How Carbon Dioxide is Formed

Some inspiring minds think about how carbon dioxide is formed. Carbon dioxide that is gift in the climate is a chemical combination that is composed of two oxygen atoms that are covalently bonded to a carbon atom. Carbon dioxide is a gas if at standard temperature and pressure and exists at this form in the earth's atmosphere. It is estimated that the attention of the gas is at 387 ppm by volume but this number is about to convert due to human activities.

How Carbon Dioxide is Formed

How Carbon Dioxide is Formed

Also the attention of this gas varies by seasons due to some factors. So the question about how carbon dioxide is formed is just easy to answer. The attention of the carbon dioxide will fall during the spring since this is the time when plants are in full bloom and these plants suck up the carbon dioxide. The attention of the carbon dioxide starts to shoot up once again during fall and winter as this are the times when most plants go dormant, die and these plants decay. But the attention of this gas in the earth's climate is anticipated to rise in the next few years. Because of human activities, the attention of this gas has risen in the last 150 years.

How carbon dioxide is formed and multiply? This combination increases and the formation of new carbon dioxide can be traced as well to a number of reasons but it is through human activities that this gas has formed to article levels. Based on some facts, around 22 percent of the current atmospheric carbon dioxide can be directly traced to the actions of humans. This gas is formed and produced by animals, plants, fungi and other organisms during their respiration process, and parts of these are absorbed by the plants around for photosynthesis to happen. This gas is also formed as a by-product of the combustion process of the fossil fuels in cars.

Volcanism is other source of this gas on earth. From such natural activity, how carbon dioxide is formed? The emissions that can be traced to volcanic operation are considered as minor in terms of global scale. other event that helped in the formation of the gas is the land-use change. For example, the ample deforestation that is happening right now contributes a necessary division of the gas. It has been estimated that these changes in land use has led to the emission of at least 1.7 Pg C every year in the tropics. Stationary sources of energy can be partly blamed as well for the formation of carbon dioxide. The yield of electricity particularly the coal-burning sector contributes in the generation of the gas. Other sources that are stationary include the commercial sector, the emissions advent from oil extraction, the refinement and the communication of oil and also the domestic and the commercial fossil fuel use. Aside from stationary sources that can form these gases, mobile sources are great contributors as well. The transport-related yield of this gas has been growing for quite some time. These mobile sources include road transport, air and maritime transport. Industries as well those are non-energy associated helps in the formation and the creation of this gas. Examples of industries are the lime and the cement factories. And finally biomass burning is a contributor as well.

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Mono No Aware: The Essence of Japan

Mono no aware: the Japanese beauty aesthetic

Mono No Aware: The Essence of Japan

Mono No Aware: The Essence of Japan

Meaning really "a sensitivity to things," mono no aware is a plan describing the essence of Japanese culture, invented by the Japanese literary and linguistic expert expert Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word *aware*, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a diplomatic sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more bright than full. The sakura or cherry bloom tree is the epitome of this plan of beauty; the flowers of the most paramount variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The field of a thousand poems and a national icon, the cherry bloom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the extreme perfection of an external object: a paramount painting, excellent sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an sense of the heart and soul, a feeling for and appreciation of objects or artwork--most commonly nature or the depiction of--in a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can good be understood in relation to Zen Buddhism's philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in *Zenrin Kushū* (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."

With its roots in Zen Buddhism, *mono no aware* is bears some relation to the non-dualism of Indian philosophy, as associated in the following story about Swami Vivekananda by Sri Chinmoy:

*"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in microscopic eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.*

The founder of *mono no aware*, Motoori Norinaga (1730-1801), was the pre-eminent expert of the Kokugakushu movement, a nationalist movement which sought to take off all surface influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa duration of the Shinto religion. Contradictorily, the sway of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an surface influence, it was by this point unable to be extricated.

Meaning really "a sensitivity to things," mono no aware is a plan describing the essence of Japanese culture, invented by the Japanese literary and linguistic expert expert Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word aware, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a diplomatic sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more bright than full. The sakura or cherry bloom tree is the epitome of this plan of beauty; the flowers of the most paramount variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The field of a thousand poems and a national icon, the cherry bloom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the extreme perfection of an external object: a paramount painting, excellent sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an sense of the heart and soul, a feeling for and appreciation of objects or artwork--most commonly nature or the depiction of--in a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can good be understood in relation to Zen Buddhism's philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in Zenrin Kushū (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."

With its roots in Zen Buddhism, mono no aware is bears some relation to the non-dualism of Indian philosophy, as associated in the following story about Swami Vivekananda by Sri Chinmoy:

"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in microscopic eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.

The founder of mono no aware, Motoori Norinaga (1730-1801), was the pre-eminent expert of the Kokugakushu movement, a nationalist movement which sought to take off all surface influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa duration of the Shinto religion. Contradictorily, the sway of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an surface influence, it was by this point unable to be extricated.

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