Equinor awards contracts for Bacalhau field development in Brazil

first_imgThe Subsea Integration Alliance has been selected for the SURF contract and MODEC for FPSO contract of the Bacalhau project MODEC has been selected for the FPSO contract. (Credit: Equinor ASA.) Equinor, on behalf of its partners ExxonMobil and Petrogal Brasil, has signed front end engineering and design (FEED) contracts with early commitments and pre-investments for phase 1 of the Bacalhau, in Brazil.Norwegian energy firm said that it has selected the contractors for subsea, umbilical, risers and flowlines (SURF) and the floating production, storage and offloading (FPSO) contracts.Subsea Integration Alliance, formed by Subsea7 and OneSubsea, has been selected for the SURF contract and Japanese offshore floating platforms provider MODEC has been selected for the FPSO contract.Equinor technology, projects and drilling executive vice president Anders Opedal said: “Awarding these contracts is an important milestone in developing the Bacalhau area.“We have awarded these contracts to reputable companies with long experience in Brazil and we are now looking forward to further collaboration with SIA and MODEC to ensure a timely execution of the project. This will be the largest FPSO in Brazil with a production capacity of 220,000 barrels per day.”The FPSO contractor is expected to operate the FPSO for the first year, after which Equinor will operate the facilities till the end of license period in 2053.The SURF and FPSO contracts are said to have high standardisation and industrialisation, and the SURF contract would contribute approximately 60% to local content in Brazil.Bacalhau field is owned by Equinor with 40%The Bacalhau field is owned by Equinor with 40% and serves as operator, along with ExxonMobil holding 40%, Petrogal Brasil with 20% and Pré-sal Petróleo, a non-investor and Government agency.It is located 185km from the coast of the State of São Paulo, in water depths of 2050 metres.The field development will consist of 19 wells, approximately 130km of rigid risers and flowlines and 35km of umbilicals.Equinor Brazil development and production executive vice president Margareth Øvrum said: “Bacalhau is a world class asset in the Brazilian pre-salt Santos area. Brazil is a core growth area for Equinor, and the company has ambitions of producing 300 to 500 thousand barrels a day in Brazil within 2030. Bacalhau will be an important contributor to reach this goal.”Recently, Equinor and its partners have announced plans to extend the production life of the Statfjord field in the northern North Sea till 2040 by drilling new wells and upgrading the platforms.last_img read more

James Wood’s lighter side

first_imgGazette writer Sarah Sweeney sat down with James Wood, a professor of the practice of literary criticism and a critic with The New Yorker, to discuss his new book, “The Fun Stuff.” Covering a range of topics — the rigors of writing, listening to and playing music, his resemblance to Pete Townshend — Wood was candid, incisive, and, most importantly, fun. GAZETTE: “The Fun Stuff: And Other Essays” is a compilation of work published in The New Yorker and The London Review of Books. What is your revision process?WOOD: When I revise these pieces, I try to make them a bit more timeless, and a bit less local. I take out specific references to books being new — because I’m often reviewing a new book by someone — or I might take out any other obviously trivial or small references made at the moment in the piece. Sometimes I rewrite them a bit so there’s a broader argument than I was able to do in the piece. In general, that would be the approach — to try to “essay-fy” the review.GAZETTE: What are your reading rituals? When you write do you listen to music or do you prefer silence?WOOD: I tend to write at nighttime — a bad habit I got into years ago when I was working at The Guardian and had to write lots of short pieces. I continued that bad habit when I came to the U.S. because I was still writing a lot for the U.K. and it was weirdly convenient to finish something at about 4 or 5 in the morning, so the editors in London would get it at around 10 a.m. Otherwise, I don’t have any rituals. I don’t generally listen to music because I find it hard not to listen to the music. When I write, it’s generally quiet and generally at home.GAZETTE: What do you read every day, in your general life?WOOD: I read what I write about. There’s not a lot of time for pursuing that kind of hinterland that we all want to pursue and be in. I just wish sometimes I didn’t have to always be writing about books and I could go off on a complete tangent and read a history book or a bit of travel writing. But there’s not enough time for that.GAZETTE: What writers are you excited about at the moment?WOOD: The short story writer Lydia Davis is one, and a youngish poet called Ben Lerner, who’s written a first novel (“Leaving the Atocha Station”) that I review in this book. He’s a really interesting, funny, lively, complex writer and I’ve been able to put a couple of colleagues in the English Department onto him, so that’s great.GAZETTE: What are you at work on?WOOD: Well, I’m currently trying to write a second novel. I wrote a first novel in 2003 (“The Book Against God”) and I don’t think it was especially good. I think it was all right, but it could be improved on, and yet I think the usual combination of fear and procrastination has stopped me from trying again, until this moment, which is sort of ludicrously long, really — 10 years now! But I feel finally I have the confidence to try again a second novel. And that’s what I’m working on when I’m not reviewing books.GAZETTE: You wrote “How Fiction Works.” What was your process when you were writing your first novel? Were you trying to abide by your own rules?WOOD: No. In “How Fiction Works” I did say that the novel is the virtuoso of exceptionalism, and I think that most people would probably agree that of all the forms the novel is the freest and most eccentric and it tends to make up its own rules. It’s not like, I think, building a chair — because if you fail to build a chair it won’t stand up, but there’s a way in which novels are full of flaws and failed bits, and they seem to be forgiven by most readers. So when I wrote my first novel it wasn’t that I was trying to follow rules, I think what was difficult for me was that I was very hampered by self-consciousness to some extent, and in this second novel I’m trying to let that go as much as possible and not second-guess myself too much.GAZETTE: Would you say that you’re a self-conscious person?WOOD: Actually I would say I’m not, particularly. There are certain contemporary writers — David Foster Wallace comes to mind — and I think he was someone who both in his fiction and in his personal life found it almost impossible to escape a kind of prisonhouse of self-consciousness. I don’t find that. I find it very easy to escape into music and a kind of non-thinking that happens when I listen to or play music. I play various instruments, drums and piano…GAZETTE: Are you in a band?WOOD: I am! This started in the last couple of years up at Bennington College where there’s a low-residency MFA program that gets together twice a year, once in January and June. And there was already a pretty good extant band up at Bennington among the writing teachers, some very good guitarists, very good bassist, a wonderful sax player.GAZETTE: What do you listen to?WOOD: What I try to catch in the title essay of this book, which is about drumming and Keith Moon, but also about being pulled between classical music and rock music, which was this illicit rebellion as I saw it as a kid. So, I do listen to both sides of the street, as it were. I listen to quite a bit of classical music and I have certain favorites like Bach and Purcell, and then I listen to quite a lot of rock music, jazz, rock-jazz fusion because it’s often there that you get really, really good drumming. And that can run the gamut from Natalie Merchant, Radiohead, Jeff Beck, plus some old favorites.GAZETTE: Do people ever tell you that you look like Keith Moon?WOOD: It’s funny you say that because when I was a kid, I had a terror when I was about 13 or 14 — and my face was changing shape and my nose was getting larger — that I was going to end up looking like Pete Townshend. I used to go to bed at night and tape my nose up because I thought that would stop it from expanding. I thought that I was going to end up as a guy who’s just a nose on a stick. And then for a while I didn’t look like Pete Townshend, and now at last I feel like I do look like Pete Townshend. Maybe I look like Moon and Townshend.GAZETTE: What do you like about teaching, and what do you find challenging about it?WOOD: What I like about teaching is that it slows down my reading process. What I find a bit challenging about it is that I prefer to have my thoughts formulated on paper, I prefer to see them once I’ve been able to think about them, and I don’t think I’m as good as some people are at thinking off the cuff. I’m aware as I speak that I haven’t quite been able to shape the phrasing the way I wanted it to be shaped.GAZETTE: What was the first thing you ever wrote?WOOD: Definitely a poem. Poetry is my first love and I wrote reams and reams of bad verse, and I wanted to be a poet before I realized I didn’t have the qualities of concision and refinement and all the things you need to be a good poet. And then at the same time I was getting more and more interested in narrative.GAZETTE: What was the last good book you read?WOOD: The Norwegian writer Per Petterson has this wonderful novel called “I Curse the River of Time.” I was put onto it because I have a writer friend who said to me one night that he’d become so obsessed with the form of this book that he’d copied out the book word for word in his own hand, trying to crack how this guy does his paragraphs and his sentences. The idea of writing out a whole novel is so crazy, so fanatical, that I thought, “I have to know what it could be, what a book is like that could torment someone thus.” So I read it, and I can totally see why.D.T. Max and James Wood on David Foster Wallace <a href=”https://www.youtube.com/watch?v=QsbKT50ud04″ rel=”nofollow” target=”_blank”> <img src=”https://img.youtube.com/vi/QsbKT50ud04/0.jpg” alt=”0″ title=”How To Choose The Correct Channel Type For Your Video Content ” /> </a> New Yorker writers D.T. Max and James Wood in conversation on David Foster Wallace at an event put on by the Mahindra Humanities Center at Harvard University.last_img read more

Felix foot-perfect on fencing debut

first_img Mullins landed this race 12 months ago with Arvika Ligeonniere and said of the Graham Wylie-owned Felix Yonger: “He seems to be a very well balanced horse. He got in close to the first ditch and landed steeply. He could have easily turned over. “He put up a bit of a splint and it got too late to run him last season. We kept him for a novice this season and we’ll probably leave him off now. We’ll get him out early again in the autumn.” Mullins did have Supreme Novices’ Hurdle winner Champagne Fever in at the five-day stage but did not declare him. He said of the grey, who disappointed at Punchestown after his Supreme win, said: “They were saying all week that it was drying out at Punchestown and they were missing the rain, so we’ve decided to let him off for the summer. “He actually schooled here on this day last year and can he jump – he flew around. Nothing came to light after his last run here. A few of mine were just a bit below par early that week.” Felix Yonger returned from 379 days off the track to make a winning debut over fences in the Punchestown For Events Beginners Chase at the Kildare track. The Willie Mullins-trained seven-year-old was second to Simonsig in the Neptune Novices’ Hurdle at Cheltenham last year but had not been since since his run at Punchestown the following month. Sent off the 9-10 favourite in the absence of Sizing Rio, Ruby Walsh’s mount took up the running before three out and safely negotiated the last for a straightforward length and three-quarters victory over White Star Line. center_img Press Associationlast_img read more

Connacht pile on the points

first_img Press Association The home side were full of early running against a stiff Sportsground wind, a fifth-minute effort from the returning Tiernan O’Halloran helping them on their way to a 13-5 half-time lead. Treviso centre Sam Christie struck for a try before the break, but Pat Lam’s men had the bonus point in the bag by the 54th minute thanks to successive scores from Jake Heenan, Matt Healy and Denis Buckley. Connacht gave their bid to finish in the top half of the Guinness PRO12 a big lift with a 53-5 bonus-point win over Benetton Treviso. center_img Man-of-the-match Craig Ronaldson was near faultless off the kicking tee, pocketing 18 points from nine attempts, with Aly Muldowney, Healy and Danie Poolman completing the seven-try rout. The result moved the Irish province six points clear of the seventh-placed Scarlets, as the battle for European Champions Cup qualification intensifies. The Italian defence crumbled out wide in the opening minutes when Healy’s lovely run and snappy pass out of a tackle sent O’Halloran stepping through to score on his first start of the season. Ronaldson converted and then added a penalty on the quarter-hour mark after a spell of forward pressure. The visitors should have replied via good breakdown work from scrum-half Alberto Lucchese, but Jayden Hayward pushed the resulting penalty wide. Connacht kept the Italians out as they pressed for a try from a close-in penalty and the hosts’ solid scrum platform saw them build for a second successful penalty from excellent out-half Ronaldson. However, Treviso hit back in the 34th minute when Niyi Adeolokun and John Cooney were unable to stop Christie from close range, with Hayward missing the conversion from the left. A foot in touch denied winger Healy a quick try on the resumption, although the Connacht pack were in clinical form when a well-worked maul saw flanker Heenan crash over in the right corner. Ronaldson maintained his 100 per cent kicking return at that stage, brilliantly drawing in the difficult conversion off the left post. Try number three swiftly followed as Healy deservedly got over near the left corner flag, profiting from Poolman’s timely injection of pace in a back-line move. The province’s best maul of the night saw prop Buckley plunge over for the bonus-point score. And although they failed to prosper from hooker Tom McCartney’s eye-catching run, a short Ian Porter pass soon had the hard-working Muldowney reaching over the line. As the penalties stacked up, Treviso replacement prop Salesi Manu was sin-binned for a ruck infringement near his posts and Healy scored again, before Poolman outpaced the cover to get his side past the half-century points mark. last_img read more