Agency: Cordis | Branch: FP7 | Program: CP-FP | Phase: ENERGY-2007-3.2-03 | Award Amount: 4.09M | Year: 2008
The transport sector represents a growing share of the total fossil fuel usage in the world. In order to fulfil the commitment to the Kyoto Protocol, the world usage of fossil oil in transport sectors must be reduced. One important approach to achieving this goal is to increase the share of renewable sources such as feedstocks in conversion routes. These biomass conversion routes involve a number of difficulties that should be attended to first by a suitable process configuration to avoid catalyst poisoning in production of syngas. Second, a major problem in the production of syngas-derived fuel from renewable sources is the presence of contaminates in the product gas from biomass gasifiers. These impurities that cause catalytic poisoning should be completely removed prior to the entry in catalytic systems that utilize in upgrading steps. With the evolution of these advanced uses of biomass derived syngas, it becomes necessary to develop progressively more stringent gas cleaning systems. Therefore, the projects key goal is development of a novel gas cleanup in order to reduce impurities from the gasifiers product gas to limits required for upgrading to syngas using as a feedstock in production of vehicle fuels. To accomplish this target that biomass conversion should preserve high energy efficiency in the subsequent synthesis steps and prevent catalytic poisoning, an alternative product route and more efficient gas cleaning systems are required. Nevertheless, biomass conversion processes offer many economical and environmental benefits, but it is clear that conversion technology should be able to compete with other conversion routes, for example via methane. Therefore, this RTD programme combines European expertise in the field of gasification, different proficiencies in cleaning technologies, high ranking catalyst expertise, catalyst company, and two research companies with R&D activities in the fields to expedite the development and commercialization of research outcomes.
Agency: Cordis | Branch: FP7 | Program: CP-FP | Phase: ENERGY-2007-2.2-01 | Award Amount: 3.72M | Year: 2008
This proposal aims at a compact version of a gasifier by integrating the fluidized bed steam gasification of biomass and the hot gas cleaning and conditioning system into one reactor vessel. Such arrangement will guarantee the conversion of tar, elimination of trace elements and an efficient abatement of the particulate, delivering high purity syngas, suitable to assure a substantial share of power generation even in small- to medium-scale (few MWth) CHP and power plants, and to increase the overall economic revenue, in line with the FP7 energy directives. It is expected that this innovation will provide a concrete contribution to the target fixed in the work programme of reducing the cost of electricity obtained by means of advanced gasification systems below 0.04 /kWh in 2020. The strategy of the work plan is designed to: (i) carry out systematic investigations into the development of catalytic and sorbent materials and verify their effectiveness to improve gas quality at real gasification conditions with tests at bench- to pilot-scale (up to 100kWth); (ii) evaluate the purity of syngas against existing cleaning and conditioning systems, by means of a proof of concept in the Gssing gasification plant, and the compatibility towards advanced power generation systems, by means of electricity production tests with a SOFC unit; (iii) assess technical feasibility of process simplification and intensification actions by means of design and operation of an integrated gasification and hot gas cleaning and conditioning fluidized bed prototype reactor (1 MWth), at a significant scale to provide sufficient and reliable information for industrial applications. This ambitious project relates well to the complementary expertises of applicants. Consortium also includes the stakeholders relevant to assure the necessary impact for dissemination and exploitation of the results, and to promote in the medium term industrial applications for the commercialisation of the innovation.
Agency: Cordis | Branch: FP7 | Program: BSG-SME | Phase: SME-2013-1 | Award Amount: 1.22M | Year: 2013
We will \ develop an integrated sensor system for in-line oil condition monitoring covering the most important oil condition parameters including corrosion (acidity) for industrial power generator engines or turbines; \ develop a novel sensor for the online measurement of corrosion effect as a direct indicator for the acidity of the engine oil which is a critical parameter in case of bio-fuel operated combustion engines; \ be able to ensure the protection of the machine by online monitoring, while allows the optimization of the oil change interval, leading to reduced maintenance costs in the long-term, especially in case of large oil fillings. The partners have a clear and proven technological concept for the development of the novel corrosion (acidity) sensor as well as the cooperation with leading oil sensor producer enables an in-depth insight to current market needs. The research on the novel corrosion sensor has started already 8 years ago, reaching by now a technological level allowing the step towards a commertial product.
Agency: Cordis | Branch: FP7 | Program: CSA-CA | Phase: SiS-2007-18.104.22.168 | Award Amount: 1.00M | Year: 2008
The SCICOM project consortium proposes as Co-ordination and Support Action for networking experts who work with and on new concepts for communicating science to the public. One of these concepts is to address the interests and concerns of citizens through interactive exhibitions in association with science concepts with citizens debates and participative democracy tools. Especially, the research topic of Renewable Energy is discussed very much these days in the public and therefore needs more involvement of the public into the development of science and research. Such a European Network is considered to be innovative communication models for enlarging the public at the European level when communicating science in Renewable Energy. In many European countries initiatives have been started in setting up science centres, science museums and in organising national or regional events. The SCICOM project will combine different experiences and know-how in order to develop a synergatic network when setting up common projects. The Lisbon and Gteborg Strategies of a knowledge-based society require a strong involvement and active participation of citizens in the creation, sharing and dissemination of knowledge. The consortium of SCICOM will bring together experienced partners from: - Science Centres who have been practicing the communication of Renewable Energy science and research to the public - Museums who have experience in organising exhibitions and events - Other stakeholders that gained experience in communicating science and research to the public The overall objective of the project will be to develop a operating network of science centres and experts in Renewable Energy, a joint policy paper, addressed to National and European decision makers, the organisation of a series of events and the exchange and dissemination of good practices examples. A common management and organisation platform will support the ambitious goals of the network.
News Article | February 17, 2017
Düsseldorf es donde el corazón de los ciclistas late en 2017: 30 años después de que el Tour de Francia comenzara en la dividida ciudad de Berlín en 1987, la carrera ciclista más importante del mundo es finalmente fijada para empezar de nuevo en Alemania y Düsseldorf espera el inicio de la legendaria carrera francesa. La Grand Départ comienza con la presentación de los equipos el jueves, 29 de junio, a las 6 pm (hora programada). El viernes, el Lichterfest (festival de luces) en el Schloss Benrath ofrece al público música clásica bajo el cielo abierto, un romántico palacio iluminado e impresionantes fuegos artificiales. Al mismo tiempo, la recepción oficial de la Grand Départ Düsseldorf 2017 se celebrará allí. El sábado, la primera etapa comienza como una contrarreloj individual - hora de inicio planificado: 3.15 pm (caravana publicitaria desde las 1.45 pm). Por la noche del 1 de julio, concierto al aire libre KRAFTWERK 3-D para el inicio del Tour de Francia con AIR como invitado especial se celebrará en Ehrenhof. El domingo la segunda etapa comienza en Düsseldorf - hora de inicio programada: 12 am (caravana publicitaria desde las 10 am). Además, la celebración de Grand Départ incluye muchos más eventos de bicicleta en 2017. El gran inicio del programa del evento será "Bonjour le Tour" el sábado 25 de marzo en el Ayuntamiento desde las 12 am - con delicias culinarias de Café Velo, música en vivo y una Torre Eiffel hecha de bloques LEGO. El día concluye con la Nacht der Museen (noche de los museos). Hay también una nueva adición a la app RADschlag: junto a la ya existente, rutas en bicicleta recomendadas, la primera etapa oficial del Tour de Francia 2017 se añadirá como una expedición especial.
News Article | February 17, 2017
Düsseldorf is where the heart of bicycle racing beats in 2017: 30 years after the Tour-de-France start in the divided city of Berlin in 1987, the world's most important bicycle race is finally set to start again in Germany and Düsseldorf awaits the start of the legendary French race. The Grand Départ kicks off with the presentation of the teams on Thursday, 29 June, at 6 pm (scheduled time). On Friday, the Lichterfest (festival of lights) at Schloss Benrath offers the audience classical music under open skies, a romantic illuminated palace and breath-taking fireworks. At the same time, the official reception of the Grand Départ Düsseldorf 2017 is to be held there. On Saturday, the 1st stage starts as an individual time trial - planned start time: 3.15 pm (publicity caravan from 1.45 pm). On the evening of the 1st of July, the KRAFTWERK 3-D Open Air Concert for the start of the Tour de France with special guest AIR is to be held in Ehrenhof. On Sunday the second stage is set to start in Düsseldorf - scheduled start time: 12 am (publicity caravan from 10 am). In addition, the hosting of the Grand Départ includes many further bicycle events in 2017. The big start of the event programme will be "Bonjour le Tour" on Saturday, 25th March at the Town Hall from 12 am on - with culinary delights from Café Velo, live music and an Eiffel Tower made of Lego bricks. The day concludes with the Nacht der Museen (museums night). There's also to be a new addition to the RADschlag app: alongside the existing, recommended bike routes, the official 1st stage of the Tour de France 2017 will be added as a special expedition.
News Article | February 17, 2017
DUSSELDORF, Germany, Feb. 17, 2017 /PRNewswire/ -- Dusseldorf is where the heart of bicycle racing beats in 2017: 30 years after the Tour-de-France start in the divided city of Berlin in 1987, the world's most important bicycle race is finally set to start again in Germany and Dusseldorf awaits the start of the legendary French race. The Grand Depart kicks off with the presentation of the teams on Thursday, 29 June, at 6 pm (scheduled time). On Friday, the Lichterfest (festival of lights) at Schloss Benrath offers the audience classical music under open skies, a romantic illuminated palace and breath-taking fireworks. At the same time, the official reception of the Grand Depart Dusseldorf 2017 is to be held there. On Saturday, the 1st stage starts as an individual time trial - planned start time: 3.15 pm (publicity caravan from 1.45 pm). On the evening of the 1st of July, the KRAFTWERK 3-D Open Air Concert for the start of the Tour de France with special guest AIR is to be held in Ehrenhof. On Sunday the second stage is set to start in Dusseldorf - scheduled start time: 12 am (publicity caravan from 10 am). In addition, the hosting of the Grand Depart includes many further bicycle events in 2017. The big start of the event programme will be "Bonjour le Tour" on Saturday, 25th March at the Town Hall from 12 am on - with culinary delights from Cafe Velo, live music and an Eiffel Tower made of Lego bricks. The day concludes with the Nacht der Museen (museums night). There's also to be a new addition to the RADschlag app: alongside the existing, recommended bike routes, the official 1st stage of the Tour de France 2017 will be added as a special expedition.
News Article | February 17, 2017
Düsseldorf sera la capitale du vélo de course en 2017. Trente ans après le départ du Tour de France en 1987 dans la ville encore divisée de Berlin, l'Allemagne s'apprête à accueillir de nouveau le départ du Tour de France, la plus célèbre course cycliste au monde, à Düsseldorf. Le Grand Départ débutera par la présentation des équipes le jeudi 29 juin à 18 h (heure prévue). Vendredi, le festival des lumières (Lichterfest) à Schloss Benrath proposera au public un concert de musique classique en plein air, un château romantique illuminé et des feux d'artifice époustouflants. Au même moment, sera organisé la fête officielle du Grand Départ de Düsseldorf 2017. Samedi, la première étape commencera par un contre-la-montre individuel. L'heure de départ est prévue à 15 h 15 (caravane publicitaire à partir de 13 h 45). Le 1er juillet en soirée, le concert en plein air KRAFTWERK 3-D organisé à Ehrenhof pour célébrer le départ du Tour de France accueillera des invités spéciaux : les membres du groupe AIR. Dimanche, le départ de la deuxième étape sera prévue à Düsseldorf à midi (la caravane publicitaire à partir de 10 h). De plus, l'organisation du Grand Départ inclura de nombreux autres événements cyclistes tout au long de 2017. Le grand lancement du programme des festivités débutera par l'événement « Bonjour le Tour » samedi 25 mars à la mairie à partir de midi. Au programme : délices culinaires du Café Velo, concert de musique et Tour Eiffel érigée en Lego. La journée se terminera avec la nuit des musées (Nacht der Museen). L'application RADschlag contiendra également des nouveautés : en plus des itinéraires cyclables recommandés déjà existants, la première étape du Tour de France 2017 sera ajoutée comme expédition spéciale.
News Article | June 18, 2015
Trace the sound back to its source and you find the producer, often a pretty famous one. A good producer can define a whole era of pop, whether it's ushering in a new sound like teen pop or smuggling genres like trap or G-funk into the mainstream. You know the sounds even if you don't know the names, subconsciously tying them to a certain era of pop. In honor of this week's release of Giorgio Moroder's Déjà Vu, an overdue comeback for one of pop's most influential producers, we thought we'd take a look at 11 of the most influential pop sounds and the people behind them. We didn't get everyone, but these are the names with the biggest hits and the longest shadows. Pop is a quick study. If there's one hit with a catchy snare sound, by the end of the year there will be three more with the same feel, either by the same producer or some up-and-comer picking up a few tricks and running with them. Sounds travel fast, and a good one will often spread through a sizable chunk of the pop landscape over the course of a few years. Essential album: I Hear a New World (1960) Essential track: The Tornados, "Telstar" (1962) Known for work with: The Honeycombs, The Tornados, John Leyton This is where the story starts, arguably the beginning of a producer having a sound at all. While The Beatles were still looking for a drummer, Joe Meek was pioneering techniques like overdubs, compression, and electronic processing that would become the building blocks of modern audio engineering. Instead of recreating or enhancing the live performance, Meek used those tools to create completely new sounds, whether it was the fuzzed-out futurism of 1962's "Telstar" or the Pixies-predicting haunted house of "Johnny, Remember Me." Meek was dead by the time those techniques reached the mainstream, but his ghost wandered the British pop charts for years to come. Essential album: Various artists, A Christmas Gift for You from Phil Spector (1963) Essential track: The Ronettes, "Be My Baby" (1963) Known for work with: The Ronettes, The Crystals, George Harrison, Leonard Cohen There was music before Phil Spector, and then there was music after Phil Spector. Spector was among the first producers who recorded songs that were designed to be hits — songs that would sound huge and vibrant and would immediately catch your attention even over the era's dull AM radios. It all came back to his (in)famous "wall of sound" production technique, which involved bringing a small orchestra's worth of musicians into a room to record a track that was quite literally packed with sound. His approach marked a big change from the typical style of the era — which carefully separated instruments — but it introduced a catchy and danceable style that others were eager to emulate. That includes Beach Boys' mastermind Brian Wilson, who fell in love with it and adapted Spector's techniques. Essential album: From Here to Eternity (1977) Essential track: Donna Summer, "I Feel Love" (1977) Known for work with: Donna Summer, Blondie, Kenny Loggins In the era of the laptop producer, it can be hard to remember just how strange computerized music sounded when it first broke through. Kraftwerk made the first splash, all motorik and computer dreams, but before Moroder, it was hard to imagine anyone actually dancing to it. Luckily, he had the tidal wave of disco on his side. Music was moving from concerts to clubs, while the emotional palette shifted from sex and violence to sex and nightlife. Moroder wasn’t a driving force for early disco, but he made the most of the turn once it happened, giving analog sounds the drama and sexuality of disco and turning a dance-pop resurgence into an electronic watershed. While 1977's "I Feel Love" is still the masterpiece, less aggressively computerized singles like "Last Dance" are better for showing the fusion at work. Thriller owned 1982, spawning single after single, growing and growing until it swallowed pop whole. This was a new kind of pop music, one built for mass-market radio and international appeal. String sections and synthesizers merged seamlessly with Eddie Van Halen and Vincent Price, breaking down the genre barriers that had kept many black artists off MTV and pop radio. Jackson was the star, undeniably, but Jones was behind most of the genre alchemy, coming off a decade of increasingly poppy jazz fusion. This was a sound that spanned every popular style of music, a platonic ideal of a hit record. Once the '90s hit, Jackson would move on to Teddy Riley and New Jack Swing, a sound he’d stick with for the rest of his career — but his biggest and most beloved hits still belong to Quincy. Essential album: Madonna, Like A Virgin (1984) Essential track: David Bowie, "Let's Dance" (1983) Known for work with: Madonna, Duran Duran, David Bowie, Grace Jones, Diana Ross Nile Rodgers is responsible for some of the funkiest beats to ever reach the masses. After the death of disco, Rodgers took the genre's finest element — funk — and helped it stay alive by infusing it into the music of some legendary artists. He turned David Bowie's "Let's Dance" into an appropriately danceable hit, and he filled Madonna's "Like a Virgin" with the kind of family-friendly funk that makes the masses go wild. Rodgers' work as a producer isn't always quite as funky as the clear guitar and eminently danceable pop beats that go into his work with Chic — you have to wonder if that's a matter of adapting to the audience — but he still treats artists with tunes that are far cooler than many deserve. And fortunately, he's still doing the same thing today, most notably turning Daft Punk's "Get Lucky" into one of the most addictive songs of 2013. Essential album: The Beastie Boys, Licensed to Ill (1986) Essential track: LL Cool J, "I Need A Beat" (1984) Known for work with: The Beastie Boys, The Red Hot Chili Peppers, Run-D.M.C., LL Cool J, Jay Z, Adele When Kanye West needed to clean up Yeezus just weeks away from its 2013 release date, he turned to Rick Rubin, a producer famous for helping artists hone in on — and strip down — their sound to its core elements. Rubin came around as hip-hop was evolving and still sounded, to his ears, like an out-of-sync mashup of rap and R&B. To fix that, Rubin decided to pull back the production to make his tracks feel more like something you'd hear alongside a DJ scratching in a club; add in a simple structure, and they quickly became as addictive as any pop track. The formula worked, and Rubin's "stripped-down" style — pulling out everything but the most necessary sounds and bringing strong vocals and beats to the forefront — went everywhere, even outside of hip-hop as Rubin's range expanded. Rubin's hands have been in an incredible amount of music since the ’80s, from LL Cool J and The Beastie Boys to Red Hot Chili Peppers and Weezer to Johnny Cash and Neil Diamond, all bringing a different touch. But it's not hard to trace the ideas running between them once you know what to look for. Essential album: Dr. Dre, The Chronic (1992) Essential track: 2Pac, "California Love" (1995) Known for work with: NWA, Snoop Dogg, Eminem, 50 Cent Who have guessed that Roger Troutman would show up on a #1 single in 1995 or, even less likely, that he would be singing the hook over a 20-year-old Joe Cocker sample? It’s a sign of how thoroughly Dr. Dre had rehabilitated '70s and early '80s funk, from 1992's The Chronic through to the golden age of Death Row. Sampling was at the heart of the sound, but Dre layered the samples with reedy synths lines and vocal hooks into a smooth, sinister symphony, worlds away from the aggressive chops of Rick Rubin and Dre’s own work with NWA. In some ways, it was a less sophisticated approach than East Coast icons like Prince Paul were taking — but Dre’s work hit bigger, and it’s easy to see why. Instead of trying to establish his artistry, Dre found a great hook and got out of the way. And unlike the East Coast sound collages, Dre’s was an easy sound to imitate. Soon Ice Cube and Biggie were building hits on top of Isley samples, and a generation of producers would start looking to old funk records as a source for easy hits... that is, until copyright claims caught up with them and hip-hop was forced to move on to an aesthetic with less legal baggage. Essential album: Britney Spears, Oops!... I Did It Again (2000) Essential track: The Backstreet Boys, "I Want It That Way" (1999) Known for work with: Britney Spears, The Backstreet Boys, Pink, Katy Perry At the turn of the 21st century, as sampling changed the pace of hip-hop, Max Martin made his production a hallmark of any good pop song. Martin is known for comping — a ridiculously tedious process wherein a producer will listen to every syllable of a vocal take and piece together the best ones. It’s an almost boringly precise method that favors perfection over anything else. The Swedish producer and songwriter branded almost every pop anthem of the late ‘90s and early '00s with this style, and it meant that there was little room for imperfections. There was nothing funky or unusual about a Max Martin jam, and definitely nothing minimalist. Anything Martin touched was protected by a thick top coat of shiny gloss. Here are some benchmarks of Big Teen: frosted tips, pleather pants, and silver halter tops, if you molded them into something musical. Vinyl scratches that make it sound like you’re inside a roller rink DJ booth. The wobbly, rippling synths, the tinny one-two dance beats, the percussion that comes in like a stampede. And those monster hooks that eventually defined the era; the kind that burned what otherwise would’ve been throwaway pop songs into the public consciousness for the next decade. Think N’Sync, Backstreet Boys, Britney Spears — anyone the late ‘90s consensus deemed swoonworthy. Perfection is the name of Max Martin’s game, and you can see the effects of it in Katy Perry’s jitter-free boyfriend cuts or Adele’s shimmering ballads. It’s not too big a jump to imagine Max Martin helped solidify the idea of pop stars as flawless beings, and why we still like to think of a certain breed of musicians as poreless robots existing solely to entertain. Essential album: Kanye West, Late Registration (2005) Essential track: Jay Z, "Izzo (H.O.V.A.)" (2001) Known for work with: Jay Z, Common, himself At the start of 2004, Kanye West’s debut album The College Dropout entered a music landscape saturated with slick, sensual but tough party hits. The previous year’s No. 1 single on the Billboard Hot 100 chart was 50 Cent’s "In Da Club," followed closely by R. Kelly’s "Ignition (Remix)." Britney Spears released her all-grown-up comeback album, In The Zone. In comparison, West’s LP was practically quirky. Pitch-shifted beats knocked against a gospel sensibility; "Jesus Walks" coupled together a Curtis Mayfield sample with an a capella choir; "All Falls Down" paired a Lauryn Hill throwback with an acoustic guitar strum. And Kanye produced the album himself (for the most part), which meant it was easy to catapult him to icon status — this whole thing was his own doing. So his sound rippled. A slew of fairly nebulous up-and-comers like Kid Cudi, J Cole, and Childish Gambino copped Kanye’s sound, throwing their own idiosyncrasies into the mix. Even if Cudi might balk at the idea, "Day N Nite" wouldn’t have existed without West. Hip-hop purists hated Gambino’s Camp, but the Kanye influence on "Firefly" was so thick it sounded like a College Dropout b-side. Kanye’s staccato flow has something to do with his staying power, but West is not as good a rapper as he is a producer — one listen to Yeezus is proof of that. Production is where West’s strange ecclesiastic tics make sense, and where they can be easily replicated. Essential album: Justin Timberlake, Justified (2002) Essential track: Snoop Dogg, "Drop It Like It's Hot" (2004) Known for work with: Nelly, Clipse, Snoop Dogg, Justin Timberlake, Kelis At the same time Kanye’s pitch-shifted soul was spreading and dissipating, snares started getting very aggressive. On more and more hits, everything that wasn't needed dropped out, leaving just a skeleton adorned by a few fluorescent synths. Year after year, hit after hit, Pharrell Williams and Chad Hugo brought an aggressively futurist sound into pop music, combining rap's most minimal impulses with an oddball sonic sci-fi. After decades of rap production, it was genuinely like nothing anyone had ever heard. Then there’s Justified, which applied the same aesthetic to one of the world’s biggest pop stars, and came away with a stranger version of the Quincy & Michael chemistry that had ruled the charts 20 years before. No one could replicate the Neptunes’ strangest impulses, so the lasting result was a shift toward harsher drum sounds and less of everything else. Melodies have made a bit of a recovery in the years since, but the needle has yet to swing all the way back. Essential album: YG, My Krazy Life (2014) Essential track: Ty Dolla $ign, "Paranoid" (2013) Known for work with: YG, Tyga, Trey Songz Mustard on the beat. That’s what you’ll hear at the start of every song DJ Mustard produces, and it’s a lot of songs. The phrase is always a garbled, rapid-fire missive, but at this point — a few years after Dijon Isaiah McFarlane produced his first big hit, Tyga’s "Rack City," in 2011 — everyone’s well aware of what he’s saying. DJ Mustard is huge, but his sound is small and strange (like a little pocket alien of rap). Just a few years after Timbaland started drowning songs in sad grey matter, and RedOne (who produced Lady Gaga’s breakout hit "Just Dance") made glitter a necessary pop accessory, DJ Mustard went all in on a sound that can be summed up in a single onomatopoeia: The Squelch. DJ Mustard’s production — a weirder, abstract version of the low-riding G-funk synth line — swallows up almost every club hit today. You’d recognize it if you heard it: that static, squishy beat that sounds like a giant plodding through puddles in rubber rain boots. It’s the kind of sonic stepping stone that rappers love to skip verses on, because there’s almost nothing to it. You can hear it in Ty Dolla $ign’s "Paranoid," or YG’s "My Nigga." You can also hear it in dozens of other Mustard-free tracks, including, somewhat infamously, Iggy Azalea’s "Fancy" — a song actually produced by The Invisible Men. Mustard wasn’t happy with the imitation, but Azalea isn’t the only one guilty of it. DJ Mustard created the blueprint for a certain type of slipshod Southern bounce, and there’s nothing producers love more than a blueprint for a hit.