Physical-chemical and mineralogical characterization of fine aggregates from construction and demolition waste recycling plants

Construction and demolition waste (CDW) represents around 31% of all waste produced in the European Union. It is today acknowledged that the consumption of raw materials in the construction industry is a non-sustainable activity. It is thus necessary to reduce this consumption, and the volume of CDW dumped, by using this waste as a source of raw materials for the production of recycled aggregates. One potential use of these aggregates is their incorporation in reinforced concrete as a replacement of natural aggregates. A concrete that incorporates these aggregates and still performs well requires them to be fully characterized so that their behaviour within the concrete can be predicted. Coarse recycled aggregates have been studied quite thoroughly, because they are simpler to reintroduce in the market as a by-product, and so has the performance of concrete made with them. This paper describes the main results of research designed to characterize the physical and chemical properties of fine recycled aggregates for concrete production and their relationship with mineralogical composition and preprocessing. The constraints of the incorporation of fine aggregates in reinforced concrete are discussed. It is shown that, unless a developed processing diagram is used, this application is not feasible. (C) 2013 Elsevier Ltd. All rights reserved.

How new online communication tools and the availability of content influence the audiences and the creative process

We live in a changing world. At an impressive speed, every day new technological resources appear. We increasingly use the Internet to obtain and share information, and new online communication tools are emerging. Each of them encompasses new potential and creates new audiences. In recent years, we witnessed the emergence of Facebook, Twitter, YouTube and other media platforms. They have provided us with an even greater interactivity between sender and receiver, as well as generated a new sense of community. At the same time we also see the availability of content like it never happened before. We are increasingly sharing texts, videos, photos, etc. This poster intends to explore the potential of using these new online communication tools in the cultural sphere to create new audiences, to develop of a new kind of community, to provide information as well as different ways of building organizations’ memory. The transience of performing arts is accompanied by the need to counter that transience by means of documentation. This desire to ‘save’ events reaches its expression with the information archive of the different production moments as well as the opportunity to record the event and present it through, for instance, digital platforms. In this poster we intend to answer the following questions: which online communication tools are being used to engage audiences in the cultural sphere (specifically between theater companies in Lisbon)? Is there a new relationship with the public? Are online communication tools creating a new kind of community? What changes are these tools introducing in the creative process? In what way the availability of content and its archive contribute to the organization memory? Among several references, we will approach the two-way communication model that James E. Grunig & Todd T. Hunt (1984) already presented and the concept of mass self-communication of Manuel Castells (2010). Castells also tells us that we have moved from traditional media to a system of communication networks. For Scott Kirsner (2010), we have entered an era of digital creativity, where artists have the tools to do what they imagined and the public no longer wants to just consume cultural goods, but instead to have a voice and participate. The creativity process is now depending on the public choice as they wander through the screen. It is the receiver who owns an object which can be exchanged. Virtual reality has encouraged the receiver to abandon its position of passive observer and to become a participant agent, which implies a challenge to organizations: inventing new forms of interfaces. Therefore, we intend to find new and effective online tools that can be used by cultural organizations; the best way to manage them; to show how organizations can create a community with the public and how the availability of online content and its archive can contribute to the organizations’ memory.