of the smart grid. Past works on integration of energy storage at the domestic side of the electricity grid has identified the electric vehicle technology (EV) and the embedded energy storage (EES) technology, etc. However, it was difficult to compare between these technologies in terms of business incentives and technical performance. This was investigated in this work, and the results are presented. It was propose to use percentage difference to compare between VPP with EES and VPP with EV. The results shows that the difference in prosumers incentives between VPP with EES and VPP with EV is very low. It is approximately 0.89%. However, the percentage difference in VPP operator profit between VPP with EES and VPP with EV is very high. It is approximately 85.3%. The VPP makes very high profit in the VPP EES case compared to VPP EV case. The same also applies to the VPP cumulative performance where the percentage difference in the VPP cumulative performance between VPP with EES and VPP with EV is approximately 10.9%. This has implication on the storage mechanism to be integrated in to a VPP at the domestic level as well the business model to be adopted.Published versio

Theatre in the Smart City: The Case of Pondicherry, South India

Tandis que la culture tend à devenir un axe de plus en plus central des stratégies de développement urbain, il semble important d’analyser les modalités selon lesquels les producteurs culturels - incluant ceux dont les activités ne comptent pas parmi les industries culturelles les plus convoitées - ont recours aux outils fournis par les nouvelles technologies pour produire et promouvoir leur travail. Nous analysons ici deux compagnies de théâtre contemporain situées dans la région de Pondicherry en Inde du Sud : Indianostrum et Adishakti Laboratory for Theatre Arts and Research. Toutes deux bénéficient d’une forte reconnaissance en Inde et à l’étranger pour leur travail innovant ancré dans des formes de performance populaires et classiques. Néanmoins, elles souffrent d’un manque de reconnaissance en tant qu’industries culturelles, même dans un moment où Pondicherry cherche à capitaliser sur la culture et le patrimoine dans le cadre de l’ambition de faire de la ville et sa région environnante une « destination touristique globale », objectif principal de la mission Smart City lancée en 2017. Pour ces artistes de stature internationale, qui doivent travailler en marge d’une stabilité économique pour pallier l’insuffisance de financement pour les arts en Inde et l’absence de politique culturelle de l’État, l’utilisation des TIC multiplie les opportunités de se produire et facilite l’obtention de financements pour des projets spécifiques. Pourtant, les plateformes digitales ne suffisent à elles seules ni à garantir le soutien nécessaire ni les bases leur permettant de maintenir et renforcer le travail de ces artistes et le fonctionnement de lieux de performance qu’ils ont eux-mêmes créés.As culture becomes increasingly important in urban development, it is timely to examine ways in which cultural producers – including those whose activities that fall outside strict definitions of “cultural industries” – are using digital platforms to produce and promote their work. We examine here two contemporary theatre companies in the region of Pondicherry, South India: Indianostrum and Adishakti Laboratory for Theatre Arts and Research. Both of these companies have substantial reputations throughout India and abroad for their innovative work rooted in the investigation of folk and classical performance forms. Nevertheless, institutional recognition of these artistic collectives as cultural industries that contribute to the territory’s cosmopolitan image has been lacking. This neglect continues even at a moment when the city seeks to capitalize on culture and heritage to transform itself into a “global tourist destination”, as per the goals of the Pondicherry Smart City mission launched in 2017. For these acclaimed theatre artists of international stature, who must work at the margins of economic stability because of the conditions for arts funding in India, the use of ICT facilitates obtaining performance opportunities and some funding for specific projects. However, digital platforms are not sufficient to secure the sponsorship needed on an ongoing basis to maintain and enhance the work of these artists and the performance spaces they have developed and curate

Kafka’s Ape Meets the <i>Natyashastra</i>

To the Academy is a multi-media performance work that makes poignant and humorous commentary about education, common paradigms of diversity, and the oppressive nature of institutional labor. Created through a dialogue between myself, an Indian American with training in various forms of physical theatre and Indian dance, and Guyanese-Canadian actor Marc Gomes, it has been performed at several universities and arts centers since 2015. In this essay, I will interrogate the ways in which we place select elements of “Indian tradition” at the service of the piece’s overarching theme of histories of European domination, asking whether making these cultural materials subservient to our political agenda constitutes a form of appropriation. I examine three components of the work: the character of the classical Indian dancer who appears in the first section of the show, the explicit references to the ancient Sanskrit treatise on performance, the Natyashastra, and the framing of both these elements within our adaptation of Franz Kafka’s story, “Report to an Academy,” about an ape who learns to impersonate humans. In so doing, I explore the ethical responsibilities artists of color have in working with intercultural aesthetics. Furthermore, I assert the inevitably ambivalent nature of activist performance, even if artists aim to resist hegemonic structures

Hip-Hop Guayaquil: culturas viajeras e identidades locales

Hip-Hop Guayaquile: Traveling Cultures and Local Identities This paper addresses how people selectively interpret images and sounds which circulate through the global media, investing politically-charged forms of popular culture with new, locally significant political meanings. Hip-hop is a genre of contemporary music characterized by the orchestration of rapped lyrics, fragments of music recorded in the past by other artists, and electronic instrumentation, all superimposed over a regular and steady beat. As a kind of music, accompanied by its own forms of dance and fashion, hip-hop is the product of the travel and transformation of a variety of black political ideologies, constitutedin changing relations with one another and with the dominant culturesagainst which they struggle. Hip-hop, in its context of origin is linked to politics of identity defended by black youth. In this essay I explore the role that hip-hop plays in the formulation of an identity on the part of black and mestizo youth from the popular sectors of Guayaquil, Ecuador. This ethnographic case study illustrates the need to consider the political dimensions of the processes of translation between the global and the local.Hip-hop Guayaquil : cultures itinérantes et identités locales Le hip-hop est un style de musique contemporaine caractérisé par une orchestration d’œuvres lyriques râpées, la superposition de morceaux de musique enregistrés dans le passé par différents artistes, et une instrumentation électronique, tout cela sur des rythmes de basse réguliers et constants. Le hip-hop, musique accompagnée de ses propres danses et de sa mode, est le produit du déplacement et de la transformation d’une variété d’idéologies politiques de la communauté noire qui se constituent à partir de relations qui se modifient entre elles, et en relation avec les cultures dominantes contre lesquelles elles luttent quotidiennement. A l’origine, le hip-hop est lié à des mouvements d’ identité de jeunes noirs. Dans cet article, il est intéressant d’étudier le rôle du hip-hop dans la formulation d’une identité entre jeunes métisses et noirs des secteurs populaires de Guayaquil. Cet exemple illustre la nécessité d’ inclure dans l’ analyse les dimensions politiques des processus de traduction du global au niveau local.El hip-hop es un género de música contemporánea caracterizado por la orquestación de líricas que son rapeadas, superposición de fragmentos de música grabada en el pasado por diferentes artistas, e instrumentación electrónica, todo ello sobre ritmos de bajo regulares y constantes. Como un tipo de música acompañado por sus propias formas de danza y moda, el hip-hop es producto del viaje y la transformación de una variedad de ideologías políticas de la comunidad negra que se constituyen a sí mismas en relaciones cambiantes entre sí y en relación con las culturas dominantes contra las cuales luchan cotidianamente. El hip-hop está ligado, en su contexto originario, a políticas de identidad defendidas por jóvenes negros. Lo que interesa explorar en este artículo es el papel del hip-hop en la formulación de una identidad entre jóvenes mestizos y negros de sectores populares en Guayaquil. Este estudio de caso ilustra la necesidad de considerar en el análisis a las dimensiones políticas de los procesos de traducción de lo global en lo local.Pillai Shanti. Hip-Hop Guayaquil: culturas viajeras e identidades locales. In: Bulletin de l'Institut Français d'Études Andines, tome 28, N°3, 1999. Transformar o reflejar las realidades andinas: la educación en el siglo XX. pp. 485-499

Greeks, saracens and Indians Imperial builders in southern India 1880-1880 [sic]

SIGLEAvailable from British Library Document Supply Centre- DSC:DN063429 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Theatre in the Smart City: The Case of Pondicherry, South India

International audienceAs culture becomes increasingly important in urban development, it is timely to examine ways in which cultural producers – including those whose activities that fall outside strict definitions of “cultural industries” – are using digital platforms to produce and promote their work. We examine here two contemporary theatre companies in the region of Pondicherry, South India: Indianostrum and Adishakti Laboratory for Theatre Arts and Research. Both of these companies have substantial reputations throughout India and abroad for their innovative work rooted in the investigation of folk and classical performance forms. Nevertheless, institutional recognition of these artistic collectives as cultural industries that contribute to the territory’s cosmopolitan image has been lacking. This neglect continues even at a moment when the city seeks to capitalize on culture and heritage to transform itself into a “global tourist destination”, as per the goals of the Pondicherry Smart City mission launched in 2017. For these acclaimed theatre artists of international stature, who must work at the margins of economic stability because of the conditions for arts funding in India, the use of ICT facilitates obtaining performance opportunities and some funding for specific projects. However, digital platforms are not sufficient to secure the sponsorship needed on an ongoing basis to maintain and enhance the work of these artists and the performance spaces they have developed and curate.Tandis que la culture tend à devenir un axe de plus en plus central des stratégies de développement urbain, il semble important d’analyser les modalités selon lesquels les producteurs culturels - incluant ceux dont les activités ne comptent pas parmi les industries culturelles les plus convoitées - ont recours aux outils fournis par les nouvelles technologies pour produire et promouvoir leur travail. Nous analysons ici deux compagnies de théâtre contemporain situées dans la région de Pondicherry en Inde du Sud : Indianostrum et Adishakti Laboratory for Theatre Arts and Research. Toutes deux bénéficient d’une forte reconnaissance en Inde et à l’étranger pour leur travail innovant ancré dans des formes de performance populaires et classiques. Néanmoins, elles souffrent d’un manque de reconnaissance en tant qu’industries culturelles, même dans un moment où Pondicherry cherche à capitaliser sur la culture et le patrimoine dans le cadre de l’ambition de faire de la ville et sa région environnante une « destination touristique globale », objectif principal de la mission Smart City lancée en 2017. Pour ces artistes de stature internationale, qui doivent travailler en marge d’une stabilité économique pour pallier l’insuffisance de financement pour les arts en Inde et l’absence de politique culturelle de l’État, l’utilisation des TIC multiplie les opportunités de se produire et facilite l’obtention de financements pour des projets spécifiques. Pourtant, les plateformes digitales ne suffisent à elles seules ni à garantir le soutien nécessaire ni les bases leur permettant de maintenir et renforcer le travail de ces artistes et le fonctionnement de lieux de performance qu’ils ont eux-mêmes créés