Modeling Density Effects in CO2 Injection in Oil Reservoirs and A Case Study of CO2 Sequestration in a Qatari Saline Aquifer

CO2 injection has been used to improve oil recovery for several decades. In recent years, CO2 injection has become even more attractive because of a dual effect; injection in the subsurface 1) allows reduction of CO2 concentration in the atmosphere to reduce global warming, and 2) improves the oil recovery. In this study, the density effect from CO2 dissolution in modeling of CO2 injection is examined. A method to model the increase in oil density with CO2 dissolution using the Peng-Robinson equation of state and the Pedersen viscosity correlation is presented. This method is applied to model the observed increase in oil density with CO2 dissolution in a West Texas crude oil. Compositional simulation of CO2 injection was performed in a 2D vertical cross section and a 3D reservoir with the density effect. The results show that the density increase from CO2 dissolution may have a drastic effect on CO2 flow path and recovery performance. One main conclusion from this work is that there is a need to have accurate density data for CO2/oil mixtures at different CO2 concentrations to ensure successful CO2 injection projects. While CO2 enhanced oil recovery (EOR) is part of the solution, saline aquifers have the largest potential for CO2 sequestration. A literature review of the CO2 sequestration in saline aquifers is performed. The dominant trapping mechanisms and transport processes and the methods used to model them are discussed in detail. The Aruma aquifer, a shallow saline aquifer in southwest Qatar is used as a case study for CO2 sequestration. A compositional simulation model is prepared for the Aruma aquifer using the available log data and flow test data. It was found that the grid size is a key parameter in modeling CO2 sequestration accurately. It affects the propagation of the CO2 plume and amount of CO2 dissolved in brine

The oldest wall paintings of the church of the mother of god in the Studenica monastery and their renovation in 16th century

Рад представља монографску студију зидног сликарства најстаријег дела Богородичине цркве у Студеници. Реч је о два слоја фресака. Први је изведен 1208/1209, у оквиру ктиторског подухвата великог жупана Стефана Првовенчаног, под надзором његовог брата, студеничког архимандрита Саве. Млађе фреске настале су 1568. године, у оквиру велике обнове црквених споменика на подручју обновљене Пећке патријаршије. Израду фресака финансирао је студенички игуман Симеон са братијом. У складу са конвенционалном структуром монографских студија, у раду се најпре доноси преглед истраживања зидног сликарства Богородичине цркве. Потом су размотрене историјске околности и хронологија оснивања манастира, односно његовог осликавања. Пажња је, затим, усмерена на главни проблем рада: истраживање програмских, иконографских и стилских одлика живописа Богородичине цркве. Иако су у питању два слоја фресака, хронолошки међусобно удаљена више три и по века, могуће их је у великој мери разматрати обједињено. Такав приступ заснован је на околности да је оригинални иконографски програм у XVI веку углавном поштован. Тематски реперотоар сликарства Богородичине цркве представљен је систематски, у складу са хијерархијом у оквиру сакралне топографије храма (купола и пандантифи, олтар, наос, вестибили, припрата). При томе је подједнака пажња посвећена његовим типским обележјима, сагледаним у контексту развоја сликаних програма, као и особеностима произашлим на основу нарочитих захтева ктитора и манастирског управитеља (особености у погледу избора и распореда појединих светитеља; ктиторска композиција итд). У поглављу о иконографији најстаријих студеничких фресака размотрене су поједине особености јеванђељских сцена (Благовести, Распеће), односно бројних појединачних фигура. Посебно значајан аспект најстаријих студеничких фресака представљају њихове стилске одлике. Имајући у виду време њиховог настанка (епоха после Четвртог крсташког рата), односно њихов висок квалитет, ликовне особености оригиналних зидних слика Богородичине цркве имају велики значај за проучавање новог стилског израза византијског сликарства XIII века, сажетог у синтагми „монументални стил“. Са свешћу о таквој важности студеничких фресака, њихове стилске одлике сагледане су, у мери у којој је то било могуће, у широкој перспективи византијског сликарства с краја XII и првих деценија XIII века. Најзад, посебан напор уложен је у разматрање односа сликара из 1568, односно њихових саветодаваца, према оригиналном иконографском програму. У посебном поглављу сагледане су измене оригиналног тематског репертоара. Реч је, најпре, о представама светитеља који нису могли бити приказани на најстаријим студеничким фрескама, као и о променама иконографског устројства првобитних сцена (Велики празници, Страдања Христова, Страшни суд).The dissertation presents a monographic study of the wall paintings of the oldest part of the Church of the Mother of God in Studenica monastery. Murals in question are preserved on two different layers of frescoes. The first was executed 1208/1209, under the patronage of the Grand Župan Stefan, and under the supervision of his brother, the archimandrite of Studenica, Sava. Second layer of frescoes was created in 1568, within the large renovation of the church monuments in the area of the renewed Patriarchate of Peć. The production of these frescoes was financed by heigoumenos of Studenica, Simeon. In accordance with the conventional structure of monographic studies, the dissertation begins with a resume of the previous research of the wall paintings of the Church of the Mother of God. Next chapter is devoted to the historical circumstances and chronology of the establishment of the monastery and its wall paintings. Attention is, then, focused on the main topic of our work: research of thematic program and iconographic and stylistic features of the wall paintings of the Church of the Mother of God. Although two layers of frescoes are chronologically separated for more than three and a half centuries, they can be largely considered unified. Such an approach is based on the fact that the original iconographic programme was largely respected in the 16th century. The iconogrphic repertoire of the Church of the Virgin Mary was presented systematically, in accordance with the hierarchy within the sacral topography of the temple (dome and pandantives, altar, naos, vestibules, narthex). Equal attention is paid to its typical features, seen in the context of the development of the painted programs of Byzantine churches, as well as to some of its special features, arising from the specific requests of the ktetor and archimandrite Sava (selection and arrangement of individual saints, the ktetorial composition, etc.). In the chapter devoted to the iconography of the oldest frescoes Studenica, specific features of the Gospel scenes (Annunciation, Crucifixion) and numerous individual figures are considered. A particularly significant aspect of the oldest frescoes of Studenica are their stylistic features. Bearing in mind the time of their creation (that is, the time after the Fourth Crusade), as well as their high aquality, the artistic features of the original wall paintings of the Church of the Virgin have a great significance for studying the new stylistic expression of Byzantine painting of the 13th century, summarized in the term "monumental style". With the awareness of such importance of frescoes, their stylistic features were examined in the broad perspective of Byzantine painting from the end of the 12th and the first decades of the 13th century. In the end, a special effort was made to consider the relationship of the painters from 1568, and their advisers, with the original iconographic program. In a separate chapter, changes made within the original thematic repertoire were considered. The attention is focues on the figure of saints who could not be shown on the oldest frescoes, as well as on the changes in the iconography of the original scenes (Great Feasts, Passion Cycle, Last Judgement etc)

Part I: Co-telomerisation reactions of fluorinated olefins Part II: Physical and chemical properties of some fluorinated aromatic compounds

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ANNUAL REPORT 2017-18

Not AvailableThe All India Coordinated Research Project for Dryland Agriculture (AICRPDA) with network of 27 centers located in arid, semi-arid, sub-humid, humid and per-humid climates represent diverse bio-physical and socio-economic settings of the rainfed production systems (rice, maize, sorghum, pearlmillet, ϐingermillet, cotton, groundnut and soybean) of the country. The project has the mandate to generate location speciϐic technologies through on-station research in thematic areas of rainwater management (RWM), cropping systems (CS), nutrient management (NM), energy management (EM), evaluation of improved varieties (EIV) of rainfed crops, and alternate land use(ALU)/integrated farming systems (IFS). The technologies are assessed on farmers’ ϐields through 8 Operational Research Projects (ORPs). During 2017-18, a total of 197 on-station experiments were conducted viz. RWM-40; CS-28; NM-41; EM-15; EIV-20; ALU & IFS-48; and resource characterization-5. In ORPs, 104 on-farm trials/demonstrations were conducted viz. RWM-22; CS-23; NM-15; EM-13; EIV-25; ALU/IFS-6. During 2017-18, the onset of monsoon was normal across all AICRPDA centres except Rajkot (delay by 18 days), Chianki (11 days), Faizabad (11 days) and Vijayapura (12 days). Further, there were 3-4 dry spells of more than 10 days each at different stages of crops at Akola, Ananthapuramu, Bengaluru, Biswanath Chariali, Chianki, Jagdalpur, Kovilpatti, Parbhani and Phulbani. The rainfall was deϐicit by more than 40% during June 2017 at Agra, Aklera, Faizabad and Varanasi whereas the rainfall exceeded the normal by more than 150% at Hisar, SK Nagar and Ananthapuramu. In July, the deϐicit in rainfall was more than 35% at Agra, Anantapuramu, Bengaluru, Darsi, Kovilpatti, Parbhani, Phulbani, Solapur and Varanasi. Similarly, in August, Chianki, Phulbani, Raichur, Rakh Dhiansar, Rewa, SK Nagar and Varanasi recorded more than 35% deϐicit rainfall. In September, Agra, Arjia, Chianki, Hisar, Indore, Rajkot, Rewa, Rakh Dhiansar, SK Nagar, Solapur and Varanasi received 50-87% deϐicit rainfall. Similarly, in October, Agra, Aklera, Arjia, Ballowal Saunkhri, Faizabad, Hisar, Parbhani, Rajkot, Rakh Dhiansar, Rewa, SK Nagar and Varanasi did not receive any rainfall. In November, the rainfall was deϐicit across all centres except Hisar and no rainfall was received at Agra, Aklera, Akola, Arjia, Ballowal Saunkhri, Faizabad, Indore, Jagdalpur, Parbhani, Raichur, Rajkot, Rewa, SK Nagar, Varanasi and Vijayapura.Not Availabl