關於 clean energy package ，我們在網路上蒐集到這些相關的討論、資訊與評價

via 趙家緯／台灣環境規劃協會理事長：“今日（06/25）國際氣候能源重點，應該是拜登政府經過跨黨派協商後提出的「跨黨派基礎建設框架」 （Bipartisan Infrastructure Framework ），臺灣媒體雖有些編譯，但似乎沒掌握的核心爭議點：「氣候力道不足」。

拜登三月底提出的兩兆元美國就業計畫之中，跟氣候有關的比例近半，且還附帶了「能源效率與潔淨電力標準」（Energy Efficiency and Clean Electricity Standard, EECES) 這類的管制工具。但經過跨黨派協商後，潔淨電力標準未被納入，預算規模也縮減，如電動車充電站設計預算就從150億美元減半，電網建設原本要千億，但目前版本則減為730億美元等，但有爭取到電網管理局（Grid Authority）的設置。

對氣候倡議團體而言，當然是相當不滿意，在這段時間內，其發起了 #NoClimateNoDeal （翻成 氣候不能妥協 或是 給我氣候不然免談）。但對氣候議題比較友善且還比較屬建制派的參議員，如Ed Markey 或是 Sheldon Whitehouse都非跨黨派協調小組的成員，反而民主黨內煤炭產業的支持者Joe Manchin 是成員之一。最後此折衝版本，大舉削弱氣候項目，實不意外。

因此倡議團體則將目標轉向預算調解程序（ budget reconciliation package ），將在此基礎建設框架中被排除項目要回來。由於預算調解程序只要相對多數，民主黨只要黨內有強力共識就可以通過，不用向一般法案要六十票。而裴洛西也已經發言表示唯有「跨黨派基礎建設框架」 併同預算調解程序同步送入眾議院，眾議院才會審議。拜登也表示他不會只推「跨黨派基礎建設框架」，還有會接續的作為。

總之接下來半年應該還是有很多高潮迭起的戲碼，因為氣候倡議團體認為若這時沒辦法推進強有而力的氣候管制以及預算，一方面將錯失減碳時機點，另一方面在期中選舉之後，民主黨很可能會喪失國會多數。

回到臺灣的場景，目前有國會中有六個跟溫管法修法有關的法案，下半年也是總預算審查之際。去年藉由總預算主決議，要求行政院啟動淨零路徑研擬，是讓今年上半年總統可喊出淨零轉型很重要的鋪陳。那今年下半年就看能否更進一步，藉由COP26前夕，真正可啟動個氣候會期，一方面處理修法，另一方面也好好把盤整總預算，用充足貨幣碳預算去守住臺灣的物理碳預算。"

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Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
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Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

歐盟完成三方協商，正式設定 2030 年再生能源目標為 32%，2023 年將檢視是否再度上修32%的目標！

新法規在公布後２０天生效，各歐盟會員國必須在１８個月內，將此規定轉化為各國的國內法，並據以制定該國再生能源行動方案，以確實執行此再生能源最低佔比法規。

歐盟執委會於 2018 年 6 月 14 日通過新的 2030 年再生能源占比 目標為 32%，同步通過檢視條款於 2023 年決定是否上修該目標，結 果為歐盟執委會、歐洲議會及歐盟部長理事會三方談判會議共識結論。

這項協議經歐盟部長理事會及歐洲議會通過，並將於歐盟公報公 布後 20 日生效，歐盟會員國須於修正法案生效後 18 個月內將該指令 條文轉化為國內法，並據以制定該國再生能源行動方案。

新的再生能 源目標高於 2016 年 11 月歐洲潔淨能源套案(Clean Energy for All Europeans Package)立法草案所提出的 27%目標。歐盟氣候與能源 執委指出，新的32%佔比目標有助於歐盟達成巴黎氣候協定溫室氣體減量目標， 並致力減少對於化石能源的依賴，增加歐洲就業機會、降低能源的成本與進口量。

在 2017 年 5 月，環保團體歐洲氣候行動網路(Climate Action Network Europe)即提出應設定至少 45%的目標。相較於 27%的目標， 訂定 45%的目標可減少 7 倍嬰兒死亡率、節省 5 倍進口化石燃料能 源的費用、提供超出 6 倍的國內綠能產業工作機會，並且每提升 1% 的再生能源比率，可以降低歐盟平均電力 1%的批發價格。

2018 年 1 月歐洲議會提出議案並展開與成員國的遊說談判，歐 洲議會認為歐盟 2030 年再生能源占比目標應提高至少至 35%、能源效率提升 35%、以及運輸部門再生能源使用率達 12%，相關配套如 2022 年前 90%的加油站應配有電動車充電站，而成員國均應比照設 定目標，誤差應低於 10%。

二、 歐盟執委會通過修正再生能源指令

再生能源修法目的係為實現本屆 Juncker 執委會優先政見，為落 實巴黎氣候變遷協議執行歐盟承諾減排之目標。該提案將修正歐盟原 2009 年再生能源指令條文，相關修法內容要點如下:

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(一) 歐盟將於 2030 年時達到再生能源使用 32%的目標，該目標 具法律拘束力;歐盟並將於 2023 年前將再次檢視決定是否 上修該目標。

(二) 將改善再生能源方案的設計及穩定性。

(三) 將簡化相關行政流程。

(四) 將建立一個明確並穩固的能源自用(self-consumption)法律 架構。

(五) 將提升交通運輸及冷暖空調的再生能源使用比重:交通運 輸部門最少將達到 14%;冷暖空調則每年提高 1.3%。

(六) 將改善生質能源使用之永續性:第一代生質能源將限制在 2020 年水準，不可超過鐵公路能源運輸部門總能耗的 7%， 棕櫚油則將逐漸於 2030 年前停止使用;到 2025 年，第二 代生質能和沼氣發電的比率至少為 1%，並於 2030 年達到 3.5%。同時希望可在 2030 年前逐步減少棕櫚油使用量。

儘管歐洲議會與成員國協商結果仍未達到民間期待，但最終提出 32%目標及 2023 年檢視上修條款，讓民間團體尚可接受。後續再生能源子法的批准和公告預期於 2018 年底前完成，而「歐洲潔淨能源套案」提案其他子法亦持續談判推動中。

★★ 原始資料來源：
https://km.twenergy.org.tw/DocumentFree/reference_more…

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