Assessing the Transaction Costs of Firms in the EU ETS: Lessons form Ireland

Until now, there has been little empirical evidence that EU Emissions Trading Scheme (ETS) transaction costs are incurred at firm level. The transaction costs (internal costs, capital costs, consultancy and trading costs) incurred by Irish firms under the EU ETS during its pilot phase (2005-2007) were measured and analysed. Evidence for the sources of transaction costs, their magnitude and the distribution of costs shows that these were mainly administrative in nature. Considerable variation in costs was found due to economies of scale, as the costs per tonne of CO2 were lower for participants with larger allocations. For the largest firms - accounting for over half the emissions - average transaction costs were €0.05 per tonne. However, for small firms, average transaction costs were €2.02 - over 18% of the current allowance price. This supports the concerns that transaction costs are excessive for smaller participants. The immediate policy implication is that additional attention will be needed to address different sizes of firms, number of installations per firm, and the size of the initial allocations.

A study of Heck cyclization reactions to form phenanthridine ring systems

A survey of conditions for the palladium catalyzed intramol. Heck cyclization of protected amines has shown that the Herrmann-Beller palladacycle can be exploited under 'cationic' conditions to provide a robust and rapid route (

Remediation of phenol-contaminated water by adsorption using poly(methyl methacrylate) (PMMA)

Recently polymeric adsorbents have been emerging as highly effective alternatives to activated carbons for pollutant removal from industrial effluents. Poly(methyl methacrylate) (PMMA), polymerized using the atom transfer radical polymerization (ATRP) technique has been investigated for its feasibility to remove phenol from aqueous solution. Adsorption equilibrium and kinetic investigations were undertaken to evaluate the effect of contact time, initial concentration (10-90 mg/L), and temperature (25-55 degrees C). Phenol uptake was found to increase with increase in initial concentration and agitation time. The adsorption kinetics were found to follow the pseudo-second-order kinetic model. The intra-particle diffusion analysis indicated that film diffusion may be the rate controlling step in the removal process. Experimental equilibrium data were fitted to five different isotherm models namely Langmuir, Freundlich, Dubinin-Radushkevich, Temkin and Redlich-Peterson by non-linear least square regression and their goodness-of-fit evaluated in terms of mean relative error (MRE) and standard error of estimate (SEE). The adsorption equilibrium data were best represented by Freundlich and Redlich-Peterson isotherms. Thermodynamic parameters such as Delta G degrees and Delta H degrees indicated that the sorption process is exothermic and spontaneous in nature and that higher ambient temperature results in more favourable adsorption. (C) 2011 Elsevier B.V. All rights reserved.

Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.