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Whilst Egypt’s summer heat increases its electricity demand, it could also offer a solution. The south of Egypt, where Scatec’s new project is breaking ground is “in the magic solar belt,” said Elgendy. According to the Global Solar Atlas, Egypt has the fourth-highest solar PV (photovoltaic) potential of any country.
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Historically, solar energy has been hampered by its intermittency — solar panels only work during the day and large-scale battery storage has been too expensive. However, falling battery prices, combined with the lower operational and installation costs of solar power means that projects that combine solar generation with battery storage, like Obelisk, could overcome this problem.
Because of its size and prime location, Obelisk, Elgendy said, “can demonstrate value for the rest of the region, for the rest of the world, that ‘solar plus batteries’ can take away this primary weakness.”
The cost of battery storage projects has dropped by 89% between 2010 and 2023, driven by growing production capacity, especially in China. This drop, Elgendy said, means that by 2027 solar plus battery plants will be “the cheapest form of (any kind of electricity) generation.” A report by the Global Solar Council said that the availability of energy storage is a “major driver for increased solar installations globally.” However, whilst global battery storage capacity hit 363 gigawatt hours (GWh) in 2024, Africa only has 1.6 GWh.
Whilst battery prices have dropped and solar is cheap to operate, these plants still need large investments to build, and the money can be hard to find, Elgendy said, adding that the “risk premium” of investing in the developing world means that these projects are more expensive to build in Africa. The continent attracted only 3% of global energy investments in 2024.
Obelisk will receive $479.1 million in funding from the European Bank for Reconstruction and Development, the African Development Bank, and British International Investment. The first 561 MW of solar power and the full battery capacity are due to be online in the first half of 2026, and reach the full 1.1 gigawatt capacity by the end of the year.
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When British traders landed on India’s shores in the 1600s, they arrived in search of spices and silk but stayed for centuries – leaving behind a legacy that would shape the nation long after their colonial exploitation ended: the English language.
Over the centuries, English seeped into the very fabric of Indian life – first as a tool of commerce, then as the language of law and, eventually, a marker of privilege.
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Now, after more than a decade of Hindu-nationalist rule, Prime Minister Narendra Modi’s Bharatiya Janata Party (BJP) is mounting perhaps the most significant challenge yet to the language’s place in India.
“Those who speak English will soon feel ashamed,” Home Minister Amit Shah said last month, igniting a heated debate about national identity and social mobility in the polyglot nation of 1.4 billion.
While Shah did not mention India’s former colonial masters, he declared that “the languages of our country are the jewels of our culture” – and that without them, “we cease to be truly Indian.”
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“I subscribe to the view that English is the language of the colonial masters,” Pradeep Bahirwani, a retired corporate executive from the southern city of Bengaluru, said, adding: “Our national language should be a language which… has got roots in India.”
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Now, after more than a decade of Hindu-nationalist rule, Prime Minister Narendra Modi’s Bharatiya Janata Party (BJP) is mounting perhaps the most significant challenge yet to the language’s place in India.
“Those who speak English will soon feel ashamed,” Home Minister Amit Shah said last month, igniting a heated debate about national identity and social mobility in the polyglot nation of 1.4 billion.
While Shah did not mention India’s former colonial masters, he declared that “the languages of our country are the jewels of our culture” – and that without them, “we cease to be truly Indian.”
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Spoken behind the walls of colonial forts and offices, English in India was at first the language of ledgers and treaties.
But as British rule expanded from the ports of Gujarat to the palaces of Delhi, it became the lingua franca of the colonial elite.
At independence, India faced a dilemma. With hundreds of languages and dialects spoken across its vast landscape, its newly appointed leaders grappled with the question of which one should represent the new nation.
Hindi, the predominant language in the north, was put forward as a candidate for official language.
But strong resistance from non-Hindi-speaking regions – especially in the south – meant English would remain only as a temporary link to unite the country. It’s a legacy that endures to this day – and still rankles some.
“I subscribe to the view that English is the language of the colonial masters,” Pradeep Bahirwani, a retired corporate executive from the southern city of Bengaluru, said, adding: “Our national language should be a language which… has got roots in India.”
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When the Japanese artist Shimabuku was 31 years old, he took an octopus on a tour of Tokyo. After catching it from the sea with the help of a local fisherman in Akashi, a coastal city over 3 hours away from the Japanese capital by train, he transported the live creature in a temperature-controlled tank of seawater to show it the sights of Tokyo before returning it safely to its home the same day.
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“I thought it would be nice,” the artist, now 56, said about the experience, over a video call from his home in Naha, Japan. “I started to travel when I was 20 years old. But octopuses, maybe they don’t travel so much — and when they do, they are just going to be eaten. I wanted to take an octopus on a trip, but not to be eaten.”
Documenting it on video, Shimabuku took the octopus to see the Tokyo Tower, before visiting the Tsukiji fish market, where the animal “reacted very strongly” to seeing other octopuses on sale, the artist said. “Octopuses are smart — maybe he told his experience to his octopus friends in the sea (after returning).”
The interspecies day trip, resulting in the 2000 video work “Then, I Decided to Give a Tour of Tokyo to the Octopus from Akashi,” kickstarted a series of projects Shimabuku has undertaken over the decades that engage with octopuses in playful, inquisitive ways. A portion of this work is currently on show in the UK, in two exhibitions that explore humanity’s relationship with nature and animal life: “More than Human” at the Design Museum in London (through October 5) and “Sea Inside” at the Sainsbury Centre in Norwich (through October 26).
Fascinated by what the sea creatures might think, feel, or like, Shimabuku has documented their reactions to various experiences, from the city tour of Tokyo to being given specially crafted artworks. “They have a curiosity,” he said. “For some other animals, it’s only about eating and making love. But I think octopuses have time to wander — time for hobbies.”
When he lived in the Japanese city of Kobe, Shimabuku would go on fishing trips with local fisherman, taking the opportunity to learn about octopuses. “Traditionally we catch octopuses in empty ceramic pots — that’s my hometown custom,” he said. Fishermen would throw hundreds of pots into the sea, wait two days, then retrieve them — finding octopuses inside. “Octopuses like narrow spaces so they just come into it,” explained Shimabuku.
When he saw the animals within the pots, he discovered they were “carrying things”: shells, stones, even bits of broken beer bottles. He began to save the small objects the octopuses had gathered — “a collection of a collection,” he said.
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