Analysis of the nearshore wave energy resource

Earlier studies have indicated that the gross nearshore wave energy resource is significantly smaller than the gross offshore wave energy resource implying that the deployment of wave energy converters in the nearshore is unlikely to be economic. However, it is argued that the gross wave energy resource is not an appropriate measure for determining the productivity of a wave farm and an alternative measure, the exploitable wave energy resource, is proposed. Calculation of a site's potential using the exploitable wave energy resource is considered superior because it accounts for the directional distribution of the incident waves and the wave energy plant rating that limits the power capture in highly energetic sea-states. A third-generation spectral wave model is used to model the wave transformation from deep water to a nearshore site in a water depth of 10 m. It is shown that energy losses result in a reduction of less than 10% of the net incident wave power. Annual wave data for the North Atlantic coast of Scotland is analysed and indicates that whilst the gross wave energy resource has reduced significantly by the 10 m depth contour, the exploitable wave energy resource is reduced by 7 and 22% for the two sites analysed. This limited reduction in exploitable wave energy resource means that for many exposed coasts, nearshore sites offer similar potential for exploitation of the wave energy resource as offshore sites.

Relation of the work of the artist Antonio Lopez with the photography. Methods of a teacher rejected as a professor

In 1966 the artist Antonio Lopez was rejected for the chair in “Preparatorio de colorido” (Preparatory Colouring) by the San Fernando School of Fine Arts where he himself presented his work Nevera de hielo (Ice Box). After 5 years as a “stand in” for this post he left the Institution. This article analyzes the circumstances and proof of a decade where there appears to be evidence of a definite change in his work, more toward Realism, uncomfortable in a system that maintained with difficulty the traditional academic model copy, and incompatible with, in those years was imposed by Spain. At the same time his relation with photography conditioned by the theoretical thoughts of the artist, and his work methods also are analyzed in this article.