About 20 years ago, Daniel Hoffman, a classically trained violinist met a young musician playing in the town square in Marrakech, an ancient city in Morocco. They communicated in the little French they both knew, but their main common language was music. On the back of a motorbike of the fellow violinist, Hoffman weaved through the back streets of the city and then learned his first lessons in Andalusian music, the classical music of North Africa.

That experience gave birth to an idea: What would it be like to try to learn how to play different violin styles around the world in just one week? Oh, yes, and at the end of that week, play a concert. He even got a name for the concept “musical extreme sports”.

It took him almost two decades to launch that dream with a friend. Up to now, the dream has taken the form of a new documentary currently airing on American public television stations called “Otherwise, It’s Just Firewood.”

In the documentary (纪录片), Hoffman travels to County Clare, Ireland, where he takes lessons with James Kelly, a master Irish violin player, for less than a week and then performs together with him in front of an audience, many of whom are star Irish musicians.

The film is what Hoffman hopes will be the first of an eventual series of short documentaries, showing him learning to play the violin in a variety of styles, including the folk music of south India, Sweden, Greece, Romania, and West Virginia.

That would add to his extensive repertoire (全部曲目)，which already includes Balkan, Middle Eastern and Turkish styles. “The big joke is what’s the difference between the fiddle and the violin? It’s the person who plays it,”says Niall Keegan, a traditional flute player. “It’s the music you make on it that makes it Irish or English or French or classical or jazz or whatever else. It’s how we imagine it and how we create through it that make it and give it character.” “Otherwise, it’s just firewood,” he says—words that became the film’s title.

Professor Veena Sahajwalla, 2022 Australian of the year, has created a solution to our massive trash problem: waste microfactories. These little trash processors (处理器)—some as small as 500 square feet— house a series of machines that recycle waste and transform it into new materials with thermal technology. The new all-in -one approach could leave our current recycling processes in the dust.

In 2018 she launched the first microfactory, establishing a model of recycling that enables businesses and communities to develop commercial opportunities while addressing local waste problems. A second one began recycling plastics in 2019. Now, her lab group is working with university and industry partners to commercialize their patented Microfactory technology. “The small scale of the machines will make it easier for them to one day operate on renewable energy, unlike most large manufacturing plants. The approach will also allow cities to recycle waste into new products on location, avoiding the long, often international, high-emission journeys between recycling processors and manufacturing plants. With a microfactory, gone are the days of needing separate facilities to collect and store materials, extract (提取) elements and produce new products,” says Sahajwalla.

Traditionally, recycling plants break down materials for reuse in similar products-like melting down plastic to make more plastic things. Sahajwalla’s invention advances this idea by taking materials from an old product and creating something different. “The kids don’t look like the parents,” she says. Sahajwalla refers to this process as “the fourth R,” adding “re -form” to the common phrase “reduce, reuse, recycle”.

Professor Veena Sahajwalla’s programs help to develop innovation and promote cooperation with industry, ensuring that sustainable materials and processes become commercially practical solutions for dealing with waste.