essay questions on the artist of the floating world

Essay Prompts

An artist of the floating world.

To what extent does An Artist of the Floating World  show that there is no pure form of art?

What makes Ono an unreliable narrator of his own story?

Characters in Ishiguro’s novel fail to take responsibility for their actions. Discuss.

Some of the changing values within the An Artist of the Floating World are seen as positive. Discuss.

‘Suichi believes it’s better he [Ichiro] likes cowboys than that he idolise people like Miyamoto Musashi. Suichi thinks the American heroes are the better models for children now.’ To what extent does An Artist of the Floating World demonstrate the extent to which Japan accepted American influence?

In what ways do Suichi’s and Ichiro’s generations differ from Ono’s?

‘…And if on reaching the foot of the hill which climbs up to my house, you pause at the Bridge of Hesitation and look back towards the remains of our old pleasure district, … you may see the line of old telegraph poles … and be able to make out the dark clusters of birds perched uncomfortably on the tops of the poles, as though awaiting the wires along which they once lined the sky…’ In what ways is the Bridge of Hesitation metaphoric of Ono’s life?

How does Setsuko’s character exemplify the changing role of women in An Artist of the Floating World ?

Ono has more reasons to feel proud than he does to feel guilty. Do you agree?

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• Tue. May 14th, 2024

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An Artist of the Floating World by Kazuo Ishiguro KCSE Essay Questions and Answers

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QUESTION 1 The Novel An Artist of the Floating World by Kazuo Ishiguro.   (20 marks)

1. War results in devastating consequences. Justify this statement by referring to the events in Kazuo Ishiguro’s novel, An Artist of the Floating World.

2. War and Conflict can have long lasting effects in the life of an individual. Write an essay asserting to the truth in the above statement.

3. „Significant forces makes us to retrogressively question our beliefs‟ Support using illustrations from Kazuo Ishiguro‟ An Artist of the  Floating World.

4. ‘ An Artist of the floating world is a Novel about intergenerational conflicts’ Discuss.

5. There may be generational conflict between the young and the old in any society, but the young have a moral obligation to obey and respect the elderly. Drawing relevant illustrations from Kazuo Ishiguro’s An Artist of the Floating World , write an essay in support of this statement.

6. War has a way of turning people’s lives inside out. Using specific illustrations from Ishiguro’s An Artist of the Floating World , write an essay to show the truth of this statement.

7. War is a social evil that should be avoided at all costs owing to its adverse consequences.  Validate the statement referring to Kazuo Ishuguro’s novel An Artist of the Floating World.

8. The novel: An Artist of the Floating World.

Yearning for reputation and social status can lead someone down to a path of fear and obsession.

Making reference to Ono in the Novel ‘An Artist of the Floating World’, discuss the validity of

this statement. (20 marks)

9. “War has mostly negative outcomes” with illustration from novel “An artist of floating world”support this statement.

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An Artist of the Floating World

Kazuo ishiguro, ask litcharts ai: the answer to your questions.

An Artist Of The Floating World By Kazuo Ishinguro Essay Questions and Answers

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AN ARTIST OF THE FLOATING WORLD By Kazuo Ishinguro

• War is a social evil that should be avoided at all costs owing to its adverse consequences.Validate the statement referring to Kazuo Ishuguro’s novel An Artist of the Floating World.
• War causes many negative results. Drawing examples from Ishiguro’s An Artist of The Floating World, write an essay to show the truth of this statement. (20 marks)
• War has a way of affecting not only property but also people’s lives. Drawing examples from the life of Masuji Ono in Ishiguro’s An Artist of The Floating World, write an essay to show the truth of this statement. (20 marks)
• War is a social evil that should be avoided at all costs owing to its adverse consequences.  Validate the statement referring to Kazuo Ishuguro’s novel An Artist of the Floating World. (20 marks)
• Referring to specific cases in Ishiguro’ An Artist of the Floating World, write an essay to show that Masuji Ono is the voice of reason in the story. (20 marks)
• “The memory of the past can lead to change of a life style. With illustrations from “The Artist of the Floating World” Validate the above statement.
• “Drawing illustrations from the life of Masuji Ono in Ishiguro’s An Artist of the Floating World, write an essay to show why mentorship is important in career

development. (20 marks)

• Noriko’s marriage negotiations have been used as a means to reveal Ono’s past. Justify the statement using illustrations from the novel Artist of the Floating World. (20 marks)
• War results in devastating consequences. Justify this statement by referring to the events in Kazuo Ishiguro’s novel, An Artist of the Floating World
• War and Conflict can have long lasting effects in the life of an individual. Write an essay asserting to the truth in the above statement.
•  „Significant forces makes us to retrogressively question our beliefs‟ Support using illustrations from Kazuo Ishiguro‟ An Artist of the  Floating World.
•  ‘An Artist of the floating world is a Novel about intergenerational conflicts’ Discuss.
• There may be generational conflict between the young and the old in any society, but the young have a moral obligation to obey and respect the elderly. Drawing relevant illustrations from Kazuo Ishiguro’s An Artist of the Floating World, write an essay in support of this statement.
•  War has a way of turning people’s lives inside out. Using specific illustrations from Ishiguro’s An Artist of the Floating World, write an essay to show the truth of this statement.
• War is a social evil that should be avoided at all costs owing to its adverse consequences.  Validate the statement referring to Kazuo Ishuguro’s novel An Artist of the Floating World.
•  Yearning for reputation and social status can lead someone down to a path of fear and obsession.Making reference to Ono in the Novel ‘An Artist of the Floating World’, discuss the validity of this statement. (20 marks)

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Mod B – Trial Essay On An Artist of the Floating World

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HSC Advanced English Module B: Trials 2022 Essay – An Artist of the Floating World

The storyteller is the truth teller. Writing has the power to show what can  be otherwise, what it is that the hard, domineering eye cannot see.

Evaluate the ways that Kazuo Ishiguro is the truth teller in An Artist of the Floating World.

As the storyteller in An Artist of the Floating World, Kazuo Ishiguro explores the truth of the tension between having a fixed individual identity within a nation whose values are constantly changing. Through his unreliable narrator, Ono, Ishiguro emphasises what the “domineering eye cannot see” as Ono becomes lost in the midst of a redefined cultural zeitgeist. Ultimately, Ishiguro becomes the truth teller in representing the complexities of accepting a new-found identity in light of national “social and political upheaval” (Tellini).

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An Artist of the Floating World

By kazuo ishiguro, an artist of the floating world quotes and analysis.

If on a sunny day you climb the steep path leading up from the little wooden bridge still referred to around here as the "Bridge of Hesitation," you will not have to walk far before the roof of my house becomes visible between the tops of two gingko trees. Matsuji Ono, in narration, p. 7

This first sentence of the book tells us a great deal about the novel's narrator and style, making it a particularly famous line. For one thing, the line turns us on early to the fact that we have an observant narrator with strong visual perception. He describes the route to his house as an artist would, attending to, for instance, the moment at which it comes into view. At the same time, this sentence lets us know that Ono is a man in the throes of uncertainty. Though he tries to project an air of authority here as he does elsewhere, giving instructions and showing that he is knowledgeable, his syntax says otherwise— the sentence begins with the word "if," a harbinger of our narrator's feelings of confusion and his inability to say whether anything is true beyond a doubt. The mention of the Bridge of Hesitation at this early point lets us know that the location will be important, but also hints at Ono's own hesitant attitude. Finally, the sentence is in the second person, which forces us to immediately come to terms with the fact that we, too, are a kind of character in this book, invoked through the word "you" to witness Ono's past and listen to his justifications of it.

"Ichiro," I said, more firmly, "wait a moment and listen. It's more interesting, more interesting by far, to pretend to be someone like Lord Yoshitsune. Shall I tell you why?" Matsuji Ono, p. 30

After Ono's small grandson explains that he is pretending to be a cowboy, Ono reacts in a way that seems oddly desperate and dismayed. His investment in Ichiro's choice of pretend game has little to do with which figures he thinks will be more interesting to his grandson. Instead, he is upset because he associates cowboys with American culture and the American occupation. Since he already believes that his son-in-law, and the younger generations more generally, are unpatriotic and bitter about Japan's role in the war, he is particularly alarmed by the idea that unpatriotic values are being passed on to his grandson. He encourages Ichiro to pretend to be a Japanese hero, like Lord Yoshitsune (a Medieval Japanese military figure). His firmness and repetitiveness in the above quote show that he is invested in Ichiro's choices to an alarming degree, so much so that he is unable to disguise his feelings.

It seemed to me that there was something unnaturally deliberate in the way my daughter uttered those words. Perhaps I imagined it, but then a father comes to notice any small inflexions in his daughter's speech. Matsuji Ono, p. 53

While talking to Noriko about her marriage negotiations and her run-in with Jiro Miyake, to whom she was previously engaged, Ono suspects that his daughter has a premeditated motive for the things she says to him. Generally, Ono is suspicious of his daughters, since he is convinced that he is hated by much of Japanese society and that his daughters are aware of this. As the book continues, we realize that this might not be true. However, Ono does an excellent job, for a while, of convincing the reader that he is indeed detested and that his daughters are working in concert against him. This quote showcases some of the ways that Ono convinces us of his accuracy. Rather than speaking in exaggerated or overly confident statements that make him appear deluded, Ono hedges and reconsiders, noting that he might have merely imagined his daughter's attitude, or that it only "seemed" that she spoke unnaturally. By speaking in a cautious tone, Ono cements our trust and convinces us that his suspicions must be correct after all.

"Our president clearly felt responsible for certain undertakings we were involved in during the war. Two senior men were already dismissed by the Americans, but our president obviously felt it was not enough. His act was an apology on behalf of us all to the families of those killed in the war." Jiro Miyake, p. 55

This conversation between Jiro Miyake and Ono is the first time that suicide is mentioned in the novel. The man Miyake brings up has a few alarming similarities to Ono: he was well-respected before the war, active in getting Japan into the war, and guilt-ridden afterwards. Therefore, when Jiro tells this story about the man's suicide, we immediately wonder whether Ono is contemplating suicide, or whether this information will cause him to do so. This story raises the stakes of Ono's psychological pain, showing that his might be a life-or-death situation. At the same time, Miyake's casual acceptance of this bizarre event shows how tumultuous, painful, and unusual this period of Japanese history was. Ono's struggles, Ishiguro reminds us, are part of a far broader social and political event.

"In any case, there is surely no great shame in mistakes made in the best of faith. It is surely a thing far more shameful to be unable or unwilling to acknowledge them." Matsuji Ono, p. 125

This statement, which Ono makes over dinner at Noriko's miai , summarizes the attitude that eventually helps him heal from his traumatic experiences. The Saitos, listening to Ono, are confused by his passionate argument, since, as it turns out, they are unaware of any untoward behavior in Ono's past. But Ono has sincere regrets about his artistic and political activities, even if those regrets are completely unknown or appear minimal to others. Though he makes this argument in order to convince the Saitos, he repeats it in various forms to himself for the remainder of the novel, showing that he has internalized the idea. While he might continue to wish that he'd acted differently in the past, Ono knows that he always acted out of moral conviction. This isn't a perfect source of comfort to him, but it's as good a source of comfort as he can find.

I realize that Akira Sugimura's name is rarely heard these days, but let me point out that not so long ago he was unquestionably one of the most powerful and influential men in the city. Matsuji Ono, in narration, p. 133

Ono spends much of this book's early pages describing Akira Sugimura and his family, from whom Ono bought his beautiful house. It is clear early on that he admires Sugimura and is honored to have been chosen as the new owner of the Sugimura house. When he brings Sugimura up again, though, much later in the novel, while describing Sugimura's plans to revamp Kawabe park, it becomes clear that his admiration is rooted in a sense of identification and familiarity. For one thing, Sugimura is a respected figure from the past—before American cultural and military dominance, before the younger generation displaced Ono's. Therefore, Ono feels a certain loyalty to him and to the social structure he represented. For another, we learn in this section of the book that Sugimura lost all of his money later in life. By defending another person whose social standing took a downturn, Ono implicitly defends himself, since his own stature took a hit after the war.

I confess I take a strange comfort from observing children inherit these resemblances from other members of the family, and it is my hope that my grandson will retain them into his adult years. Matsuji Ono, in narration, p. 136

This quote is a particularly heartbreaking one. While looking at Ichiro, Ono notices a resemblance between his grandson and various other family members, including his dead son, Kenji. Rather than say directly that he takes comfort in seeing Kenji's features reproduced, though, Ono hedges around the issue. He talks about the comfort he gains from seeing family resemblances generally, giving no special attention to Ichiro's particular resemblance to Kenji. His diction is striking, too. He "confesses" to the enjoyment he finds in these resemblances, as if afraid to admit to himself or to the reader that he is comforted by them. Ono rarely speaks directly about his grief for his son and wife, though he does so slightly more towards the end of the book, as if he is beginning to cope with their deaths. Here, though, we see that he can acknowledge his grief only obliquely.

In theory, of course, a good teacher should accept this tendency—indeed, welcome it as a sign that he has brought his pupil to a point of maturity. In practice, however, the emotions involved can be quite complicated. Matsuji Ono, in narration, p. 142

Ono says this in reference to his own old teacher, Moriyama, but the sentiment reverberates throughout the novel, since it applies equally to his own relationship with Kuroda. Every student/teacher relationship in this novel is fraught, particularly if the student in question is unusually talented. Here, Ono makes clear that he's aware of how fraught these relationships can be, yet he cannot offer a solution. It seems instead like a cyclical, inevitable part of life. All teachers, Ono argues, want students to succeed, and one aspect of success is the ability to think independently and distinctly. However, Ono points out, drawing on his own experiences, teachers are often offended when students begin to think independently and abandon their doctrines and methods. Though he knows that this tends to happen, Ono cannot avoid this fate when he meets it, both as a student in need of independence and as a teacher desiring loyalty.

When I am an old man, when I look back over my life and see I have devoted it to the task of capturing the unique beauty of that world, I believe I will be well satisfied. And no man will make me believe I've wasted my time. Seiji Moriyama, p. 150

Here, Moriyama presents one vision of art, and establishes himself as the passionate defender of this ideal. To Moriyama, art is supposed to record what is most beautiful, especially if it is rare or temporary. In this quote, he shows us that this stance comes from a place of passion and conviction—he is no less serious than those who devote themselves to political art. The statement is particularly resonant in the context of Ono's memories, since he is now an old man with many regrets. Unable to completely choose between Moriyama's ideal of beautiful art and Matsuda's ideal of world-changing art, Ono constantly feels that he has wasted his time, or worse. Moriyama presents an enviable picture of a person completely self-assured, with an unalterable set of principles.

"But Father's work had hardly to do with these larger matters of which we are speaking. Father was simply a painter. He must stop believing he has done some great wrong." Setsuko, p. 193

These words of Setsuko's represent a climactic turning point in this novel. Suddenly, we must question everything we have been told by our narrator. To an outsider like Setsuko, Ono has not behaved in a particularly reprehensible way. From a relatively objective point of view, as compared to her father's narration, Setsuko shows that very few people think about Ono at all—either with admiration, as he claims people once did, or with censure, as he believes they do now. This moment is revelatory for both Ono and the reader. Still, Setsuko's information applies only to Ono's reputation. She cannot address or solve the shame he feels about his betrayal of Kuroda, for example. Therefore, the quote speaks to the difference between Ono's personal feelings of shame and loss, and his completely unremarkable place in history.

"One can only wish these young people well." Masuji Ono, in narration, p. 206

The concluding line of An Artist of the Floating World summarizes the genuine shift in its protagonist's attitude over the course of the novel. After the war, Ono feels a deep alienation from his daughters and from the younger generation in Japan generally. He resents them and is convinced that they feel bitterly towards him and others of his generation. To an extent, to lend legitimacy to his feelings of loneliness and futility, Ono even invents aspects of his past that justify the distance he feels from younger people. By the end of the novel, though, Ono has reckoned with these feelings of distance and come to terms with them. When he sees young people talking at an office building, in the exact spot where he used to drink with friends, Ono does not feel threatened. Rather, he notices that the manner of these young people resembles those of his old friends. In this moment, Ono expresses his desire for the new generation to succeed, without irony or equivocation.

An Artist of the Floating World Questions and Answers

The Question and Answer section for An Artist of the Floating World is a great resource to ask questions, find answers, and discuss the novel.

Please help me with a plot for each page characters, theme and stylistic devices.

GradeSaver has a complete study guide for this unit readily available for your use. Simply navigate to the study using the title link at the top of the page.

Describe the character traits of major characters.

Ono is the novel’s protagonist and narrator. He is, at the time of the narration, an aging retired artist in post-war Japan. He has a somewhat mysterious past, which he reveals in small pieces, and it seems that his role in the art world once...

How did Master Takeda and Masjid Ono relate?

Ono worked for Master Takeda. During his time with Master Takeda, Ono learned that art is a process that belongs to the artist.... something that should not be created under factory-like conditions and deadlines. When Kuroda and the other pupils...

Study Guide for An Artist of the Floating World

An Artist of the Floating World study guide contains a biography of Kazuo Ishiguro, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About An Artist of the Floating World
• An Artist of the Floating World Summary
• Character List

Essays for An Artist of the Floating World

An Artist of the Floating World essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of An Artist of the Floating World by Kazuo Ishiguro.

• The Use of Generational Differences in Order to Establish the Importance of the Floating World

Lesson Plan for An Artist of the Floating World

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to An Artist of the Floating World
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• An Artist of the Floating World Bibliography

Wikipedia Entries for An Artist of the Floating World

• Introduction
• Publication history
• Autobiographical elements

•   Tuesday, May 14, 2024

Watts Up With That?

The world's most viewed site on global warming and climate change

The World’s Largest Floating Solar Farm Wrecked by a Storm Just Before Launch

Essay by Eric Worrall

h/t Dr. Willie Soon; Who could have predicted acres of fragile floating structures would be vulnerable to bad weather?

Madhya Pradesh: Summer Storm Damages World’s Largest Floating Solar Plant at Omkareshwar Dam (Watch Video) Indore: A summer storm on Tuesday damaged a floating solar plant at Madhya Pradesh’s Omkareshwar dam. The floating solar plant, situated in the backwater of the dam, is the biggest of its kind in the world. A joint venture between  Madhya Pradesh Govt and National Hydroelectric Power Corporation (NHPC), the project was nearly completed and ready for its launch. A part of the project became operational last week. The project near the village of Kelwa Khurd, aimed at generating 100 MW of electricity, with additional capacities of 88MW at Indawadi and 90 MW at Ekhand village. However, on Tuesday, summer storms with the speed of 50kmph hit the project and threw the solar panels all around the place. No employee was fortunately injured. … Read more: https://www.lokmattimes.com/national/madhya-pradesh-summer-storm-damages-worlds-largest-floating-solar-plant-at-omkareshwar-dam-watch-video-a514/

A video of the disaster;

AL GORE please pick up the red emergency phone. Storm destroys the world's largest floating Solar Panel Farm. What Valedictorian engineer signed off on this stupidity. pic.twitter.com/zRBOREibGi — Citizen Free Press (@CitizenFreePres) May 5, 2024

Anyone who has ever owned a boat, particular a large boat which gets left in the water, knows what a harsh environment the sea can be. Some kind of failure was inevitable. If it hadn’t been a storm, there are plenty of other things which could have gone wrong.

Greens keep telling us we can expect more frequent and extreme superstorms – so what is the point of building vulnerable floating structures?

Plastics tend to disintegrate under tropical sunlight, especially when in contact with water or water spray. Ultraviolet from the sun drives exotic chemical reactions, which leads to chemical breakdown.

Metal sitting in water is difficult to manage, even stainless steel is not immune to corrosion. All metal structures in contact with water need to be protected with sacrificial anodes or comparable protective measures. Electricity and metal are an especially bad combination, any electrical fault which causes a current to run through metal in contact with water can cause corrosion to occur thousands of times faster than normal.

Let us hope developers and politicians take the hint, and stop throwing our money at inherently flawed ideas like floating solar arrays.

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Even though it is the crown of stupidity to build it and the lessons that need to be learned are obvious, destruction is never great and the impact of cleaning it up is also bad.

I prefer….

Destruction of wickedness is GREAT! The cost of cleaning it up is GREAT! It makes another such waste of money far less likely. 😃

In case the intended tiger allusion wasn’t clear:

GO, BIG OIL! 🙂

Exactly what I was thinking. The more these epic fails are reported – especially with dramatic video- the more people and politicians will start to question.

the snag is – will we see this kind of thing on the BBC etc?

“far less likely”… you have great faith.

The assessment of this destruction will have to be included in future environmental impact studies. Which bears the question, are green projects even subjected to environmental impact statements?

You all misread what I said.

After I watched the video I ordered a Happy Meal.

They couldn’t see this coming?

You are absolutely correct.

You actually need to investigate possible outcomes to see them coming.

The only things they investigated is HOW MUCH the cronies would make, and what % of that would be kicked back to the politicians.

Yuh see, guys that’s how a sailboat works. 🎼⚓ Heave her ho boys. Let her go boys!

Exactly It’s silly to call it a flawed idea when the only part that matters to those involved worked perfectly.

Of course they did, but distorted incentives lead to the abandonment of risk concerns. The progressive credo is just do it and blame someone else when it goes to hell. Just look at the premise: “The climate is getting worse, so let’s build infrastructure dependent on and extremely vulnerable to weather with someone else’s money. We get rich and don’t have to take responsibility.”

From a comment over at [X]:

“ One might suspect the same team of scientists working the climate models.”

Time to Wake Up and smell the Uranium

“Smells like Victory”

Strong winds, corrosion, sacrificial anodes! You are talking like an engineer.

Stop that at once.

This is climate change we are fighting, not facts!

When I had my big 50’ custom twin diesel on Lake Michigan (freshwater), we still had to replace the transom sacrificial zinc anode every spring before we put her in the water.

It occurred to me that some “layman” readers (like me) might not know what a “sacrificial anode” is. Oversimplified: Different metals are more prone to give up or gain electrons. Supply a conductor, such as water, and one will corrode. Introduce a third metal into the circuit completed by the “conductor”, and it will corrode before the metals you want to protect. (Your hot water tank has a “sacrificial anode”. Warrantees are generally set to expire based on how long the anode will last under the worst water quality conditions. When the anode is gone, the tank itself will begin to corrode.)

Thank you! 🙂

This was a problem in the Navy for awhile. Superstructures on steel ships were aluminum. This caused bi-metal galvanic corrosion. They started putting rubber gaskets under the superstructure and that reduced/eliminated the problem.

When the anode is gone, the tank itself will begin to corrode.

Unless it’s glass lined. I have an almost 40 year old electric 50 gallon glass lined water tank (built by Ford no less) still in service. Think it was designed for solar use. Have had to replace the heaters once.

I have an Aluminum boat permanently in a marina.

The key takeaway is that shore power is a never do due to residual voltages at a battery charging level, my pick is that the neutral in a three phase system may not be at exactly zero volts. Solar panels for battery maintenance needs to be well isolated, but are better due to being local to the boats system.

Water is a very difficult environment, stuff grows in it, and stuff dissolves in it. These are not recent discoveries.

They could yield good crops of mussels on these structures. I like mussels.

Shore power of the guy next door to you can also create problems.

It is only right… it IS called ‘sacrificial’, after all.

A potential Sci-Fi plot. “Man-made Climate Change, thanks to AI, has taken on a life of it’s own and is attacking Man’s efforts to stop it from taking over the World!” (If they make a movie, I get 10%.)

Another potential plot…

“Engineers” are hired to come up with something that nobody competent thinks will work, at great expense. When it fails, more funding can be demanded as they can blame the failure on a “climate catastrophe” (and possibly AI, which can exist underground, given a sufficient supply of electricity, and may not need humans at all in the future).

Did this project ever generate significant power even under ideal conditions? Looking at the results and the construction, it seems the intention was that it would be expected to fail from the start. Is there such a thing as a Potemkin Floating Solar Farm?

I imagine that if green ideologues are ignorant and foolish enough to actually attempt the idea of floating solar farms, they are probably foolish enough to attempt floating wind turbine farms as well.

If the sonar blasting for anchored wind turbines does indeed kill whales and other marine life, someone sooner for later will suggest floating turbines — and never mind that they will eventually get hit with a destructive storm.

Floating works well for Nuclear though

Yep, in a nuclear sub, air craft carrier of ice breaker, it works great.

After Iniki a US nuke sub powered one of the Hawaiian islands, Kaua’i, on its own for a while. Go to Wiki where you will not find ANY mention of that. Leftists know how to edit the good of nukes OUT of a wiki post.

Finally, floating nuclear generators for electrical production to supply the “grid” would make great sense since they could be built at shipyards and floated to where needed.

The Russians are already building them for delivery. Rosatom has at least 4 orders, one already delivered. See the Wiki .

Plentiful supply of cooling-water there. Also a great solution for Australia back-filling “renewables” with nukes, since, if they obtain nuclear subs (AUKUS), they won’t have to change any laws. And another cost-effective perk, most of the energy-guzzling population of Australia is near the coast! And possibly one more, very few in the population have the Tasman or Indian ocean in their “backyard” and if they do, one could bribe them, say with lower council-rates or property-tax, or even free electricity if they’re within 2-5km of one of the nukes.

by statistics we’ve had more events with floaters than the concrete ones

They are looking at putting wind mills on rafts.

Floating wind turbines still have to be anchored to the bottom. Those anchors are still going to have to be driven deep into the sea floor.

That’s true, of course. The point being that windmills on rafts are as vulnerable as those solar panels, probably much more so.

All sea anchors will eventually drag. Hell, even the aircraft carrier Eisenhower (CVN-69) dragged anchor one Christmas off Paradise Island in Nassau, Bahamas. You’d think the U.S. Navy would know how to design anchors that don’t drag if that were possible :<)

actually the anchors on ships are designed to drag, the chain pile is what keeps the ship in the general area

Interesting. That might work in low current and wind conditions, but I was always taught that if wind or current was expected the anchor must be set into the sea bed by backing down on it with proper scope, i.e., chain length of 6 to 10 times the water depth. Until the anchor is set, any substantial wind or current will slowly drag out the chain until tight, then the boat, chain and anchor will drag until the anchor finds a location it can properly set into the sea bed. In other words, you don’t know the final position of the boat until the anchor is properly set. For the Eisenhower, Christmas leave was canceled because the bridge crew was tired of having to motoring into the current because the anchor wouldn’t set.

As will the “anchored” ones, and neither will survive.

See BVG Associates recent Guide to Offshore floating wind farms published on behalf of Offshore Renewable Energy Catapult, The Crown Estate and Crown Estate Scotland. 176 pages with lots of photos.

Search BVGA-1644-Floating-Guide-r2.pdf

The floating solar plant, situated in the backwater of the dam, is the biggest of its kind in the world.

Was the biggest of it’s kind in the world. Now, it’s just the biggest pile of solar panel trash in a lake in the world.

I”l bet they don’t use solar powered boats, excavators and winches to clean it up.

I have to wonder is the water behind the dam is also used for drinking water downstream.

… its india

Renowned for how frequently arsenic is found in the ground water.

Come on guys, this isn’t a disaster. It’s a in the nick of time rescue as the groups constructing this now no longer face having to find another boondoggle to generate cash flow but can keep milking this one by “repairing” it!

Yeah, but it would have been dead great and safe if Climate Change hadn’t caused the storm!

Schadenfreude makes me feel vaguely guilty.

Not me, I’m loving it. Ditto every time another worse-than-useless EV lights itself on fire.

Only a question of when, not if. Good that the inevitable happened so quickly.

The picture shows the destruction of $476 million stupidly spent ‘dollars’—actually Rs 3950 crore. Could have bought a nice medium sized 400MW dispatchable CCGT instead for about the same investment.

For those who were paid the $476 mil, money well spilt.

I imagine the next brilliant idea from this “valedictorian engineer” will be a ship with ventilation intakes in the bottom of the hull. Or perhaps a spaceship with screen doors.

Boeing is probably working on the latter.

Put a unicorn in the spacesuit. Catch the farts

The last two launch scrubs have apparently been in the Atlas booster, not Starliner. Although Boeing has its hands in ULA, too…

JV between Boeing and Lockheed.

Must be one “h” of a valedictorian engineer if he sold this ‘barnacle”.

It’s the same insanity that put a huge solar farm in Nebraska smack in the middle of the second most hailed on region of the USA. Nature said “challenge accepted”.

50kph (30mph)? Those solar farms wouldn’t last long around here if they can’t withstand a 30mph wind. The Wind comes Sweeping Down the Plains!

30 mph isn’t much of a wind, great engineering work there

Here is a solar farm in Puerto Rico that was totally destroyed by a hurricane:

(Source: https://www.beaufortcountynow.com/post/63683/push-for-unreliable-solar-power-in-nc-creates-threat-of-blackouts-in-winter.html )

Only 5.2 MW comprising only 13650 destroyed panels covering only 1600 acres. Panels were supposedly hail proof—but they only tested quarter inch hail, not the golf ball sized hail nature regularly delivers there.

Anything under 1/4 inch is sleet, not hail.

The standard test for PV modules is 25mm ice balls at 23 m/s. This is terminal speed, zero wind component.

Translates to 3mm thick cover glass.

And “Nature” won! Bwah, ha, ha, ha, ha, haaaaaa!

Die, “renewables,” die!

There are 78 panels per row so the first 4 rows contain 312 panels. Of those 312 panels 72 look pristine and 240 look obliterated. That’s almost an 80% damage rate from one hail storm.

“Hail, hail, the gang’s all here; What the heck do we care”?

The picture reminds me one of those elaborate “falling dominoes” set ups that didn’t quite go right.

Participation trophy planning team.

On the sidebar: Real-time Global Temperature (updated every 1-2 minutes)

Why is this nonsense even here? I thought we were about science.

What do “they” (The Man-made CAGW promoters) claim? Monckton is very good at using their OWN numbers to show they are exaggerating if not flat out wrong. Also on the sidebar just above it is “Global Surface Temperature ComparisonNASA GISS 1880 – 2022 | Anomaly vs. Absolute Temperature”, which puts the promoted exaggerations into perspective. The “ Real-time Global Temperature” seems to serve a similar purpose. (From the link below that sidebar)

Previous Years The recorded global temperature for previous years: 2015 average: 0.98 °F (0.54 °C) below normal 2016 average: 0.48 °F (0.27 °C) below normal 2017 average: 0.47 °F (0.26 °C) below normal 2018 average: 1.33 °F (0.74 °C) below normal 2019 average: 0.65 °F (0.36 °C) below normal 2020 average: 0.00 °F (0.00 °C) below normal 2021 average: 0.20 °F (0.11 °C) below normal 2022 average: 0.47 °F (0.26 °C) below normal 2023 average: 0.44 °F (0.24 °C) above normal About Temperature.Global calculates the current global temperature of the Earth. It uses unadjusted surface temperatures. The current temperature is the 12M average mean surface temperature over the last 12 months compared against the 30 year mean. New observations are entered each minute and the site is updated accordingly. This site was created by professional meteorologists and climatologists with over 25 years experience in surface weather observations.

The Real-time Global Temperature is still so cold that people have to live in heated houses and apartments if they can.

But it’s complete nonsense. How many people live, year round, at the “average global temperature”?

Largest Floating Solar Farm   Sunk

HAW HAW HAW HAW HAW HAW HAW HAW HAW HAW HAW ……

The Greenie stupidity never ends.

Even before this storm damage, the whole project is a total waste of time. when you add in the energy cost of the floating infrastructure, this system will never produce as much energy as it took to construct.

In a related note, the Emperor Xerxes has ordered the sea to be whipped to teach it to leave floating solar panels made of flimsy plastic alone.

Also he ordered the decapitation of the engineers who designed this folly.

In defense of engineers: Give em what they asked for. Never ever lie, but give em what they asked for.

The people controlling the money should have consulted with meteorologists and experienced mariners before providing the engineers with design specifications.

They would have just found some who told them what they wanted to hear.

Like the solar field destroyed by a hail storm, these make the news.

Why is if so rare (never?) you hear of common weather knocking out MW of coal fired, gas, or nuclear power generation?

I have to wonder how this affects the % of renewables in the global energy production changes.

Who says God doesn’t have a sense of humor?

Not sure about the dumbest placement of solar panels, more about that later, but at least this will have sun in the desert. Been through Boron, home of Borax, rather desolate Mojave Desert. — https://legalinsurrection.com/2024/05/yes-aratina-solar-project-will-down-iconic-joshua-trees-in-southern-california/

Of course this wasn’t “the sea”, but even so freshwater reservoirs can get riled up quickly by high winds, and a bunch of solar panels on barges or floats just seems like a really bad design decision, as proven out. Sounds like somebody got bought off to sign off.

“Quis custodiet ipsos custodes?

I wonder if one of the selling points of the scheme is reduced evaporation loss.

I have observed water spouts in alpine reservoirs.

Wait ’til they try this boondoggle on The Great Lakes.

“what a harsh environment the sea can be” — well, this was on a lake behind a dam…but still, any large-ish body of water can be a harsh environment when the weather kicks up. Fresh water is less damaging to metal structures, but not benign.

Hope someone has learned a lesson.

Likely that the result would have been the same if the panels were land-mounted.

The ground doesn’t get whipped up into waves and change the attitude of the panels. Waves will twist the infrastructure floating support.

Umm, earthquakes?

Quiet chuckle….. And the do-gooders want Puerto Rico to install solar panels for reliable power. Ho many tropical storms per year hit the island?

Part of the problem is that a common characteristic of liberals is an attitude that they are smarter than average, when in fact they are probably not as smart. They read about some new technology in a prospectus, and think that it is the solution to a particular problem and accept the claim at face value. They don’t have the experience or technical background to realize that there are obstacles to the effective use of the new technology. They are often in positions that give them access to funds to implement the new technology because they don’t have the ability to be an engineer, and don’t have the wisdom to explore the caveats to its use.

“  probably not as smart” Surely, you jest.

Now we know where Homer Simpson got hired after being fired from the Nuclear plant in Springfield.

Wind packed it up like ice on Lake Michigan. A six-year-old could have predicted this idiocy.

The referred to Read More article said 50 kmh winds did the deed. It was designed to fail. I’m wondering if it’s an insurance scam of some kind, or a scam on the part of the developers to get paid for rebuilding.

buy reject panels from china for haul-away costs … install … destroy … get insurance with very high deductible so as to not scare the insurer … trash the entire thing … get paid for the 60% of paper value and still make a profit.

summer storms with the speed of 50kmph hit the project

Summer storms? When I lived in Scotland, a 50 km/h wind would have been called a moderate breeze.

I’ve read that there are more graduate engineers in India than in the USA and Europe combined. Perhaps they should have hired one.

Waiting for Luser or Fungal to appear to say how great floating solar panels are 🙂

50kmph = 31 mph

A few days ago (May 7th), we had sustained winds of 30 mph and gusts up to 58 (93 kmph). Such being not uncommon here, I doubt anyone would float solar panels.

In fact, you have to shut down the wind turbines if it gets too windy.

More good news.

“ Who could have predicted acres of fragile floating structures would be vulnerable to bad weather? ”

The relevant question is, who walked away with the money?

Imbecilic projects such as these bring to mind the adage –

“Consensus science” is to engineering as “herbal remedy” is to medicine!

Brought to you by the department of “DEI” Engineering.

It’s just tax payer money so who cares right?

John Hultquist: “ 50kmph = 31 mph A few days ago (May 7th), we had sustained winds of 30 mph and gusts up to 58 (93 kmph). Such being not uncommon here, I doubt anyone would float solar panels. ”

Big winds have a habit of blowing through central Washington State on a regular basis. Using funding from a government research project, we could float some of these solar panels on Lake Roosevelt behind Grand Coulee Dam to see if similar results are experienced. We could also float some ocean wind turbines to see what happens to these turbines when a sustained 80 mph wind over Lake Roosevelt occassionally occurs.

They’re pretty regular out here on Whidbey Island.

I forgot to mention, I live near Ellensburg — about 5 miles from the airport KELN.

It is almost as if the entire climate change propaganda operation is intended to destroy our wealth and our society rather than what they claim it is all about…

Yes. but the winds were caused by climate change. This clearly shows why much more must be spent to stop it. At least that’s what the green fascists will say.

what do the fish below these panels eat?

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Art Fair Review

An Embarrassment of Style at the Independent

This year’s fair is in overdrive, with exhibitors taking big swings in dozens of directions. Use our critic’s personal playlist to find your way around the floor.

By Will Heinrich

The Independent is a stylish affair. Carefully curated and relatively small, it can always be counted on to look good, but this year its style is in overdrive. Occasionally it’s pinch-hitting for substance, mere showiness with nothing behind it. Sometimes, as in Ruby Neri’ s bravura ceramic sculptures in the fair’s special 15th-anniversary “15x15: Independent 2010-2024” exhibition, which is taking place at Spring Studios in TriBeCa, visual pizazz hits a kind of critical mass, becoming substance in itself.

Most often, though, these 172 artists showing with 89 exhibitors are taking big swings in lots of directions — severe abstraction, obsessive figuration, decaying sneakers — so that making a list of standouts was nearly impossible. The following eight booths are more like a personal playlist to get you moving around the floor. (Note that there are no booth numbers.)

But don’t forget to explore the corners, too, where you’ll find Margot Samel showing trompe l’oeil paintings by Olivia Jia; the Houston-based publisher and gallery F selling F. Richard Coldwell ’s dystopian art-world novel “ Lies From the Flies on the Wall ”; and “Moby Dick” with drawings by Alex Katz at the Karma Bookstore .

FIFTH FLOOR

Three large square oil paintings by Kate Spencer Stewart could almost pass for dark brown monochromes. Step closer: They’re actually a rich, bloody maroon, speckled with flickers of cardinal red and long streaks of bright, toxic green. With silent composure and whispering depths, they’re a thought-provoking contrast to the inventive landscapes of Michael Ho next door at the Shanghai gallery Vacancy .

Niru Ratnam

The Turkish filmmaker Kutlug Ataman’s “Mesopotamian Dramaturgies/Journey to the Moon” is a single-channel video in which a voice-over describes a sequence of mostly black-and-white photographs. It tells the story, at once hopeful and cynical in a magical realist sort of way, of a small town in 1950s Turkey, its collective imagination sparked by a politician’s speech, trying to send a minaret to space with balloons. The implicit question is, “Are any of us really capable of democracy?” A dozen acrylic and graphite drawings of birds by Sutapa Biswas, accompanied by her video “Magnesium Bird,” make for a piquant counterweight.

SIXTH FLOOR

Ricco/Maresca Gallery and Christian Berst Art Brut

For me, the fair’s most memorable event will be the American debut of the Polish photographer Tomasz Machcinski (1942-2022), who started dressing up in character and shooting thrilling, dangerous and vital self-portraits in the early 1960s. His astonishingly emotive and variable face, as everyone from Gandhi to Hitler as well as numerous men and women sprung only from his own imagination, has to be seen to be believed. Machcinski’s self-portraits are presented alongside a strangely beguiling trove of Polaroids of women on TV by Tom Wilkins (1951-2007), also enjoying its first American showing. Jointly presented by New York’s Ricco/Maresca and Christian Berst Art Brut from Paris.

Five graceful canvases by the painter Ryan Mrozowski make up the first appearance at the Independent of this hip gallery from Reykjavik, Iceland. To two of his signature paintings of orange-tree foliage, dense but delicate meditations on what it means to commodify sensual pleasure, Mrozowski adds a few orange half circles floating freely on top of the green leaves. The effect is like a magician’s very dry wink at the end of a well-executed trick. In three diptychs that the artist calls “split paintings,” more foliage is alternately grayed out to call forth a haze of understated questions about perception, binocular vision and the bicameral mind.

Jessie Henson uses an industrial sewing machine to apply closely set lines of thread to paper that she then adorns with metallic leaf. The process both causes the paper to buckle and fixes its buckling in place, making every sculptural, sensual, sometimes tortured-looking undulation an integral part of each piece. Altogether the work offers a compelling combination of texture, eccentricity and discreet subversion of art-historical categories. Even the most jaded art-world intellectual should feel comfortable enjoying the pretty colors, most of which Henson seems to have borrowed from a private cache of vintage shag rugs.

The Approach and Chris Sharp

The hundreds of little oblong dots that cover Glenn Goldberg’s paintings evoke textiles, Australian Aboriginal art, and stick and poke tattoos, among other things. But mainly what they do, in this joint presentation from the Angeleno gallerist Chris Sharp and the London gallery the Approach, is disrupt your ability to read the works as figurative, as abstract or even simply as whole compositions — instead each canvas is a complex ledger of distinct decisions about color and pattern. It makes sense that despite the sparrow-like silhouettes inhabiting all six pieces in this exhibit, the Bronx-born artist, as quoted in the galleries’ publicity materials, says, “There are no birds in my work.”

SEVENTH FLOOR

Susan Te Kahurangi King is well known for her lucid, sinuous pencil drawings of cartoon characters. Often they look impossibly perfect, like projections of professionally animated dream images — even when the characters are crammed into one half of an otherwise empty page. It’s an illuminating treat to see this lineup of odder and less finished examples of this New Zealand artist’s work, shown here to contextualize one larger work. Donald Duck trips into an ironic riverine fate on one sheet of paper stained with grease; on another, a graphite gray Tweety Bird with enormous eyes stares at the viewer, frozen in space, maybe flying, maybe falling.

King’s Leap

This Chinatown gallery brings four intense works by Magnus Maxine, each presenting a dense paper pulp surface , colored with oil paint, layered over a page or full spread of The New York Times. The two larger pieces, which feature a heavy pink cross and a circular arrangement of rays, are by far the strongest. But all four seem to have been made not so much by building on top of the day’s news but by ripping it away to reveal the rougher, more primal world of half-formed signs and symbols that surges underneath.

Independent

May 10-12, Spring Studios, 50 Varick Street, Manhattan; independenthq.com/fair , $45 for a single day pass.

An earlier version of this review, using information provided by Bureau gallery, misidentified the medium used in Kate Spencer Stewart’s artwork. The three large canvases are oil paintings; they are not covered in crushed crystal and ground mineral pigment.

How we handle corrections

Will Heinrich writes about new developments in contemporary art, and has previously been a critic for The New Yorker and The New York Observer. More about Will Heinrich