Co-incineração de pneus com resíduos sólidos urbanos

O aumento da população, o crescimento das grandes cidades, da industrialização e do consumo, tem trazido preocupação com relação a sustentabilidade quanto à disponibilidade energética e quanto à destinação dos resíduos sólidos urbanos gerados. Dessa forma, é fundamental realizarem-se os estudos visando novas formas de reutilização dos resíduos gerados pelas atividades industriais. Os resíduos sólidos urbanos e os pneus inservíveis gerados trazem conseqüências ao meio ambiente e às populações quando destinados inadequadamente. A destinação final dos resíduos sólidos urbanos é complexa, sendo sempre um grande desafio para as administrações públicas. Com a Política Nacional de Resíduos Sólidos (instituída pela Lei n 12.305/2010), tem-se um marco da preservação ambiental, coma a gestão e gerenciamento de resíduos sólidos, com a ordem de prioridade: não geração, redução, reutilização, reciclagem, tratamento dos resíduos sólidos e disposição final ambientalmente adequada dos rejeitos e prevê, de forma inteligente, a atribuição aos fabricantes de responsabilidade pelo retorno de produtos descartados pelos consumidores. Uma alternativa para minimizar estes aspectos e impactos ambientais é o tratamento térmico com aproveitamento energético. Este processo contribui para mais uma solução de destinação dos resíduos, proporcionado uma redução das áreas a serem utilizadas nos aterros sanitários e contribuindo como uma fonte de geração de energia elétrica

Co-incineração em fornos de cimenteiras

Com o objectivo de conhecer o processo da co-incineração, foram realizadas visitas ao sistema integrado de tratamento e eliminação de resíduos, sA (sisAV), na chamusca, e à cimpor, em souselas. pode concluir-se que o tratamento das emissões gasosas, principal questão conflituosa associada à co-incineração, não difere substancialmente daquele realizado nas instalações onde se procede à queima de combustíveis fósseis, excepto no tocante à instalação de algum equipamento adicional. Não podendo afirmar-se que se trate da solução ideal para a eliminação dos resíduos perigosos, apresenta vantagens como seja o aproveitamento de instalações pré-existentes, ao mesmo tempo que se minimiza a utilização de energia não renovável. Aiming to understand the co-incineration process, the sistema integrado de tratamento e eliminação de resíduos, sA (sisAV), in chamusca, and the cimpor, in souselas, both in portugal, were the two facilities visited to that purpose. It is possible to conclude that the treatment of atmospheric emissions, the main concern associated to conflicts in co-incineration, does not substantially differ from the one used in facilities where fossil fuel is burnt,except in what concerns to some additional equipment that must be installed. though it is not possible to state that this is the ideal solution to solve the hazard waste problem, it has advantages such as the use of pre-existing facilities and, at the same time, the use of nonrenewable energy sources is minimized.

Increase on incineration capacity and NOx control for air enrichment in the experimental simulation of aqueous residue incineration

An experimental investigation of air enrichment in a combustion chamber designed to incinerate aqueous residues is presented. Diesel fuel and liquefied petroleum gas (LPG) were used independently as fuels. An increase of 85% in the incineration capacity was obtained with nearly 50% O-2 in the oxidant gas, in comparison to incineration with air only. The incineration capacity continues increasing for enrichment levels above 50% O-2 , although at a lower pace. For complete oxy-flame combustion (100% O-2 ), the increase of the incineration capacity was about 110% relative to the starting conditions and about 13.5% relative to the condition with 50% O-2 . The CO concentration measured near the flame front decreases drastically with the increase of O-2 content in the oxidant gas. At the chamber exit, the CO concentration was always near zero, indicating that the chamber residence time was sufficient to complete fuel oxidation in any test setting. For diesel fuel, the NOx was entirely formed in the first region of the combustion chamber. For diesel fuel, there was some increase in the NOx concentration up to 35% of O-2 ; this increase became very sharp after that. From 60 ppm, at operation with air only, the NOx concentration raises to 200 ppm at 35% O-2 , and then to 2900 ppm at 74% O-2 . The latter corresponds to six times more NOx in terms of the ratio of mass of NO to mass of residue, compared to the situation of combustion with air only. For LPG, the NOx concentrations reached 4200 ppm at 80% O-2 , corresponding to nine times more, also in terms of the ratio of mass of NO to mass of residue, in comparison with combustion with air only. Results of different techniques used to control the NOx emission during air enrichment are discussed: (a) variation of the recirculated zone intensity, (b) increase of the spray Sauter mean diameter, (c) fuel staging, (d) oxidizer staging, and (e) ammonia injection. The present paper shows that NOx emission may be controlled without damage of the increase of incineration capacity by the enrichment and with low emission of partial oxidation pollutants such as CO.

Life Cycle Assessment comparativo tra il processo di co-digestione della frazione organica dei rifiuti solidi urbani e dei fanghi di depurazione disidratati e il sistema di gestione attuale. Il caso di Bagnacavallo (RA)

Waste management is becoming, year after year, always more important both for the costs associated with it and for the ever increasing volumes of waste generated. The discussion on the fate of organic fraction of municipal solid waste (OFMSW) leads everyday to new solutions. Many alternatives are proposed, ranging from incineration to composting passing through anaerobic digestion. “For Biogas” is a collaborative effort, between C.I.R.S.A. and R.E.S. cooperative, whose main goal is to generate “green” energy from both biowaste and sludge anaerobic co-digestion. Specifically, the project include a pilot plant receiving dewatered sludge from both urban and agro-industrial sewage (DS) and the organic fraction of MSW (in 2/1 ratio) which is digested in absence of oxygen to produce biogas and digestate. Biogas is piped to a co-generation system producing power and heat reused in the digestion process itself, making it independent from the national grid. Digestate undergoes a process of mechanical separation giving a liquid fraction, introduced in the treatment plant, and a solid fraction disposed in landfill (in future it will be further processed to obtain compost). This work analyzed and estimated the impacts generated by the pilot plant in its operative phase. Once the model was been characterized, on the basis of the CML2001 methodology, a comparison is made with the present scenario assumed for OFMSW and DS. Actual scenario treats separately the two fractions: the organic one is sent to a composting plant, while sludge is sent to landfill. Results show that the most significant difference between the two scenarios is in the GWP category as the project "For Biogas" is able to generate “zero emission” power and heat. It also generates a smaller volume of waste for disposal. In conclusion, the analysis evaluated the performance of two alternative methods of management of OFMSW and DS, highlighting that "For Biogas" project is to be preferred to the actual scenario.

Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

Co-creating games: A co-evolutionary analysis

ABSTRACT. The phenomenon of consumer co-creation is often framed in terms of whether either economic market forces or socio-cultural non-market forces ultimately dominate. We propose an alternate model of consumer co-creation in terms of co-evolution between markets and non-markets. Our model is based on a recent ethnographic study of a massively multiplayer online game through its development, release and ultimate failure, and cast in terms of two explanatory models: multiple games and social network markets. We conclude that consumer co-creation is indeed complex, but in ways that relate to both emergent market expectations and the evolution of markets, not to the transcendence of markets.

Co-creative expertise : Auran Games and Fury - a case study

This article discusses the ways in which the relations among professional and non-professional participants in co-creative relations are being reconfigured as part of the shift from a closed industrial paradigm of expertise toward open and distributed expertise networks. This article draws on ethnographic consultancy research undertaken throughout 2007 with Auran Games, a Brisbane, Australia based games developer, to explore the co-creative relationships between professional developers and gamers. This research followed and informed Auran’s online community management and social networking strategies for Fury (http://unleashthefury.com), a massively multiplayer online game released in October 2007. This paper argues that these co-creative forms of expertise involve co-ordinating expertises through social-network markets.

Co-constructed interaction in a paired speaking test : the rater's perspective

The definition and operationalisation of interactional competence in speaking tests that entail co-construction of discourse is an area of language testing requiring further research. This article explores the reactions of four trained raters to paired candidates who oriented to asymmetric patterns of interaction in a discussion task. Through an analysis of candidate discourse combined with rater notes, stimulated verbal recalls, rater discussions and scores awarded for interactional effectiveness, the article examines the extent to which raters compensate or penalise candidates for their role in co-constructing asymmetric interactional patterns. The article argues that key features of the interaction are perceived by the raters as mutual achievements, and it further suggests that the awarding of shared scores for interactional competence is one way of acknowledging the inherently co-constructed nature of interaction in a paired speaking test.

In the mouth of the imagination : positioning children as co-researchers and co-artists to create a professional children's theatre production

In recent decades a number of Australian artists and teacher/artists have given serious attention to the creation of performance forms and performance engagement models that respect children’s intelligence, engage with themes of relevance, avoid the cliche´s of children’s theatre whilst connecting both sincerely and playfully with current understandings of the way in which young children develop and engage with the world. Historically a majority of performing arts companies touring Australian schools or companies seeking schools to view a performance in a dedicated performance venue engage with their audiences in what can be called a ‘drop-in drop-out’ model. A six-month practice-led research project (The Tashi Project) which challenged the tenets of the ‘drop-in drop-out’ model has been recently undertaken by Sandra Gattenhof and Mark Radvan in conjunction with early childhood students from three Brisbane primary school classrooms who were positioned as co-researchers and co-artists. The children, researchers and performers worked in a complimentary relationship in both the artistic process and the development of product.