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EU Regulations Updates

As from July 2020, national rules will be replaced by a common EU regulation. The purpose of this reform is to create a truly harmonised drone market in Europe with the highest level of safety.

In practice, it means that once a drone pilot has received an authorisation from its state of registry, he/she will be allowed to freely circulate in the European Union.

More information about the new EU wide rules on drones is available on the website of the European Aviation Safety Agency.

This page will keep you informed about the progressive implementation of this new regulatory framework.

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The EU regulatory framework will cover all type of existing and future drone operations, fostering the development of innovative applications and the creation of a European market for unmanned aircraft services.

While aiming primarily at ensuring safe operations of drones, the European regulatory framework will also facilitate the enforcement of citizen's privacy rights and contribute to address security issues and environmental concerns in the benefit of the EU citizens. It will in addition enable the deployment of an Unmanned Traffic Management System, the U-Space, to support the development of drone operations in low-level airspace, beyond visual line of sight and congested areas.

The European regulatory framework will be based on the following principles:

  • A risk-based and proportionate approach:
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The new framework will introduce three categories of operations (open, specific and certified) according to the level of risks involved. A different regulatory approach will be adopted for each category. Low-risk operations (“open” category) will not require any authorization, but will be subject to strict operational limitations. For medium risk operations, operators will have to require an authorization from the national aviation authority on the basis of a standardized risk assessment or a specific scenario (specific category). Finally, in case of high risk operations, classical aviation rules will apply (certified category).

  • A sharing of responsibilities between the EU and the Member States:

To bring the necessary flexibility, Member States will be able to define 'zones' to restrict the access of certain portions of their airspace or on the contrary relax the conditions there. By doing so, national specificities will be addressed at the most appropriate level. Registration and authorizations will also be implemented at national level on the basis on common rules.

Click here to see the full size image

Click here to see the full size image.

By the end of the year, the European Commission will adopt two regulations covering unmanned aircraft operations in the Open and Specific categories. The first regulation will define rules and procedures for the operation of unmanned aircraft. The second one will define the technical specification applicable to the drones authorized to be operated under the open category.

These regulations will be based on the Opinion 01/2018 published by EASA, the European Aviation Safety Agency on the 6 February 2018. A last public consultation will take place in Spring.

Open category

Operations in the open category do not require prior authorizations or pilot license. However, they are limited to operations: in visual line of sight (VLOS), below 120 m altitude and performed with a privately built drone or a drone compliant with the technical requirements defined in the regulation. To demonstrate this compliance drones that can be operated in the open category will bear a class identification label. Additional operational restrictions apply to each class of drone, in particular with regard to the distance that must be maintained between the drone and non-involved persons.

The following table provides a summary of the operations authorized in the open category for each class of drones as defined currently by EASA opinion 01/2018 (still subject to changes during the adoption process).

Click here to see the full size image.

Specific Category

When the intended operation exceeds the restrictions of the “open” category, the operator should consider operating under the 'specific' category (medium risk). Only high-risk operations require compliance to classical aviation rules under the 'certified' category (like operating in controlled airspace). Operations involving drones of more than 25 kg and/or operated beyond visual line of sight will typically fall under the “specific” category.

Before starting an operation in the specific category, operators must either perform a risk assessment (using a standardized method – the SORA – that will be provided by EASA) and define mitigation measures or verify that they comply with a specific scenario defined by EASA (or the national aviation authority). On that basis they will be able to obtain an authorization from the national aviation authority (in some cases a simple declaration may be enough). The authorization or the specific scenario will define the authorized operation and the applicable mitigation measures (drone technical requirements, pilot competence, etc.).

Certified Category

The “certified” category (high risk) includes operations involving large drones in controlled airspaces. Rules applicable to the “certified” category will be the same as for manned aviation: drones must be certified for their airworthiness, pilots shall be licensed, and safety oversight will be performed by the relevant National Aviation Authorities and EASA.

EASA is currently working on the necessary amendments of existing regulations in order to accommodate drones. Particular elements of the high-risk UA operations are:

  • the approval of design, production and maintenance organisations;
  • air operator certificates;
  • operations of UA; and
  • licences of personnel.

See EASA RMT 0230

Source: European Commission

Belgium
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    • Independent Belgium before World War I
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Cultural milieu

Belgium’s long and rich cultural and artistic heritage is epitomized in the paintings of Pieter Bruegel, the Elder, Jan van Eyck, Hans Memling, Dieric Bouts, Peter Paul Rubens, René Magritte, and Paul Delvaux (see alsoFlemish art); in the music of Josquin des Prez, Orlando di Lasso, Peter Benoit, and César Franck; in the dramas of Maurice Maeterlinck and Michel de Ghelderode and the novels of Georges Simenon and Marguerite Yourcenar (see alsoBelgian literature); in the mapmaking of Gerardus Mercator; and in the many palaces, castles, town halls, and cathedrals of the Belgian cities and countryside.

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The federal structure of Belgium encourages the drawing of cultural distinctions among and between Flanders, Wallonia, and the small German-speaking minority—institutionalized as formally empowered “communities.” Through educational initiatives, language promotion, and patronage of the arts, these communities see to it that regional cultures do not lose their distinctiveness. In addition, some regions are more strongly associated with particular cultural attributes than others. Flanders is particularly noted for its visual art, and various schools of painting have arisen there. In music, avant-garde tendencies have become influential in Brussels, Liège, Ghent, and Antwerp, while Hainaut remains the centre of the classical and popular traditions.

Daily life and social customs

Belgium’s strong tradition of fine cuisine is expressed in its large number of top-rated restaurants. The country is known for moules frites (mussels served with french fries) as well as waffles, a popular snack item. Belgian chocolate is renowned around the world and may be considered a cultural institution. Chocolatiers such as Neuhaus, Godiva, and Leonidas, among others, are internationally acclaimed for their truffles and candies sold in small, distinctive cardboard boxes. Chocolate is one of Belgium’s main food exports, with the majority being shipped to other EU countries.

Beer is Belgium’s national beverage; the country has several hundred breweries and countless cafés where Belgians enjoy a great array of local brews, including the famed Trappist and lambic varieties. While the reputation of Belgian beer is often overshadowed by that of its larger neighbour, Germany, the brewing and consuming of beer within the country is a cultural institution in and of itself. Most beers have particular styles of glasses in which they are served, and a variety of seasonal brews are synonymous with various holidays and celebrations. It is also common for special brews to be created for occasions such as weddings, a tradition that is reported to have begun in the early 1900s, when nearly every village had a brewery. In many small Belgian villages, the brewer was also the mayor.

Euro

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Festivals focus on regional history and the celebration of the seasons. In the Walloon area there are joyous spring festivals, such as the carnivals of Binche and Stavelot; summer festivals, such as the procession of giants at Ath and the dragon battle in Mons; and the winter festivals of St. Nicholas, Christmas, and the New Year. In Flanders these festivals have become folkloric celebrations with a religious or historical character. Notable events include the Festival of Cats in Ypres, which is held once every three years and commemorates a practice from earlier centuries of tossing cats from the tower of the Cloth Hall to keep their numbers under control. (The cats helped guard textiles kept in the Cloth Hall from rodents, but once the textiles were sold, the cats tended to proliferate.) Today the festival re-creates this practice with toy cats and, more generally, celebrates cats as a species. Another popular event is the Procession of the Holy Blood; held in Brugge, it is the modern continuation of a medieval tradition of parading through the city with what was said to be the coagulated blood of Christ—taken from his body after the descent from the cross. According to legend, the relic at the centre of the ceremony was brought back to Brugge by Thierry, the crusading count of Flanders, in the 12th century. Finally, marionette shows survive in the Toone Theatre in Brussels. The traditional folk culture is in marked contrast to modern forms of popular culture, which, as everywhere in the West, are dominated by television, cinema, and popular music.

The arts

Belgium’s rich heritage makes it an artistic centre of considerable importance. The paintings of the Flemish masters are on display in museums and cathedrals across the country; Belgium’s contribution to Art Nouveau is clearly evident in the Brussels cityscape, and folk culture is kept alive in a variety of indoor and outdoor museums. Among the most celebrated examples of Art Nouveau architecture in Brussels are the home of architect Baron Victor Horta, which is now a museum, and the Stoclet House, designed by Josef Hoffmann. The latter was designated a UNESCOWorld Heritage site in 2009.

Belgium holds several significant annual musical events, including the Queen Elisabeth International Music Competition. Belgians also have taken a foreign musical form, American jazz, and made it very much their own. The style owes much to Antoine-Joseph Sax, the Belgian-born instrument maker who invented the saxophone. Practitioners of homegrown jazz have included cabaret singer Jacques Brel, jazz harmonica player Jean (“Toots”) Thielemans, and the legendary Django Reinhardt, a Belgian-born Rom (Gypsy) who mastered a guitar style that wedded Duke Ellington to flamenco. Belgium teems with jazz clubs and bistros and hosts a number of respected jazz festivals each year. Belgians also played an important role in the creation of techno music late in the 20th century.

Literary works produced in Flanders have a style peculiar to the region, whereas in the Walloon area and in Brussels most authors write for a larger French readership that is inclined especially toward Parisian tastes. Moreover, some works that are thought of as French are written by Belgian authors living in France, and others are by writers living in Belgium who are considered French.

In Belgium the comic strip is a serious and well-respected art form that has become part of the country’s modern cultural heritage. Children throughout the world became familiar with the adventures of the boy hero Tintin, who was created by Hergé (Georges Rémi) and was featured in a comic strip that first appeared in 1929. The Smurfs, created in 1958 by Peyo (Pierre Culliford), became world famous as a television cartoon series. Brussels is home to a large comic-strip museum that attracts visitors from throughout Europe.

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Cultural institutions

The Belgian artistic heritage is represented in major museums in Brussels, Ghent, Brugge, Antwerp, Charleroi, and Liège. Traditional art and architecture are preserved in a large outdoor museum near Hasselt. The most extensive collection of Central African art in the world is housed in a museum in Tervuren, a suburb of Brussels. The National Orchestra and the National Opera in Brussels enjoy world fame. The Museum of Musical Instruments, also in Brussels, has a fine collection. War monuments at Waterloo, Ypres, and Bastogne, among others, attract visitors and history buffs to Belgium from around the world.

Sports and recreation

If Belgians could play only one sport, it probably would be football (soccer). The Royal Belgian Football Association encompasses thousands of teams and clubs. Belgian’s national team, known as the Red Devils, has long been a power in international competitions. Cycling too has numerous enthusiasts, many inspired by the example of Eddy Merckx, who dominated international cycling during the 1960s and ’70s, winning the Tour de France and the Giro d’Italia five times each. Belgium also has produced a number of Olympians, including Hubert van Innis, who won six medals in archery events at the 1920 games; Ulla Werbrouck and Robert van der Walle, who dominated women’s and men’s judo in the later 20th century; and swimmer Frederik Deburghgraeve, who set a world record and won a gold medal in the men’s 100-metre breaststroke at the 1996 Olympic Games in Atlanta.

For daily recreation, most of the major cities have accessible parks. The Ardennes and the North Sea coast are major destinations for Belgians on vacation.

Media and publishing

The many daily newspapers published in Belgium are controlled by press consortiums. Among the most influential and widely read newspapers are Le Soir, De Standaard, and Het Laatste Nieuws. A German-language daily, Grenz-Echo, is published in Eupen. The majority of newspapers have some political affiliation, but only those of the socialist press are linked to a political party. Belgium has several magazines, but these face strong foreign competition.

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Radio broadcasting was born in Belgium. As early as 1913, weekly musical broadcasts were given from the Laeken Royal Park. Radio-Belgium, founded in 1923, was broadcasting the equivalent of a spoken newspaper as early as 1926. Belgian Radio-Television of the French Community (RTBF), which broadcasts in French, and the Flemish Radio and Television Network (VRT; formerly Belgian Radio and Television [BRTN]), in Flemish, were created as public services. Both are autonomous and are managed by an administrative council. Radio Vlaanderen International (RVI) serves as an important voice of the Flemish community in Belgium.

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Arthur J.M. DoucyBelgium Euro 2020 Kitsempty Spaces The BlogAlexander B. Murphy
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