Reflexive Spanish Verbs With an Indirect Object

Reflexive Spanish Verbs With an Indirect Object Spanish often uses reflexive verbs  in a way that seems unfamiliar to English speakers. And they can seem downright indecipherable at when they are in sentences include two object pronouns of a single verb, a phenomenon that is unheard of in everyday English unless those pronouns are connected by and or or. Here are three examples of sentences that include two object pronouns that have different grammatical functions (that is, that arent joined by a conjunction such as y or o). Translations given arent the only ones possible; alternatives are explained below.) Se me rompià ³ la taza. (The objects are se and me. My cup got broken.) ¿Se te olvidà ³ el tomate? (The object pronouns are te and me. Did you forget the tomato?)La espiritualidad es algo que se nos despierta en cierto momento de nuestra vida. (The object pronouns are se and te. Spirituality is something that awakens for us at a certain time of our lives.) Why Two Objects Are Used You may have noticed that the three translations above took different approaches- but that none of the translations are literal, word-for-word ones, which wouldnt make sense. The key to understanding these sentences grammatically is to remember that the se in each of these cases is part of a reflexive verb, and that the other pronoun is an indirect object, one that tells who is affected by a verbs action. Basically, a reflexive construction is one in which the subject of a verb acts on itself. An example in English would be I see myself (Me veo in Spanish), where the person speaking is both seeing and being seen. In Spanish, however, it is possible to think of a verb acting on itself even when we dont translate it that way in English. This can be seen in the first example, where the most common definition of romper is to break. So we can think of romperse (romper plus the reflexive pronoun se) as meaning to break itself, (The translation to be broken might also be used.) The other pronoun, in this case me, tells us is affected by that breaking. In English, we might translate the indirect object me as me, to me, or for me. So a fully literal meaning of the sentence might be something like The cup broken itself to me. Obviously that doesnt make much sense. So how do we translate such a sentence. Normally, if a cup breaks and it affects me, its probably my cup, so we could say My cup broke or My cup got broken. And even I broken the cup would be fine if that fit the context of what happened. The other sentences can be analyzed in the same way. In the second example, olvidarse typically means to be forgotten rather than the literal to forget itself. And if the forgetting of the tomato affects you, you are probably the person who lost it, and the the translation given. And in the third example, despertarse usually means to wake up or to awaken. Without the nos in the sentence, we could could think merely of spirituality waking up. The for us is used to clearly indicate who is a beneficiary of the verbs action, although awakens us could be used. Note how in all these sentences, the se is placed before other pronoun. Se should not be placed between a verb and any other object pronoun. Other Sample Sentences You can see how this pattern is followed with the other sentences. Again, the translations given arent the only ones possible: Estoy agradecido no se me ocurrià ³ antes. (Im grateful it didnt happen to me sooner.) ¡El cielo se nos cae encima! (The sky is falling on us!)Pedid y se os dar. (Ask and it will be given to you.)Que se te moje el telà ©fono mà ³vil es una de las peores cosas que puede pasar. (Getting your cellphone wet is one of the worst things that can happen to you.) Key Takeaways The reflexive pronoun se can be used along with indirect object pronouns that indicate who is affected by the action of the reflexive verb.Se is placed before the indirect object pronoun.Sentences using se and an indirect pronoun can be translated in at least three different ways.

The False Cause Fallacy Correlation Does Not Equal Causation

The False Cause Fallacy Correlation Does Not Equal Causation The False Cause Fallacy: Correlation Does Not Equal Causation When we see that two things happen together, we may assume one causes the other. If we don’t eat all day, for example, we will get hungry. And if we notice that we regularly feel hungry after skipping meals, we might conclude that not eating causes hunger. A good deduction! But does the same logic always apply? Are two things that seem to occur together always related? Or is this sometimes an error? In this post, we look at correlation and causation to help you understand – and hopefully avoid – the false cause fallacy in your academic writing. Correlation and Causation A correlation is a mutual relationship between two or more things. Typically, this is a statistical relationship where two variables are interdependent: A positive correlation occurs when two or more variables seem to increase or decrease together. For instance, there is a clear correlation between the variables â€Å"foot size† and â€Å"shoe size† because people with bigger feet reliably have bigger shoes. A negative correlation occurs when one variable increases as another one decreases. For example, the variables â€Å"speed of vehicle† and â€Å"duration of journey† are negatively correlated because a faster vehicle will typically complete a journey in less time. Correlations like this can be useful because they can help us spot a connection between two things. In some cases – including the examples we’ve used here so far – you can even identify a causal relationship between the variables. For instance, few would deny that skipping meals can cause hunger, or that a faster vehicle can reduce journey time. But we must be careful when drawing this kind of conclusion. Correlation does not always imply causation. And if we misinterpret a correlative relationship, we might fall into the false cause fallacy. The False Cause Fallacy The false cause fallacy occurs when we wrongly assume that one thing causes something else because we’ve noticed a relationship between them. For instance, if one thing happens after something else, we may assume that the first causes the second. However, following from or coinciding with something is not the same as causing it. And if we are too quick to conclude a causal relationship, we might end up with a false cause. Two major hazards here are reverse causation and spurious correlation. The False Cause Fallacy: Reverse Causation When looking at a correlation, we may misunderstand the relationship between the variables. And this can lead to mixing up a cause and an effect. For instance, based on a correlation alone, it would be just as reasonable to believe that windmills cause wind as it would be to believe wind causes windmill blades to turn. All we know is that the two things happen together, increasing and decreasing at the same rate. Its basically a big rotary fan, right? (Photo: music4life) For anyone who knows anything about windmills, though, this is obviously a case of the false cause fallacy. We know this because we know that windmills catch wind to create rotational energy. Thus, a correlation can only tell us about a cause if we know how the variables are related. And if we get this relationship wrong, we can end up with reverse causation. The False Cause Fallacy: Spurious Correlation The false cause fallacy can also occur when there is no real relationship between variables despite a correlation. For example, there is a genuine statistical correlation between movies released featuring Nicolas Cage and the number of people who drown in US swimming pools each year. Is Nicholas Cage a secret pool murderer? Our libel lawyers say No. (Graph: TylerVigen.com) If correlation implied causation, we might assume that Nicolas Cage movies are deadly around water. But this would be at best a hasty conclusion. As with the windmill example above, correlation alone is not proof of causation. If we truly wanted to say that one of these variables caused the other one, we would need to explain how Nicolas Cage movies are related to pool deaths. And we’d need evidence that the two things were connected. Without this, we’re left with a spurious correlation (i.e., two things that coincidentally overlap in some way). And we cannot draw any useful conclusions from this kind of relationship between variables. How to Avoid False Cause Fallacies So, then, how do you avoid the false cause fallacy in your own work? We have a few tips that you might want to follow: Remember that correlation does not equal causation. It is fine to report a correlation in your data, but you cannot assume a cause and effect relationship from that alone. Always consider how variables in a correlation are related. Think about non-causal explanations, such as pure coincidence. Is there enough data to suggest a strong correlation between two variables? Consider whether other variables could explain the correlation. For example, ice-cream sales and hospital admissions for heat stroke are positively correlated because both are influenced by a third variable (i.e., high temperatures), not because eating ice-cream causes heat stroke. If you are going to argue that a correlation suggests a causal relationship between variables, back this up with evidence. Don’t forget, too, that having your work proofread can help you express yourself clearly. And the more clearly you can set out your arguments, the easier it will be to avoid false cause fallacies.

Discussion 1 Week 6 Corporate-level Strategies Assignment

Discussion 1 Week 6 Corporate-level Strategies - Assignment Example The merger could increase tendencies for dependencies between the corporate partners. As such, two examples which would illustrate the manner in which each company would avoid risks of dependency are as follows: (1) one company could replicate a successfully implemented business model in new market segments within the industry (Hill and Jones); and (2) the corporate partner could differentiate its products (or services) by focusing on core competencies which appeal to their clientele. For instance, offering exemplary customer service through acknowledging loyal clients by name recognition or provision of perks and freebies. 2. From e-Activity, determine the fundamental drawbacks associated with horizontal integration. Suggest another corporate-level strategy that could redefine the Southwest business model and thus allow the company to increase its competitive advantage within a changing industry environment. Provide a rationale to support your response. The fundamental drawbacks associated with horizontal integration include being exposed to coming into conflict with the Federal Trade Commission (FTC) for potential violations of anti-trust laws which undermine fair competition. In addition, customers’ interests and purchasing power could also be jeopardized if major companies within the industry engage in horizontal integration and control or dictate market prices. As such, another corporate-level strategy that could redefine the Southwest business model and allow the company to increase its competitive advantage within the changing airlines industry is the application of vertical integration. Southwest could look into improving scheduling (queuing of airline routes to facilitate speed in the number and volume of flights). The strategy would assist in minimizing costs, as well as improving customer satisfaction through speed within which services

Strategy Report of Tesco Case Study Essay Example | Topics and Well Written Essays - 3500 words

Strategy Report of Tesco Case Study - Essay Example Although Tesco concentrated on the core growth of the company during the 50s and 60s, apart from organic growth, they also grew through acquisitions. They increased their market share at low cost as they concentrated in opening stores in and around London. The organic growth represents the long-term strategy of the company and also its core strength and vitality. The number of stores grew and they acquired cost leadership but cost leadership comes with disadvantages (Porter, 1979). Very low cost may take loyal customers away and it may also start losing revenues, which is what happened to Tesco. It then changed its strategy to increase its market share – price reduction and centralized buying. Thereafter Tesco concentrated on growth based on four factors. While UK was their core market, they also expanded internationally. Apart from market development, they also focused on product development as they became as strong in non-food products as in food. Besides, they also introduced new retailing services. So their strategy was both market and product development. This is how they penetrated into the market and increased their market share. In their overseas expansion, they adopted a localized approach where they took into account the local culture, local suppliers and ways of working. They also recognized that each individual was different and hence adopted the multi-format strategy. They focused on a few markets which helped them gain competitive advantage and then find the direction for growth and development. During the 1990s Tesco concentrated on national market development through product innovation. They attracted and retained customers through different innovative strategies. To retain loyal customers they introduced loyalty cards; to attract a new segment they started online shopping and thereby created differentiation in their service offerings. It was the same market but with the help of technology they could

Analysis of Barbara Kruger

Analysis of Barbara Kruger For this short essay writing I get an example of single contemporary artist Barbara Kruger. Barbara Kruger is an American conceptual artist. A lot of her effort consists of black and white photographs overlaid with declarative captions-in white-on-red Futura Bold Oblique. The phrases in her works frequently consist of use of pronouns such as you, your, I, we, and they. I begin my essay with the retort how Barbara Kruger be considered illustrative of Baudrillards or Barthes theories. Postmodernism was born out of a response in opposition to the policy of Modernism. Most particularly, Postmodern artists discarded the Modernist obsession with the aesthetic and began by questioning the recognized qualities tied to this aesthetic. As the Postmodern movement progressed, this critique intensified and moved beyond simply formal concerns; artists also began criticizing many underlying notions of Modernism, together with ideas about creativity and authority. Simultaneously, French philosophers Roland Barthes and Jean Baudrillard introduced theories concerning the rising artistic practices of appropriation and simulation. Barthes, in his elaboration on the theory of appropriation, described principles and practices that a lot of artists were employing in their critiques on Modernism. The work of American artist Barbara Kruger gives the most powerful embodimen t of Barthes theories of appropriation. Roland Barthes, in his 1967 essay The Death of the Author, stripped mutually authority and authorship from artists and writers, declaring, A text is not a line of words releasing a single theological meaning (the message of the Author-God), but a multi-dimensional space in which a variety of writings, none of them new, blend and collide. This theory not only described the postmodern artistic practices of the time, but it undermined Modernisms lofty goals and claims of creating original artwork. According to Barthes, no author or artist creates something new and unique. Instead, every formed thing is a recycled regurgitation of that which preceded it. As Postmodernism continued to develop, many artists not only acknowledged Barthess denouncement of originality but also embraced it as a means through which to further critique the works and tenets of Modernism. These artists favored the readymade object as more powerful than the supposedly new crafted objects shaped by Modernist artists. By openly acknowledging the process of appropriation that occurs within the manufacture of all art, these artists leveraged the power of pre-existing imagery and signs to produce new works with multiple layers and multiple meanings. Barbara Kruger began her career as a graphic designer and commercial artist for publications and magazines such as Mademoiselle. Her work as a postmodern artist began to garner attention in the early 1980s; about fifteen years later than Barthes published The Death of the Author. Krugers experience in the profitable design world greatly influenced her work both officially and philosophically. She embraced both the imagery and language of advertising, combining black and white photographs with ambiguous but accusatory statements in collage-like presentations. But she concurrently rejected the philosophies of commercial advertising and the majority, by raising questions concerning gender equality, consumerism, and stereotypes. Regarding the state of culture, In Untitled (Your Comfort is My Silence), 1981, Kruger combined a black and white image of a mans head with his index finger over his mouth and two lines of text reading, Your comfort is my silence. The initial two words cover the mans eyes, further eliminating his exact identity and reducing him to a generic symbol of masculine dominance and control. The text is presented in a combination of black text over white rectangles and white text in red rectangles in a cut-and-paste manner. By employing collage to join pre-existing imagery with authoritative statements, Kruger practices the appropriation that Barthes described. Krugers work also assigns an interpretive role to both the viewer and culture at large, as posited by Barthes. By keeping her statements to some extent cryptic or ambiguous, Kruger forces viewers to build meaning from their own earlier experiences, thereby actively participating in the procedure of appropriation. In addition I am going to cover the answers of is it simplistic for an artist to rely heavily on theory, Does good art go beyond theory and Are these original works? While Kruger and other artists who deliberately practice appropriation are most likely aware of Barthess philosophies and statements, it is hard to say how much their work and practice is shaped by such theory. Oftentimes theory seems somewhat reflexive to contemporary practices; critics notice existing artistic trends and then posit theories and extend technical language to describe such practices. As such, one could disagree that artistic practice influences theory just as much as theory influences the practice that follows. Certainly theory plays some role in virtually every piece or work of art, even if the producer or artist is unaware of it. Sometimes, the identical theory can even direct artists in two completely different or opposing directions. Modern theory, for example, called for aesthetic experience and form al purity, and many artists worked to attain the ideal representation of these criteria. Postmodern practice should not be viewed as alike attempt to perfectly render the theories of Postmodernism; rather, it is more perfectly a reaction against the tenets of Modern theory. From my point of view it seems then that theory and practice share a somewhat cyclical relationship. Artists produce new work, and then critics develop theories and language to describe it. Other artists take these newly-formed theories as information for what constitutes art at the time and turn out their art accordingly. After a period of extremely following the most recently canonized theories, other artists consciously operate outside of the dominant theory or refuse it altogether and produce another new type of work. This appears to be a recurring trend in the relationship among art theory and art practice. The work of artists such as Barbara Kruger, poses many essential questions and reiterates those raised by Roland Barthes. Although such artists intentionally employ the process of appropriation in producing their artwork, their works are no less original than that of other artists. Even Modernist painters, who so adamantly strove for originality and uniqueness, operated within the framework and visual language of the preceding millennia of art and history. As Barthes says, The writer [or artist] can only imitate a gesture that is always anterior, not at all original. Possibly this means that, concurrently, not anything is original and everything is original.

Three Day Road: Character Development

The two main characters in the novel â€Å"Three Day Road† by Joseph Boyden; Xavier Bird and Elijah Weesageechack, have many key differences that are illustrated throughout the novel. Xavier is reserved and visceral, while Elijah is self-assured and talkative. Xavier was raised by his Aunt Niska for the Majority of his childhood, opposed to how Elijah was raised in Moose Factory by nuns at a residential school. These factors hold an important responsibility on their personalities and the way that they think and make decisions. The three key differences between them that are paramount to the story and the themes of the novel are; firstly their respect for their Oji-Cree culture, secondly their respect and love for human life, and lastly their personalities. The differences in their personalities create positive chemistry back in their homeland of Canada, but when they are sent to Europe to fight in World War One, their relationship is put to the test. An important difference between Elijah and Xavier is the difference in their respect for their Aboriginal culture. Respecting their Oji-Cree culture is paramount to Xavier, while it is much less important to Elijah. An example of Xavier’s close association with his aboriginal culture can be seen through the following quote, â€Å"All of them stare down at me. I look up, sitting cross-legged with one of the horses sprawled beside me, its head on my lap. I look like I’ve been painted red. The smell of blood is heavy. It covers the wooden walls, the floor, the straw upon the floor. Elijah sees that one of my hands rests on the floor with my skinning knife in it. The horse’s neck gapes open along its big artery. (Page 189) This example shows Xavier’s connection to his aboriginal culture because having respect for animals is a major part of the Oji-Cree morals. In this exact scene Elijah was willing to shoot the horses, which shows a lack of respect for the animal, which goes against the morals of his aboriginal heritage. A second key example of how Xavier and Elijah differ when it comes to their aboriginal culture is seen through Elijah’s willingness to assimilate into European culture. In the novel Elijah states, â€Å"â€Å"Jolly good night for a little snooping, eh, Thompson? Elijah says. Thompson shakes his head at the words, and his teeth are white almost to a glow. â€Å"You do a better British accent than a Brit†, he says. † (Page 137) Elijah’s readiness to develop an English accent is in stark contrast to the fact that Xavier refuses to assimilate into the European culture. The third example of how Xavier and Elijah are different in the way they treat their aboriginal heritage is seen when the two of them are on their way to Toronto and they sell their canoe to get some extra money so they can afford new clothes. These new clothes are a necessity because they need to blend into their new environment to a certain extent. The following quote depicts the moment perfectly, â€Å"â€Å"When Elijah strolls out, I laugh. He has chosen a black suit and stiff, high white collar. In the mirror he looks like a preacher. This appeals to Elijah† (Page 142). In the scene, it is obvious that Xavier purchases his clothing out of necessity, while Elijah purchases his new clothes because it is appealing to assimilate into the new Canadian culture they are about to be immersed within. The most important part of the quote is the final sentence, which states, â€Å"This appeals to Elijah†. The fact that it appeals to him proves that he has interest in being assimilated into the Canadian society. Through the example presented it is blatant to see that Xavier has respect for his Oji-Cree culture, while Elijah has a lack of respect for it. A second example of how Elijah and Xavier differ is seen through their different views of brutality and respect towards other people’s lives. Xavier has a lot of respect for humans and their lives and due to this he kills out of necessity. On the other hand, Elijah enjoy killing humans and does it for the sake of sport. A perfect example of how Xavier and Elijah differ in regards to the respect of human lives is seen in the subsequent quote, â€Å"I jump to my feet before I know that I do it and approach Elijah with balled fists. Then I find myself reaching for my knife. But what he said makes me gag and I kneel down and stick my finger down my throat. The contents of my stomach come out in a slimy glob†. Page 310) This example highlights the fact that Xavier isn’t even willing to joke about eating German citizens, while Elijah doesn’t only find it funny he can’t understand why Xavier would take it so incredibly seriously. Elijah’s lack of respect for the people he kills shows a vicious brutality that is not seen in Xavier Bird. A second example of how Xavier and Elijah’s personali ties contrast can be seen through Elijah’s thirst to kill people. Elijah’s obsession over carnage can be highlighted in the following excerpt, â€Å"In the long hours of hunting Elijah tries to understand what is growing on him. He talks to me about this through the nights we spend out in the damp and mud. Mist rises from craters and swirls in the stink. In the end, the answer that comes is simple. Elijah has learned to take pleasure in killing† (Page 283). This quote is an incredible example of Elijah’s brutality because it is not only seen through his actions, but also his thought process. It proves that Elijah is not just killing for necessity he has actually gone mad. This highlights the difference between the two characters because Xavier strictly kills so he can survive through the war. The final exemplar in regards to Brutality and respect for human life can be emphasized by the connection that the two main characters have with their comrades. The following quote accentuates this fact, â€Å"He opens his eyes and looks up at Elijah. Elijah raises the wood in both hands and swings it down hard as he can onto Grey Eyes’ forehead† (Page 340). This exemplar distinctly shows the variance in Elijah’s connection with his comrades in comparison to Xavier relationship with his comrades. Xavier doesn’t have the ability to speak as well as Elijah, but he has a much stronger emotional connection with the people he fights with. When looking at Elijah, it undisguised that he doesn’t have a strong emotional connection with any of his comrades and if there is connection at all it is strictly to use them. Elijah’s closest friend in the war other than Xavier was Grey Eyes and he was willing to kill him so he could get away with the crimes he had committed. In conclusion, Xavier puts his comrades and the people he is fighting against in high regard and has a serious respect for them, while Elijah just wants to eliminate every problem that confronts him; he doesn’t care how he does it. The third and final example between the two characters that has a major effect on the story and the key themes of the novel are their personalities. As stated in the opening paragraph, Xavier is reserved and visceral, while Elijah is self-assured and talkative. Xavier was raised by his Aunt Niska for the Majority of his childhood, opposed to how Elijah was raised in Moose Factory by nuns at a residential school. These differences in upbringing play a distinct role in how the two of them make decisions, and how closely they hold onto their aboriginal culture. It is clear that the chemistry of their friendship works in the setting of the Northern Ontario woods, but it fails to follow through when they fight in World War One. An example of a difference between the two characters is seen in the way that Xavier is much more a quiet character, he doesn’t have much to say because his English isn’t very strong. A subtle yet important example of this is seen in the ensuing quotation, â€Å"†So you’re an Indian, then? † he asks. I nod. â€Å"You’re pretty short for an Indian, ain’t ya? The others laugh. † (Page 23) Xavier’s trouble with the English language is highlighted in the excerpt because all he does is nod. This makes life in Europe incredibly awkward for Xavier. This is in blatant contradistinction to Elijah because he thrives in this type of situation. Elijah’s verbose nature can be examined in the following passage, â€Å"He began talking this way to get the others to laugh, but he likes it now. Makes him feel respectable. He told me there’s a magic in it that protects him. (Page 137) Elijah’s ability to speak English fluently and to adapt the way he talks so that he has an English accent makes him much more popular with their comrades. Elijah’s upbringing has an effect on his appeal for European culture because instead of being brought up in the wilderness he is brought up in a residential school by nuns. Giving him a much different outlook on their culture than Xavier. The final example of how Elijah and Xavier differ in terms of personality is seen best in the following passage, â€Å"â€Å"I wish I could fly like that,† Elijah says to me in Cree. I wish I could fly like that, like a bird,† he repeats, staring up like a little boy. â€Å"Maybe a pilot will take me up sometime. † â€Å"Me, I’m happy to stay on the ground on my belly in the dirt,† I answer. â€Å"Thinking about falling from up there makes me sick†Ã¢â‚¬  (Page 164). This passage highlights the difference between their adventurousness. Elijah’s willingness to go up in a plane can be correlated with his courageousness in battle. Xavier’s contentment with being on the ground can be correlated with his timid nature socially and on the battlefield to a certain extent. This quotation proves that Elijah has a much more adventurous personality than Xavier. In cessation, Elijah and Xavier are incredibly different people with personalities that are nearly opposites and this ends up having an extreme effect on the plot and the themes of the story â€Å"Three Day Road†. In conclusion, the two main characters in the novel â€Å"Three Day Road† by Joseph Boyden; Xavier Bird and Elijah Weesageechack, have many significant differences that are illustrated over the course of the novel. As shown with the supporting points above, Xavier is reserved and visceral, while Elijah is self-assured and talkative. Xavier was raised by his Aunt Niska for the majority of his childhood, opposed to how Elijah was raised in Moose Factory by nuns in a residential school. These factors that affect their personalities have major impacts on the three main differences that lie between them. These differences are, firstly their respect for their Oji-Cree culture, secondly their appreciation and love for human life, and lastly how they carry themselves throughout the novel. The differences between them have a positive influence on their relationship when they are in Canada, but in Europe, these differences end up destroying their friendship.

Potential For Renewable Energy Generation - 1515 Words

Potential for Renewable Energy Generation: Edgecomb, ME is surrounded by many sparsely populated towns, this factor along with it’s location at the delta of both the Sheepscot and Damariscotta rivers leads to a high potential for utilizing renewable energy. Such conditions allow for potentially using many different kinds of renewable energy sources: tidal, hydro, biomass, solarvoltaic, wind, and geothermal. While all of these renewable energy sources have potential for use in Edgecomb, there’s a lot of different combinations of renewables that could power Edgecomb as well as the entire Sheepscot and Damariscotta valley. In Maine, just like any other place with the capabilities and potential to take advantage of renewable resources there†¦show more content†¦Mainers are well aware of the asset inherent hydropower to control the flow of energy for optimal use, and generally share a conservative attitude toward industrial shifts, due to historic industrial collaps es of small Maine communities, thus, they would tend to favor hydropower over tidal energy. Maine as a state, the Sheepscot and Damariscotta valleys, and the community of Edgecomb have massive potential for biomass energy production, due to sparsely populated communities and an above average proportion of land use dedicated to agriculture. These conditions would allow for the expansion of biomass production, however Maine does not currently take advantage of biomass energy production on a mass scale; thus, the infrastructure to take advantage of this biomass potential on a mass scale would be a huge cost to incur. Additionally, biomass energy production inherently includes burning biomass, which directly emits carbon dioxide. In an effort to cut greenhouse gas emissions by shifting to renewable energy biomass production is an improvement over burning fossil fuels, but not enough to make the infrastructure worth the investment unless carbon capture systems are implemented as well. Ca rbon capture systems capture carbon dioxide at the emission site, compress the carbon dioxide then transport in order to inject it into the ground, aptly named geologicalShow MoreRelatedThe Future of Potential Energy Sources633 Words   |  3 PagesFuture of Potential Energy A lot of factors must be considered when it comes to assessing the potential of renewable energy for economic sustainability bearing in mind that the energy sector is continuously growing. It is imperative that available information on Department of Energy DOE, lands and solar and wind renewable energy resources are gathered. 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