Roteiro Tecnológico (roadmap) da Captação, Utilização e Armazenamento de Dióxido de Carbono (CCUS) em Portugal

O objetivo primordial deste trabalho foi estabelecer um roteiro tecnológico para aplicação das tecnologias de “Captação, Utilização e Sequestração de Carbono - CCUS” em Portugal. Para o efeito procedeu-se à identificação da origem das maiores fontes emissoras estacionárias industriais de CO2, adotando como critério o valor mínimo de 1×105 ton CO2/ano e limitado apenas ao território continental. Com base na informação recolhida e referente aos dados oficiais mais recentes (ano de 2013), estimou-se que o volume de emissões industriais de CO2 possível de captar em Portugal, corresponde a cerca de 47 % do valor global das emissões industriais, sendo oriundo de três setores de atividade industrial: produção de cimento, de pasta de papel e centrais termoelétricas a carvão. A maioria das grandes fontes emissoras industriais localiza-se no litoral do país, concentrando-se entre Aveiro e Sines. Pelas condicionantes geográficas do país e, sobretudo pela vantagem de já existir uma rede de gasodutos para o transporte de gás natural, com as respetivas infraestruturas de apoio associadas, admitiu-se que o cenário mais favorável para o transporte do CO2 captado será a criação de um sistema de transporte por gasoduto específico para o CO2. Como critério de compatibilização da proximidade das fontes emissoras de CO2 com potenciais locais para o armazenamento geológico das correntes captadas, adotou-se a distância máxima de 100 km, considerada adequada perante a dimensão do território nacional e as características do tecido industrial nacional. Efetuou-se a revisão das tecnologias de captação de CO2 disponíveis, quer comercialmente, quer em níveis avançados de demonstração e procedeu-se à análise exploratória da adequação desses diferentes métodos de captação a cada um dos setores de atividade industrial previamente identificados com emissões de CO2 suscetíveis de serem captadas. Na perspetiva da melhor integração dos processos, esta análise preliminar tomou em consideração as características das misturas gasosas, assim como o contexto industrial correspondente e o processo produtivo que lhe dá origem. As possibilidades de utilização industrial do CO2 sujeito à captação no país foram tratadas neste trabalho de forma genérica dado que a identificação de oportunidades reais para a utilização de correntes de CO2 captadas exige uma análise de compatibilização das necessidades efetivas de utilização de CO2 por parte de potenciais utilizadores industriais que carece da caracterização prévia das propriedades dessas correntes. Este é um tipo de análise muito específico que pressupõe o interesse mútuo de diferentes intervenientes: agentes emissores de CO2, operadores de transporte e, principalmente, potenciais utilizadores de CO2 como: matéria-prima para a síntese de compostos, solvente de extração supercrítica na indústria alimentar ou farmacêutica, agente corretor de pH em tratamento de efluentes, biofixação por fotossíntese, ou outra das aplicações possíveis identificadas para o CO2 captado. A última etapa deste estudo consistiu na avaliação das possibilidades de armazenamento geológico do CO2 captado e envolveu a identificação, nas bacias sedimentares nacionais, de formações geológicas com características reconhecidas como sendo boas indicações para o armazenamento de CO2 de forma permanente e em segurança. Seguiu-se a metodologia preconizada por organizações internacionais aplicando à situação nacional, critérios de seleção e de segurança que se encontram reconhecidamente definidos. A adequação para o armazenamento de CO2 das formações geológicas pré-selecionadas terá que ser comprovada por estudos adicionais que complementem os dados já existentes sobre as características geológicas destas formações e, mais importante ainda, por testes laboratoriais e ensaios de injeção de CO2 que possam fornecer informação concreta para estimar a capacidade de sequestração e de retenção de CO2 nestas formações e estabelecer os modelos geológicos armazenamento que permitam identificar e estimar, de forma concreta e objetiva, os riscos associados à injeção e armazenamento de CO2.

Introducing theoretical perspectives on family business

As the field of family business has grown immensely over the last couple of decades, a multitude of theories from different fields has been introduced. However, there are surprisingly few attempts to provide an overview of theories that may be of particular interest for the family business scholar. Thus, this introduction chapter gives a critical overview of theoretical perspectives, before taking a closer look at the use of theories in family business studies. Regarding the current state of the family business field, the authors argue for putting more effort in building theory from family business research as well as a stronger emphasis on ‘giving back’ to theories borrowed from other fields. Lastly, the chapter describes the development of the book and introduces the 13 chapters and their contributions.

The Documentary Take

Documentary photography and contemporary art are existentially quite distinct practices. Occasionally, with the passing of time, great documentary lifts from the contact sheet, the magazine page or the short print run book and finds its way onto gallery walls as art.Presented within the context of Walker Evans: the magazine work, curated by David Campany, The documentary take invites the question, what aspects of documentary practice are seeping into contemporary art now? In his commentary and practice, Evans distinguished between documentary as a forensic practice and the 'documentary style', which he saw as art making.With the exception of work presented by Ponch Hawkes and David Wadelton, the artists here—Destiny Deacon and Virginia Fraser; Simryn Gill; Sonia Leber and David Chesworth; Louis Porter; Patrick Pound and Charlie Sofo—are far from documentarians, yet all benefit from proximity to the foundational practice of Walker Evans.While Walker Evans may or may not be influential on these artists, his work forms a language that is now background knowledge for the making of images about the world where, artifice aside, truth is at least relevant. Perhaps documentary practice enables contemporary art to "attend to the real" [i], without binding it to a utilitarian or forensic intention.In attending to the real, the quest for the documentarian is to reveal something of the world, while that of the contemporary artist is to make meaning in and of the world.

PDF Abbrev Notes

On the 15th of April, 1897, a 19 year-old European resident of Baghdad, named Alexander Richard Svoboda, set out on a long journey to Europe by caravan, boat and train. From a large and influential family of merchants, artists, and explorers settled in Ottoman Iraq since the end of the 18th century, Alexander traveled in the company of his parents and a departing British diplomat accompanied by his retinue. They followed a circuitous route through the Middle East to Cairo and thence to Europe on a three and a half month journey which Alexander described day-by-day in a journal written in the Iraqi Arabic of his time.

DOC X Abbrev Notes

On the 15th of April, 1897, a 19 year-old European resident of Baghdad, named Alexander Richard Svoboda, set out on a long journey to Europe by caravan, boat and train. From a large and influential family of merchants, artists, and explorers settled in Ottoman Iraq since the end of the 18th century, Alexander traveled in the company of his parents and a departing British diplomat accompanied by his retinue. They followed a circuitous route through the Middle East to Cairo and thence to Europe on a three and a half month journey which Alexander described day-by-day in a journal written in the Iraqi Arabic of his time.

Accelerated testing of mold growth on traditional and recycled book paper

The growth of molds on paper containing cellulose is a frequent occurrence when the level of relative air humidity is high or when books become wet due to water leaks in libraries. The aim of this study is to differentiate the bioreceptivity of different types of book paper for different fungi. Laboratory tests were performed with strains of Aspergillus niger, Cladosporium sp., Chaetomium globosum and Trichoderma harzianum isolated from books. Four paper types were evaluated: couche Men (offset), recycled and a reference paper containing only cellulose. The tests were carried out in chambers with relative air humidity of 95% and 100%. Mold growth was greatest in the tests at 100% relative humidity. Results of stereoscopic microscopy observation showed that Cladosporium sp. grew in 74% of these samples, A. niger in 75%, T. harzianum in 72% and C. globosum in 60%. In the chambers with 95% air humidity Cladosporium sp. grew in only 9% of the samples, A. niger in 1%, T harzianum in 3% and C globosum did not grow in any sample. The most bioreceptive paper was couche and the least receptive was recycled paper. The composition of the recycled paper, however, varies depending on the types of waste materials used to make it. (C) 2011 Elsevier Ltd. All rights reserved.

Everybody's paint book. A complete guide to the art of outdoor and indoor painting. Designed for the special use of those who wish to do their own work, and consisting of practical lessons in plain painting, varnishing, polishing, staining, paper-hanging, kalsomining, etc.

Pages 184-188, advertising matter.

Can book-to-market and size be risk factors that predict economic growth in Asia's emerging economies?

We investigate whether the two 2 zero cost portfolios, SMB and HML, have the ability to predict economic growth for markets investigated in this paper. Our findings show that there are only a limited number of cases when the coefficients are positive and significance is achieved in an even more limited number of cases. Our results are in stark contrast to Liew and Vassalou (2000) who find coefficients to be generally positive and of a similar magnitude. We go a step further and also employ the methodology of Lakonishok, Shleifer and Vishny (1994) and once again fail to support the risk-based hypothesis of Liew and Vassalou (2000). In sum, we argue that search for a robust economic explanation for firm size and book-to-market equity effects needs sustained effort as these two zero cost portfolios do not represent economically relevant risk.

And the winner is...? : Thinking about Australian book awards in the library

Among their many duties, librarians occupy and must negotiate a space between the dreamed-of library and the all-too-real culture industries. This is perhaps most visible in the competition between pragmatism and idealism in text selection and collection development, and in one commonly-used tool thereof: the book award. This paper considers the possibilities and problematics of Australian book awards in libraries and librarianship.

Visions and values : the Children’s Book Council of Australia’s prizing of picture books in the twenty-first century

The Children’s Book Council of Australia (CBCA) administers the oldest national prize for children’s literature in Australia. Each year, the CBCA confers “Book of the Year” awards to literature for young people in five categories. In 2001, the establishment of an “Early Childhood” category opened up the venerable “Picture Book” category (first awarded in 1955) to books with an implied readership up to 18 years of age. As a result, this category has emerged in recent years as a highly visible space within which the CBCA can contest discourses of cultural marginalisation insofar as Australian (“colonial”) literature is constructed as inferior or adjunct to the major Anglophone literary traditions, and the consistent identification of children’s literature (and, indeed, of children) as lesser than its ‘adult’ counterparts. The CBCA is engaged in defining, evaluating, and legitimising a tradition of Australian children’s literature which is underpinned by a canonical impulse, and is a reflexive practice of self-definition, self-evaluation and self-legitimisation for the CBCA itself. While it is obviously problematic to identify award winners as a canon, it is equally obvious that literary prizing is a cultural practice derived from the logic of canonicity. In his discussion of the United States’s Newbery Medal, Kenneth Kidd notes that “Medal books are instant classics, the selection process an ostensible simulation of the test of time” (169) and that “the Medal is part of the canonical architecture of children's literature” (169). Thus, it is instructive to consider the visions and values of the national, of the social, and of the literary-aesthetic, in the picture books chosen by the Children’s Book Council of Australia (CBCA) as the “best” of the early twenty-first century. These books not only constitute a kind of canon for contemporary Australian children’s literature, but may well come to define what contemporary Australian children’s literature means in the wider literary field. The Book of the Year: Picture Book awards given by the CBCA since 2001 demonstrate that it is not only true of the Booker Prize that, “The choices of winning books reflect not only on the books themselves, then, but also back on the Prize, affecting its reputation and creating journalistic capital which is vital for the Prize to achieve its prominence and impact.” (81). Many of the twenty-first century CBCA award-winning picture books complicate traditional or comfortable understanding of Australianness, children’s literature, or “appropriate” modes of form and content, reminding us that “moments when texts resist or complicate recuperation into national discourses offer fruitful points for exploring the relationships between text and celebratory context” (Roberts 6). The CBCA has taken the opportunities offered by the liberation of the Picture Book category from an implied readership to challenge dominant constructions of children’s literature in Australia, and in so doing, are engaged in overt practices of canonicity with potentially long-lasting effects. Works Cited: Kidd, Kenneth. “Prizing Children’s Literature: The Case of Newbery Gold.” Children's Literature 35 (2007): 166-190. Roberts, Gillian. Prizing Literature: The Celebration and Circulation of National Culture. Toronto: U Toronto P, 2011. Squires, Claire. “Book Marketing and the Booker Prize.” Judging a Book by Its Cover: Fans, Publishers, Designers, and the Marketing of Fiction. Eds. Nicole Matthews and Nickianne Moody. Aldershot: Ashgate, 2007. 71-82.

An analysis of the changes to the mechanical and acoustical properties of paper caused by the damage mechanisms present in the fibre structure

This paper will analyse two of the likely damage mechanisms present in a paper fibre matrix when placed under controlled stress conditions: fibre/fibre bond failure and fibre failure. The failure process associated with each damage mechanism will be presented in detail focusing on the change in mechanical and acoustic properties of the surrounding fibre structure before and after failure. To present this complex process mathematically, geometrically simple fibre arrangements will be chosen based on certain assumptions regarding the structure and strength of paper, to model the damage mechanisms. The fibre structures are then formulated in terms of a hybrid vibro-acoustic model based on a coupled mass/spring system and the pressure wave equation. The model will be presented in detail in the paper. The simulation of the simple fibre structures serves two purposes; it highlights the physical and acoustic differences of each damage mechanism before and after failure, and also shows the differences in the two damage mechanisms when compared with one another. The results of the simulations are given in the form of pressure wave contours, time-frequency graphs and the Continuous Wavelet Transform (CWT) diagrams. The analysis of the results leads to criteria by which the two damage mechanisms can be identified. Using these criteria it was possible to verify the results of the simulations against experimental acoustic data. The models developed in this study are of specific practical interest in the paper-making industry, where acoustic sensors may be used to monitor continuous paper production. The same techniques may be adopted more generally to correlate acoustic signals to damage mechanisms in other fibre-based structures.