IPCC report, Climate Change and Solutions

2007

2016

Analyses of past observations help to predict the human contribution to future climate change.

Kamada Science & Design, 2019

The latest IPCC (U.N. Intergovernmental Panel on Climate Change) Special Report, authored by 91 scientists from 40 nations, says we have already warmed the planet by roughly 1.0 degrees Celsius (°C) (1.8 °F). (1) And, if business remains as usual, we have only 12 years left before we have locked in an additional 0.5 °C (0.9 °F), for a total of 1.5 °C of global warming, since the 20th century began. However, Michael Mann and other prominent climate scientists say, as with previous IPCC reports, that this estimate is again watered-down and overly optimistic. Mann also suggests that global warming since 1900 has been slightly greater than the IPCC report claims. (2) They place the blame on the IPCC’s requirement for near-unanimity among, not just the authors, but also their reviewers (which may include bureaucrats and politicians), prior to formal publication. The often more dire, most recent, scientific literature results also tend to be discounted for the same reasons. Though their criticisms maybe be valid, that alone does not provide a quantitative basis for assessing the latest IPCC findings. Here, to address these concerns we present three quantitative estimates based on three different methods, all suggesting that the IPCC report presents, more than a best-case scenario, rather an incredibly optimistic one. Assuming “business as usual”, the approaches outlined below yield a tight cluster of estimates of 14.8, 14.8, and 12.8 years remaining to lock in, not just 1.5 °C but rather 2.0 °C of warming since 1900. Thus, even the high-end estimate of 14.8 years suggests that the IPCC’s forecast of 1.5 °C at the 12 year mark seems overly optimistic by more than 0.4 °C.

Physical Science International Journal, 2023

This article reviews the first to sixth report of the InterGovernmental Panel on Climate Change (IPCC). The types of greenhouse gases, sources of greenhouse gases and the impact of climate change on man, animals and the environment has been identified. The strategies to combat climate change has been studied in these reports. A review of these reports are necessary and it is an obligatory document required to combat the adverse effects of climate change and global warming.

2001

Climate Change 2001: The Scientific Basis is the most comprehensive and up-to-date scientific assessment of past, present and future climate change. The report: • Analyses an enormous body of observations of all parts of the climate system. • Catalogues increasing concentrations of atmospheric greenhouse gases. • Assesses our understanding of the processes and feedbacks which govern the climate system. • Projects scenarios of future climate change using a wide range of models of future emissions of greenhouse gases and aerosols. • Makes a detailed study of whether a human influence on climate can be identified. • Suggests gaps in information and understanding that remain in our knowledge of climate change and how these might be addressed. Simply put, this latest assessment of the IPCC will again form the standard scientific reference for all those concerned with climate change and its consequences, including students and researchers in environmental science, meteorology, climatology, biology, ecology and atmospheric chemistry, and policymakers in governments and industry worldwide. J.T. Houghton is Co-Chair of Working Group I, IPCC. Y. Ding is Co-Chair of Working Group I, IPCC.

Intergovernmental Panel on Climate Change, 2019

LUCILLA DE LACHENAL A ‘cold case’ at Villa Albani: The hydrophore statue near the so–called Ruined Temple The paper examines both the past and relatively recent history of the fountain graced with a bathing female hydrophore statue near the Ruined Temple in the garden of Villa Albani–Torlonia. LUCA FABBRI The Master of San Floriano di Valpolicella, also known as Leonardo da Verona: A previously unheralded protagonist in Veronese wooden sculpture, on the cusp between the 15th and 16th centuries The paper sheds light on a few sculptures which were, for the most part, created in the Scaligero area during the 15th and 16th centuries. MARIO AVAGNINA – ALESSIO CARDACI – PAOLA COGHI – LUIGI COPPOLA – GIUSEPPINA FAZIO. ALESSANDRO GRASSIA – MARITA GUCCIONE – FRANCESCA ROMANA LIGUORI – PAOLA MASTRACCI, MARIA JOÃO REVEZ – ANTONELLA VERSACI – ELISABETTA VIRDIA MAXXI: A project for its maintenance and renovation In 2016, the MAXXI Foundation obtained two loans from the then Ministero per i Beni e le Attività Culturali (MiBAC) today’s Ministero della cultura with different goals: one was to put in motion a first cycle of maintenance for the main building; the other aimed at completing the museum and re–purposing those buildings of the former Montello barracks still standing. t the formal characteristics of the Zaha Hadid project. The paper retraces the steps behind this complex operation, various thematic aspects and the multidisciplinary approach. ALESSANDRA ACCONCI The painted crucifix of San Simeone di Alvito. An hypothesis that it may have been produced in the Ornatista workshop Conservation work on the painted crucifix housed in the Collegiate Church of San Simeone Profeta in Alvito (FR) was terminated in 2018. The process was financed by Intesa Sanpaolo as part of the XVIII edition of their Restituzioni project. The piece was first restored between 1980 and 1981, on behalf of the Superintendency, coinciding with the “rediscovery” of the until then unpublished work. This Crucifixion follows a standard typology of “triumphant crucifixes”, with Christ flanked by the Virgin and Saint John the Evangelist. The sober colouring of the panel’s artistic horizon is enriched by an extensive layer of moulded and gilded stucco. This would seem to lodge it deep within the specificities of the late Komnenian artistic expression of central–southern Italy. . GIUSEPPE AMMENDOLA – CHIARA MUNZI The condition of the Alvito Crucifix today and previous attempts to restore it The Alvito Crucifix dates back to the first decades of the 13th century. It is an important part of an extensive collection of central Italian painted crosses from the Middle Ages. These were produced in specialised workshops by a team craftsmen made up of shipwrights, painters, sculptors and gilders, all working together. Ongoing restoration, supported by the diagnostic evidence, is providing a valuable insight into the material composition of the piece. Analysis has revealed the meticulous approach taken in the organisation of the various stages of the crucifix’s manufacture, right from its initial design layout.

Disgregare la territorializzazione dei generi: femminismi di colore anni 1980 e intersezionalità., 2023

Abstract: Il saggio collega i movimenti femministi transnazionali e intersezionali con le opere e i rivoluzionari movimenti delle donne di colore di fine Novecento che sconvolsero le barriere fra generi, genders e appartenenze. Riflettere sui confini implica ripensare le tecnologie geopolitiche di confini e frontiere e, soprattutto, situarsi dalla condizione di chi attraversa senza diritti, dallo spazio psico-geo-corpo grafico di incertezza, deterritorializzazione, translocalità, dislocazione. Vi si an lizza, inoltre, il carattere non occlusivo bensì trasformativo del concetto spaziale di limes/confine rispetto a quello di frontiera/muro/barriera. Un carattere, questo, da estendere anche a percorsi esperienziali, cognitivi e geopolitici quali le pratiche femministe volte a destabilizzare i segnali di divieto di passaggio dei confini nazionalisti imposti da politiche sovraniste maschili ed egemoniche. Aprono la strada pratiche quali il multilinguismo, l’intersezionalità, e la traduzione interculturale, insieme alle antologie collettanee divenute ormai classiche, e quei tipi di gnoseologie grazie a cui si sono effettuate trasformazioni radicali, pluridiversità e varie forme di pensiero critico. Di conseguenza, si sono incoraggiate sia la decolonizzazione della conoscenza in una prospettiva femminista del limes, sia la fertilizzazione incrociata per mezzo della traduzione interculturale, e si è così problematizzata la dicotomia universale versus particolare. ENGLISH:The essay connects current transnational and intersectional feminist movements to the revolutionary corpographic thinking-feeling of the women of color’s works and movements in the late 20th century that disrupted the boundaries between genders, genres and belonging. Thinking borders entails thinking about the implications of the geopolitical technologies of borders and barriers, but above all thinking from the condition of the crosser without rights, from the psycho-geo- corpographic space of uncertainty, deterritorialization, translocality, displacement. It likewise analyzes the non-occluding, but transformative, character of the spatial concept of limes/border with respect to that of frontier/wall/boundary. A character to be extended also to experiential, cognitive and geo-political pathways such as feminist practices aimed at destabilising the no-trespassing signals of nationalist borders imposed by hegemonic male sovereignty policies. Practices such as multi-lingualism, intersectionality, intercultural translation lead the way, together with anthologies that have by now become classic, and kinds of gnoseologies through which radical transformations, pluridiversity, forms of critical thinking have been achieved. As a result, both the decolonisation of knowledge from a feminist perspec- tive of the limes, and the cross-fertilisation through intercultural translation were encouraged, thus problematising the universal vs. particular dichotomy.