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Showing posts with label discovery. Show all posts
Showing posts with label discovery. Show all posts
Monday 26 July 2021
Thursday 9 April 2015
Oil discovery near Gatwick airport 'significant'
By John Moylan
There could be up to 100 billion barrels of oil onshore beneath the South of England, says exploration firm UK Oil & Gas Investments (UKOG).
Last year, the firm drilled a well at Horse Hill, near Gatwick airport, and analysis of that well suggests the local area could hold 158 million barrels of oil per square mile.
But only a fraction of the 100 billion total would be recovered, UKOG admits.
The North Sea has produced about 45 billion barrels in 40 years.
"We think we've found a very significant discovery here, probably the largest [onshore in the UK] in the last 30 years, and we think it has national significance," Stephen Sanderson, UKOG's chief executive told the BBC.
UKOG says that the majority of the oil lies within the Upper Jurassic Kimmeridge formation at a depth of between 2,500ft (762m) and 3,000ft (914m).
It describes this as a "world class potential resource" and that the well has the "potential for significant daily oil production".
Compared with similar geology in the US and West Siberia, it estimates that 3% to 15% of the oil could be recovered.
Underground riches
Oil has been produced onshore in the South of England for decades. There are currently around a dozen oil production sites across the Weald, a region spanning Kent, Sussex, Surrey and Hampshire.
Last year, a report for the government by the British Geological Survey estimated that the region may have shale oil resources in the range of 2.2-to-8.5 billion barrels, with a central estimate of 4.4 billion barrels of oil.
UKOG says that it drilled the deepest well in the region in the last 30 years and that the results "comprehensively change the understanding of the area's potential oil resources".
"Based on what we've found here, we're looking at between 50 and 100 billion barrels of oil in place in the ground," says Mr Sanderson.
"We believe we can recover between 5% and 15% of the oil in the ground, which by 2030 could mean that we produce 10%-to-30% of the UK's oil demand from within the Weald area."
'Significant'
Work currently under way at Imperial College also suggests that there may be more oil in the region than previously thought.
Professor Alastair Fraser has used some of the most sophisticated equipment in the world, based at the University of Utah in Salt Lake City, to analyse rock samples.
His study of a third of the Weald came up with a resource of 13 billion barrels.
"So if I scaled that up, we are coming up to numbers of 40 billion barrels," he told the BBC.
"Now that's getting significant. That's a resource. That's what's there in the ground. We've still got to get it out."
Fracking unnecessary
Most experts believe fracking, or hydraulic fracturing, will be needed to get commercial quantities of oil from the region.
Concerns over fracking led to large-scale protests when Cuadrilla drilled at Balcombe, West Sussex, in 2013.
But UKOG has consistently stated that it is not intending to use fracking, which involves pumping water, sand and chemicals into rocks at high pressure to liberate the oil and gas trapped within.
It says that the oil at Horse Hill is held in rocks that are naturally fractured, which "gives strong encouragement that these reservoirs can be successfully produced using conventional horizontal drilling and completion techniques".
The company says further drilling and well testing will be needed to prove these initial results.
Saturday 11 October 2014
The backpacking cricket addict and a cricket widow
Leaving behind a cushy life to go on a whirlwind world cricket tour has so far been a journey of self-discovery and learning. And we are only halfway through
Subash Jayaraman in Cricinfo
October 11, 2014
With wife Kathleen and Colin Croft in Trinidad © Subash Jayaraman
It has been nearly three months since my wife Kathleen and I boarded a flight out of Newark International Airport in New Jersey headed for Port-of-Spain, Trinidad & Tobago - the first leg of a cricket journey around the world that is to culminate at the final of the 2015 World Cup in Melbourne, Australia. The objective: 255 days on the road through 12 countries, following as much cricket as we can.
This was a dream trip many years in the making for me as a cricket fan. As such, the decision to leave our cushy lives of comfort and guaranteed salaries to explore the cricket world and come back to start anew wasn't that hard to make. After all, it is cricket we are talking about.
Though I swear by cricket, I actually didn't step inside a cricket stadium to watch an international match until 2007. Growing up in India, cricket was always around me, but I never had the means to actually be at a match. I watched it on TV, read about it in newspapers and magazines, played it in the streets, backyards and terraces, on patches of land and in riverbeds, in hostel corridors and in living rooms, but the fan in me wasn't complete till I watched it in the flesh in Antigua during the 2007 World Cup. And then, I caught the bug.
Since then, I have travelled to Jamaica, Trinidad, England, Bangladesh, India and Australia to watch cricket - sometimes as a fan and other times as a media person. As Kathleen and I took more and more one- and two-week long cricket trips, the idea of a long one around the world began to germinate. We took inspiration from an Australian couple who were backpacking through North America for six months while taking in cricket in the Caribbean.
| Fans went out of their way to help us find accommodation, buy us a few pints, help us with travel and food | |||
As soon as we returned to our home in USA after watching a Test in Trinidad in 2012, we looked up the Future Tours Programme and decided that the 2015 World Cup in Australia and New Zealand was an obvious final destination of our trip. We worked backwards to come up with an itinerary that took us through almost every Test-playing nation, and set off on July 15, 2014. Since we derived our inspiration in Trinidad, it was logical to begin our trip there.
We have met former and current Test cricketers, legends, commentators, famous writers and journalists, who have all enriched the trip in more ways than we could have imagined. More than that, it has been the fans - some friends and some strangers - who went out of their way to help us find accommodation, buy us a few pints, help us with travel and food - who have made this trip possible and thoroughly memorable.
We had the privilege of speaking to Colin Croft about his career and the great West Indian side he was part of, while sitting in the stands of the Queen's Park Oval, the venue of his best bowling figures. We have been within touching of Sir Garfield Sobers at the Kensington Oval. We paid our respects at the final resting places of Sir Frank Worrell and Sir Clyde Walcott. We had the joy of bowling in the Wanderers Cricket Club nets, the oldest club in Barbados. We were given a guided tour of a cricket museum by Malcolm Marshall's son. We sat among the who's who of Indian and English cricket journalists covering the Tests in England. We shared a lunch table with Kapil Dev and Wasim Akram. We rode tubes and elevators with some of the best known voices in the game. We were interviewed on the BBC. We had a feature written about us in an Indian newspaper. We ate dinner in a castle in Ireland that was formerly the summer home of Ranjitsinhji during his last years. We walked into the home of one of the great names in Indian cricket and spent hours talking cricket. We got a private tour of the only cricket museum in India. Many of these instances are each worthy of a piece of its own, and I shall revisit some of them in these pages at a later time.
| |||
Many people have asked us: Why make this trip at all? What are our plans once the trip is over? What is it all for?
Well, it is part fun, part self-discovery, and part experimentation. We were leading lives of comfort and security, where we seemed to be almost on autopilot. Putting our regular lives on hold for nine months to see whether we - a cricket addict and a "cricket widow" - could come out the other side is certainly one aspect of it. It is also an opportunity for Kathleen to explore the cricket world, its culture, customs and traditions to better understand the sport her husband is so hopelessly addicted to.
We do not know just yet what we will do when the trip is over. We moved out of the apartment we lived in for years and gave away nearly all of our possessions. In effect, we have forced ourselves to start afresh. The future is wide open and filled with limitless possibilities.
We are currently winding down the (southern) Indian leg of the trip and are headed to the UAE to watch the Pakistan-Australia Tests. Sri Lanka, Bangladesh, India (the north), South Africa, Zimbabwe, Australia and New Zealand await. About 160 days of travel and cricket are still ahead of us, and based on our experiences so far, they promise to be one hell of a ride. Most of all, we look forward to meeting the people who are bound to keep making this trip unforgettable. As we have learned in our time on the road so far, the cricket world is full of friends; only, we haven't met them all yet.
Thursday 10 November 2011
Creativity and curiosity: Do we make stuff up or find it out?
By Prof. Colin Lawson in The Independent
The world of music has much to contribute to debate around the nexus between discovery and invention. Igor Stravinsky memorably once wrote of his ballet The Rite of Spring; ‘I heard and I wrote what I heard. I am the vessel through which the Rite passed’. He felt that he had in effect ‘discovered’ rather than invented it. These days we’re all too eager to accept such an explanation. The Rite’s achievement seems indeed to be that it just exists, a gargantuan presence, arousing the same feelings of wonder as the most remarkable works of nature. However much one seeks to explain it, the Rite seems inexplicable. Yet it’s important to note that Stravinsky’s rationale for the Rite’s composition appeared in print almost half a century after its riotous première in May 1913. At the time of its gestation Stravinsky had described composing the Rite as ‘a long and difficult task’, a claim supported by the surviving sketchbooks. It’s not altogether unexpected that the Rite has also been remade by successive generations of performers. It wasn’t composed as a cornerstone of twentieth century music comprising a series of tableaux, but as a piece of theatre. Innovation and revolution go hand in hand with techniques in which Stravinsky was brought up and trained.
Our own desire to seek explanation, even of subject matter that is fundamentally ‘beyond text’, has become inflected by a cult of celebrity that was unknown in earlier times. Our vocabulary carries a new set of overtones, with words such as classical, serious, musical, genius and masterpiece that would have meant little at a time when music was more closely woven into the fabric of society. When we encounter exceptional achievement we rapidly reach for that vocabulary.
Important evidence for the relationship of creativity and curiosity is provided by the life and posthumous reception history of Mozart. These days an over-exploited and over-exposed Mozart has almost come to represent western classical music itself. The great man is invoked to sell confectionery, cheese, spirits and tobacco. You can have a Mozart ski holiday or attend a ‘meet Amadeus’ event. Mozart’s credentials as a timeless genius were established immediately after his death. He was soon transformed from mere composer to inspired artist to meet the needs of the age that followed him. In the first biography just six years after his death Mozart was made to observe from his deathbed: ‘Now I must leave my Art just as I had freed myself from the slavery of fashion, had broken the bonds of speculators, and won the privilege of following my own feelings and composing freely and independently whatever my heart prompted.’ During Mozart’s recent 250th anniversary, Nicholas Kenyon remarked that this apocryphal statement sums up everything the Romantics wanted a composer to be and Mozart was not. Whether or not Mozart would have understood the concept of ‘composing freely’, he wanted to be needed and appreciated and to make the most of performing opportunities; whilst he was conscious of the musical value of his compositions, there’s no evidence that he ever wrote for some far-distant future. Further recent research into Mozart’s compositional method has conclusively exposed as a myth the notion that Mozart carried all his music in his head, awaiting only space in his schedule to scribble it all down.
The usage of words such as ‘creative’ in connection with the production of musical works of art illustrates our tendency to mythologize. The idea of composers as creators or musical artists in a categorical sense is really a feature of the modern era; as Kenyon observes, Mozart doesn’t indicate anywhere that he regards himself as a genius or creator, whilst recognizing that he has genius, a superior talent for making music. In reality, Mozart’s pragmatism is evident in many facets of his professional life, since he worked within the conventions of his time, stretching them to their limits. It’s clear that Mozart’s principal focus was to address specific situations, such as commissions, concerts and dedications. At the same time he contrived to produce a stream of sublime music. But the situations and people directly influenced both his completed compositions and the many fragments that somehow never came to fruition. Perhaps in the case of both Stravinsky and Mozart, it’s the distinction between making stuff up and finding it out that is problematic.
The world of music has much to contribute to debate around the nexus between discovery and invention. Igor Stravinsky memorably once wrote of his ballet The Rite of Spring; ‘I heard and I wrote what I heard. I am the vessel through which the Rite passed’. He felt that he had in effect ‘discovered’ rather than invented it. These days we’re all too eager to accept such an explanation. The Rite’s achievement seems indeed to be that it just exists, a gargantuan presence, arousing the same feelings of wonder as the most remarkable works of nature. However much one seeks to explain it, the Rite seems inexplicable. Yet it’s important to note that Stravinsky’s rationale for the Rite’s composition appeared in print almost half a century after its riotous première in May 1913. At the time of its gestation Stravinsky had described composing the Rite as ‘a long and difficult task’, a claim supported by the surviving sketchbooks. It’s not altogether unexpected that the Rite has also been remade by successive generations of performers. It wasn’t composed as a cornerstone of twentieth century music comprising a series of tableaux, but as a piece of theatre. Innovation and revolution go hand in hand with techniques in which Stravinsky was brought up and trained.
Our own desire to seek explanation, even of subject matter that is fundamentally ‘beyond text’, has become inflected by a cult of celebrity that was unknown in earlier times. Our vocabulary carries a new set of overtones, with words such as classical, serious, musical, genius and masterpiece that would have meant little at a time when music was more closely woven into the fabric of society. When we encounter exceptional achievement we rapidly reach for that vocabulary.
Important evidence for the relationship of creativity and curiosity is provided by the life and posthumous reception history of Mozart. These days an over-exploited and over-exposed Mozart has almost come to represent western classical music itself. The great man is invoked to sell confectionery, cheese, spirits and tobacco. You can have a Mozart ski holiday or attend a ‘meet Amadeus’ event. Mozart’s credentials as a timeless genius were established immediately after his death. He was soon transformed from mere composer to inspired artist to meet the needs of the age that followed him. In the first biography just six years after his death Mozart was made to observe from his deathbed: ‘Now I must leave my Art just as I had freed myself from the slavery of fashion, had broken the bonds of speculators, and won the privilege of following my own feelings and composing freely and independently whatever my heart prompted.’ During Mozart’s recent 250th anniversary, Nicholas Kenyon remarked that this apocryphal statement sums up everything the Romantics wanted a composer to be and Mozart was not. Whether or not Mozart would have understood the concept of ‘composing freely’, he wanted to be needed and appreciated and to make the most of performing opportunities; whilst he was conscious of the musical value of his compositions, there’s no evidence that he ever wrote for some far-distant future. Further recent research into Mozart’s compositional method has conclusively exposed as a myth the notion that Mozart carried all his music in his head, awaiting only space in his schedule to scribble it all down.
The usage of words such as ‘creative’ in connection with the production of musical works of art illustrates our tendency to mythologize. The idea of composers as creators or musical artists in a categorical sense is really a feature of the modern era; as Kenyon observes, Mozart doesn’t indicate anywhere that he regards himself as a genius or creator, whilst recognizing that he has genius, a superior talent for making music. In reality, Mozart’s pragmatism is evident in many facets of his professional life, since he worked within the conventions of his time, stretching them to their limits. It’s clear that Mozart’s principal focus was to address specific situations, such as commissions, concerts and dedications. At the same time he contrived to produce a stream of sublime music. But the situations and people directly influenced both his completed compositions and the many fragments that somehow never came to fruition. Perhaps in the case of both Stravinsky and Mozart, it’s the distinction between making stuff up and finding it out that is problematic.
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