Model CFD d’una unitat experimental d’adsorció de CO2 a partir de gasos d’escapament

Treballs Finals de Grau d'Enginyeria Química, Facultat de Química, Universitat de Barcelona, Curs: 2019-2020, Tutors: Jordi Bonet Ruiz, Joan Llorens LlacunaCarbon dioxide (CO2) is the largest anthropogenic greenhouse gas (GHG) on the planet contributing to the global warming. Currently, there are three capture technologies of trapping CO2 from the flue gases: pre-combustion, post-combustion and oxy-fuel combustion. Among these, the post-combustion is widely popular as it can be retrofitted for a short to medium term without encountering any significant technology risks or changes. Zeolites, also known as molecular sieves, are widely used as a universal separation medium with series of advantages compared to the first-generation capture processes based on amine-based scrubbing. The goal of this study is to model a reversible adsorption column that prevents the emission of CO2 from exhaust gases into the atmosphere using the Faujasite 13X as an adsorbent. In addition, the dependence of the particle diameter, the column diameter and the temperature with the breaking time has been studied. The mathematical model described by Chatzopoulos & Varma (1995) has been followed, using the Langmuir isotherm to relate the concentration between solid and gas phase. The data used is from the vehicle Peugeot 307 gasoline model to calculate the difference in CO2 emissions with and without the adsorption columns. In addition, a graphic representation of the CO2 concentration within the column has been made in both phases and a 3D sketch of the boot with the columns incorporate

Use of tropical microalgae species as food for pearl oyster (Pinctada margaritifera L.) larvae

The most famous round pearls of the world come from pearl oysters of the genus Pinctada; 'south-sea pearls' are cultured using the silver- or gold-lip pearl oyster, Pinctada maxima, and 'black pearls' are cultured from the black-lip pearl oyster, P. margaritifera. Marine pearl culture is one of the most valuable aquaculture industries in the world with an estimated value of $US475 millions. P. maxima is the basis of Australian pearl industry while P. margaritifera supports cultured pearl industries in southern Japan and the Pacific island nations of French Polynesia and Cook Islands. In French Polynesia, pearl production has an annual value of US$170 millions and, not surprisingly, other nations across the Pacific have shown interest in developing similar industries. The usual way to obtain oysters for pearl farms in Polynesia is by collection of wild spat (or juveniles), activity that relies entirely on natural recruitment which can be unpredictable and unreliable. Hatchery production of pearl oyster is increasing in significance as a source of oyster stock for pearl production and offers many advantages over the collection of oysters from the wild. Hatchery production of pearl oysters is a relatively new field and, as such, techniques and protocols adopted are generally based on those developed for other bivalve species of commercial importance, usually of temperate origin. Much of the research on hatchery production of pearl oyster has focused on P. margaritifera and has covered aspects such as culture systems, feeding and nutrition of larvae and early nursery culture. Microalgae culture is fundamentally important to commercial hatcheries rearing marine molluscs, since they are currently the only suitable food source. Microalgae provided to larvae during culture can affect their growth and survival. Only recently have significant numbers of tropical microalgae species become available to the aquaculture industry. However, many of these have not been assessed for their nutrient content or their nutritional value for culture animals. Microalgae of tropical origin are likely to be better suited to the culture conditions used for tropical species, such as P. maxima and P. margaritifera. This study assessed the nutritional value of eight tropical microalgae species for P. margaritifera larvae. Each was analysed for carbohydrate, lipid and protein content as well as fatty acid and amino acid composition. Each species of microalgae was fed singly to early (D-stage veliger, Chapter 3 (section 3.3.1)) and later (umbo-stage veliger, (section 3.3.2)) P. margaritifera larvae. The results showed Pavlova sp. and P. salina to be the most nutritious of eight microalgae fed to both D-stage and umbone larvae. Relationships between the levels of various nutritional components of microalgae and resulting larval growth were determined. A significant correlation between the growth of D-stage larvae and total protein, lipid and carbohydrate contents of microalgae was found. However, for umbo-stage larvae only carbohydrate contents in microalgae was positively correlated to larval growth. Significant positive correlation between the saturated fatty acid (SFA) and polyunsaturated fatty acid (PUFA) contents of microalgae and larval growth were seen for both larval stages. Bivalve larvae are generally fed a mixture of microalgae species in order to provide a better nutrient balance. This study assessed the more nutritious species of microalgae from Chapter 3 in binary and ternary combinations. D-stage P. margaritifera larvae were fed Pav. salina, Pavlova sp, TISO and Micromonas pusilla in binary and ternary combinations, Chapter 4 (section 4.3.1). Umbo-stage larvae were fed the best binary algae combinations (flagellates) to which one diatom species (either Chaetoceros muelleri, Chaetoceros sp. or Skeletonema sp.) was added per combination (section 4.3.2). The best two ternary algae combinations from the first experiment in Chapter 4 with Dstage larvae (flagellates only), were also used to feed umbo-stage larvae in the second experiment in Chapter 4; these were Pav. salina/ Pavlova sp/TISO and TISO/M. pusilla/Pavlova sp. Greater growth rate was shown by D-stage P. margaritifera larvae fed the ternary combination of Pavlova sp/Pav.salina/TISO followed by the binary combination of Pavlova sp./M. pusilla; however, larvae fed Pavlova sp. as a monospecific diet performed as well as those fed the combination of Pavlova sp/Pav. salina/M. pusilla. Umbo-stage larvae fed ternary combinations containing a diatom showed noticeably greater growth rates than larvae fed combinations without diatoms. The best binary and ternary microalgae combinations for umbo-stage larvae were Pavlova sp./C. muelleri and Pavlova sp./M. pusilla/Skeletonema sp., respectively. However, the growth rate of larvae fed the binary combinations of Pavlova sp./C. muelleri did not differ significantly from those of larvae fed ternary diet combinations. Experiments in Chapters 3 and 4 identified microalgae supporting the greatest growth rates of D-stage and umbo-stage larvae of P. margaritifera. Biochemical analysis of these microalgae (Chapter 2) allowed identification of nutrients within the microalgae that correlate to good growth rates. Chapter 5 investigated the possibility that manipulation of culture conditions could be used as a means of improving (increasing) the levels of these key nutrients in microalgae. Such a development would have clear benefits in the culture of P. margaritifera larvae. TISO, Pav. salina, Pavlova sp., M. pusilla and C. muelleri were cultured under different light regimes. All microalgae tested were easy to grow. Under the culture conditions used during this experiment, photoperiods of 18 hours light and 6 hours dark (18L:6D) and continuous light resulted in greater productivity of algae cultures. Differences in proximate compositions of microalgae were not significant in terms of growth phase; however, general increases in lipid contents of microalgae between the logarithmic and stationary phase growth phases were observed as reported in similar studies. Harvesting microalgae during the stationary growth phase will provide microalgae with high lipid and protein values. Changes in fatty acid contents were species specific; however contents were not significantly different when algae were culture under each light regime. In summary, this study is the first comprehensive assessment of the nutritional value of tropical microalgae species for pearl oyster larvae and the first to relate larval growth rates and survival to the nutrient composition of microalgae. This study has identified species of microalgae that are highly nutritious for P. margaritifera larvae, and the nutrients that impart high nutritional value to them. Assessment of growth rates and changes in the biochemical compositions of microalgae cultures of different ages and under varying culture conditions will allow tropical microalgae to be cultured according to a regime which not only maximizes their productivity, but optimizes the nutritional composition for P. margaritifera larvae. On this basis, the results of this study provide a basis for development of more effective larval culture techniques for P. margaritifera and larvae of different ages

The first year of the Spanish Radio and Television Corporation: changes in the schedule of the second channel La 2

Este artículo presenta la programación del segundo canal de la televisión pública española durante el primer año de la Corporación RTVE (2007) y el último del Ente Público RTVE (2006). El cambio de organismo supuso el intento de que La 2 fuera más competitiva ya que, hasta el momento se había posicionado como una televisión para minorías. Se ha llevado a cabo un análisis cualitativo de la parrilla y un estudio cuantitativo de la programación con la finalidad de determinar la naturaleza de los contenidos. El objetivo ha sido comprobar las modificaciones llevadas a cabo, dejando constancia de las diferencias programáticas y la evolución entre el Ente Público y la Corporación.This paper shows the programming of the second channel during the first year of Spanish Radio and Television Corporation (2007). It also presents the contents of the last year of RTVE Public Body (2006). The change of the organization turned on the attempt of get La 2 to be more competitive. Until the moment, the second channel was characterized by being the television of minorities. It was carried out a qualitative analysis of the schedule and a quantitative study of the programming in order to find the nature of the programmes. The main goal is to check the changes between the Public Body and the Corporation

The schedule of the Spanish public television aimed at children and youngsters. Is better a general offer or a thematic one? From La 2 to Clan TVE.

Dos etapas marcan la presencia del público infantil y juvenil ante la pequeña pantalla. En los 90, con la llegada de las televisiones privadas el bloque de programación dirigido a esta audiencia fue muy competitivo. En cambio, la primera década del SXXI se caracterizó por los contenidos inadecuados que las cadenas generalistas programaban durante los horarios protegidos. Solo la segunda cadena pública española se diferenciaba por ofrecer espacios a estos espectadores en tres franjas horarias. Con la irrupción de la Televisión Digital Terrestre (TDT), este segmento se consideró nuevamente como target. Como consecuencia, la programación de La 2 se desplazó al nuevo canal temático, Clan TVE. En este artículo se compara la parrilla de los dos canales públicos. Se pretende determinar en qué cadena niños y jóvenes están mejor atendidos.The Spanish television is characterized by two periods in which programmes were aimed at children and youngsters. The first stage was in the nineties with the arrival of the private channels. Nevertheless, the first decade of the 21st century was portrayed by the unsuitable contents that television broadcast during protected schedule. Only the second public channel offered shows to this audience. As a result of the Digital Terrestrial Television arrival, kids and young people became into a target again. Therefore, the schedule of La 2 was moved to the new thematic channel, Clan TVE. The goal of this paper is to compare the broadcast scheduling of the two public channels. The aim is to find the better propose to children and youngsters

crianças como criadoras de conteúdo no YouTube e Instagram.

This article studies how kidinfluencers (influencers under 15 years of age) create content in YouTube and Instagram and how they integrate branded content for brands. Twelve active profiles of kidinfluencers in Spanish with a greater number of followers have been studied in order to know how they incorporate the brand presence in the audiovisual formats, what information they provide and how through storytelling and creativity they connect with their audience. In addition to self-promotional content, brands have an important role, especially those presented through games. Although the script is detected to make it more attractive, the brands coexist with a high presence of linguistic errors, opinions and comments that show how the videos are created by kids although there is post-production. It’s remarkable that in both social networks it is avoided to signal commercial content, both in the video and in its title.En este artículo se estudia de qué manera los kidinfluencers (influencers menores de 15 años) construyen contenido en YouTube e Instagram y cómo integran el branded content para marcas. Para ello, se toman como referencia los doce perfiles de kidinfluencers en español activos y con un mayor número de seguidores y se analiza cómo incorporan la presencia de marca en los formatos audiovisuales que crean, qué información proporcionan y cómo a través del storytelling y la creatividad conectan con su audiencia. Además de contenido autopromocional, las marcas llegan a tener un importante protagonismo, especialmente aquellas presentadas a través de los juegos. Si bien se detecta la guionización para hacerlo más atractivo, las marcas conviven con una alta presencia de errores lingüísticos, opiniones y comentarios que evidencian cómo los videos son creados por menores a pesar de que se incorpore la postproducción. Es destacable que en ambas redes sociales se evita señalizar el contenido comercial, tanto en el video como en el título del mismo.Este artigo estuda como os kidinfluencers (influenciadores com menos de 15 anos) criam conteúdo no YouTube e no Instagram e como integram o conteúdo para marcas. Para isso, são tomados como referência os doze perfis de kidinfluencers ativos na Espanha com maior número de seguidores e analisa-se como incorporam a presença da marca nos formatos audiovisuais que criam, que informações disponibilizam e de que forma, através da narrativa e da criatividade, eles se conectam com seu público. Além do conteúdo autopromocional, as marcas passam a ter um papel importante, principalmente aqueles apresentados por meio de games. Embora se detecte que o roteiro audiovisual o torna mais atraente, as marcas convivem com uma alta presença de erros linguísticos, opiniões e comentários que mostram como os vídeos são criados por menores apesar da incorporação da pós-produção. Vale ressaltar que em ambas as redes sociais evita-se sinalizar conteúdo comercial, tanto no vídeo quanto no título

Una visión de los materiales en la escala "nano"

2 páginas.Breve biografía de Asunción Fernández, investigadora del Instituto de Ciencias Materiales de Sevilla (ICMS-CSIC).Peer reviewe

Análisis comparativo de la programación infantil y juvenil de La 2 de TVE y la RTP2 de Portugal

El artículo presenta la realidad de dos televisiones de servicio público en el ámbito europeo. Se investiga la programación de los dos segundos canales de España y Portugal. A través del estudio de la parrilla se comparan los principios por los que se rigen La 2 de Televisión Española y la segunda cadena de la Televisão Pública Portuguesa, la RTP2. El análisis se centra en los contenidos infantiles y juveniles. Los resultados encontrados demuestran que en ambos países se da preferencia al público infantil sobre el juvenil, con el que tienen una deuda pendiente en materia de compromiso y mejor

La participación de los stakeholders de las asociaciones contra el cáncer en Facebook

Esta investigación analiza la estrategia en Facebook de cuatro asociaciones iberoamericanas de lucha contra el cáncer de países donde esta enfermedad representa la segunda causa de mortalidad. El estudio aborda las características que presentan los mensajes que consiguen mayor interacción con el público a través de la opción “comentar”. Las publicaciones más comentadas son aquellas que abordan el cáncer de forma genérica o bien no lo mencionan; además de informar y concienciar persiguen otros objetivos diferentes a los de las asociaciones y emplean la imagen como recurso principal acompañada de un hashtag o enlace a la web de la entidad

COVID-19 Lockdown and Disney+ strategy on social networks on its launch during the State of alarm in Spain

The launch of Disney+ in Spain in March 2020 coincided with the Covid-19 pandemic and a period of home confinement for many Spaniards. This study examines the advertising and engagement strategy used by Disney+ on Twitter and Instagram, analyzing 2,268 messages. The platform’s social media use is similar to that of its competitors, with Twitter used for user engagement and Instagram used for content promotion. However, the study finds that the platform missed the opportunity to emphasize its unique qualities and appeal to the brand’s values. Despite this, Disney+ generated significant engagement during its launch month, reflecting high levels of user anticipation. Popular original productions such as The Mandalorian and Aladdin, as well as acquired content like The Simpsons, indicate the brand’s focus on a family or broad-spectrum target audience, in contrast to the younger and niche audiences favored by its competitors.La llegada de Disney+ a España en marzo de 2020 estuvo marcada por la pandemia del Covid-19. El periodo de confinamiento domiciliario entre la población española coincidió con la irrupción del nuevo servicio streaming de una de las marcas más conocidas y queridas a nivel mundial. Este estudio analiza la estrategia publicitaria y de engagement empleada por Disney+ en Twitter e Instagram. El análisis de contenido incluye 2.268 mensajes. Se aprecia un uso de las redes sociales similar a marcas competidoras como Netflix con un uso de Twitter para informar y responder a los comentarios de los usuarios; mientras que de Instagram se promueven nuevos contenidos, en especial películas. Se observa que en el intento de destacar sus elementos diferenciales como servicio bajo demanda, se pierde la oportunidad de apelar a los valores propios de la marca del ratón. La plataforma consiguió un mejor engagement durante el mes de lanzamiento, lo que muestra la alta expectativa de los usuarios. Entre las publicaciones más virales se encuentran producciones originales como The Mandalorian o Aladdín, pero también productos adquiridos como Los Simpson, y que apuntan al interés de la marca por un target familiar o de amplio espectro, frente a audiencias más jóvenes y de nicho valoradas por la competencia