frameworks and methods for impact assessment

This study provides an overview of existing approaches and methods for assessing the environmental impacts of trade and trade-related activities. It considers both approaches that are tailored to the assessment of trade- environment linkages and more generic approaches for environmental assessment and analyzes their respective usability in the context of trade-related development cooperation. The study thereby aims to contribute to a more extensive use of such tools, while improving the practice and application of environmental assessments of trade-related policies and programs. In doing so, the study will complement the existing study on the assessment of the socio- economic impacts from trade carried out by the Overseas Development Institute (ODI)1. The study is divided into two parts. Part I begins with a brief discussion on trade-related development cooperation followed by a short overview of the debate on trade, development and the environment. Next it provides an overview of existing approaches to conceptualizing environmental impacts from trade-related activities. After this, it provides a general introduction to impact assessment (IA) and the assessment of environmental impacts in this context. It closes with a brief overview of the assessment of environmental aspects in German development cooperation. Part II provides a more detailed review of existing frameworks and methods for assessing the environmental impacts from trade-related policies and programs

Small-scale fisheries access to fishing opportunities in the European Union:Is the Common Fisheries Policy the right step to SDG14b?

The profile of small-scale fisheries has been raised through a dedicated target within the United Nations Sustainable Development Goals (SDG14b) that calls for the provision of ‘access of small-scale artisanal fishers to marine resources and markets’. By focusing on access to fisheries resources in the context of European Union, in this article we demonstrate that the potential for small-scale fishing sectors to benefit from fishing opportunities remains low due to different mechanisms at play including legislative gaps in the Common Fisheries Policy, and long-existing local structures somewhat favouring the status quo of distributive injustice. Consequently, those without access to capital and authority are faced by marginalizing allocation systems, impacting the overall resilience of fishing communities. Achieving SDG14b requires an overhaul in the promulgation of policies emanating from the present nested governance systems

Ocean ecosystem-based management mandates and implementation in the North Atlantic

Ecosystem-based management (EBM) necessarily requires a degree of coordination across countries that share ocean ecosystems, and among national agencies and departments that have responsibilities relating to ocean health and marine resource utilization. This requires political direction, legal input, stakeholder consultation and engagement, and complex negotiations. Currently there is a common perception that within and across national jurisdictions there is excessive legislative complexity, a relatively low level of policy coherence or alignment with regards to ocean and coastal EBM, and that more aligned legislation is needed to accelerate EBM adoption. Our Atlantic Ocean Research Alliance (AORA) task group was comprised of a small, focused and interdisciplinary mix of lawyers, social scientists, and natural scientists from Canada, the USA, and the EU. We characterized, compared, and synthesized the mandates that govern marine activities and ocean stressors relative to facilitating EBM in national and international waters of the North Atlantic, and identified formal mandates across jurisdictions and, where possible, policy and other non-regulatory mandates. We found that irrespective of the detailed requirements of legislation or policy across AORA jurisdictions, or the efficacy of their actual implementation, most of the major ocean pressures and uses posing threats to ocean sustainability have some form of coverage by national or regional legislation. The coverage is, in fact, rather comprehensive. Still, numerous impediments to effective EBM implementation arise, potentially relating to the lack of integration between agencies and departments, a lack of adequate policy alignment, and a variety of other socio-political factors. We note with concern that if challenges regarding EBM implementation exist in the North Atlantic, we can expect that in less developed regions where financial and governance capacity may be lower, that implementation of EBM could be even more challenging

La mirada il·lustrada

Pensar el museu únicament com un edifici monumental que acull unes col·leccions de valor patrimonial és, sens dubte, una idea periclitada. Avui entenem el museu com el resultat d’una pluralitat d’intencions, de mirades i d’experiències que protagonitzen tant els que l’administren com els que el visiten. De fet, la mirada exterior adquireix cada dia que passa més rellevància en la vida del museu, cosa que va molt més enllà de les xifres de visitants amb les que algunes vegades -potser massa- la política cultural avalua la rendibilitat de les assignacions pressupostàries. Per descomptat, la vocació pública i formativa són supòsits ineludibles de la missió d’un museu, però no tot s’acaba en la quantitat de públic visitant, ni tan sols en les condicions de qualitat en què s’ofereix la recepció d’obres i discursos museogràfics. “Anar al museu” implica també maneres de viure l’entorn urbà i arquitectònic, propicia formes de concurrència i sociabilitat específiques i valida una pràctica cultural en la qual es fa indestriable l’accés al coneixement, l’abundància d’oci massiu o el gaudi individual i compartit. Anar al museu resulta ara un tipus d’experiència difícilment classificable on es barregen expectatives intel·lectuals amb ganes de passar l’estona, mirades atentes i distretes, atracció per l’art i per les coses banals... No necessàriament prima una jerarquia d’intencions i, en tot cas, la combinació d’aquestes és tan heterogènia com ho és el trànsit de persones i la profusió d’estímuls. La col·lecció de dibuixos que presenten els participants en la Diplomatura de postgrau d’Il·lustració creativa i tècniques de comunicació visual d’EINA apareix com una mena de prospecció etnogràfica d’aquesta realitat. Als seus mèrits tècnics i creatius de realització s’hi suma la capacitat de captar la diversitat de persones i situacions que conformen la quotidianitat del museu, amb aquest aiguabarreig de vulgaritat i poesia que desprenen les escenes que construïm sense adonar-nos-en. Així, les il·lustracions són el resultat de mirades sense prejudicis que enregistren, amb enquadraments insospitats, els comportaments menys canònics que cal esperar en un museu, o paren atenció sobre “altres” focus d’interès que no passen necessàriament per les obres. D’aquesta manera, aquests treballs operen com a reportatges d’aquest nou territori ambigu que, entre el sagrat i el profà, ocupen ara els museus. Des d’EINA hem de celebrar l’audàcia i l’entusiasme amb el qual Pepe Serra, director del Museu Nacional, i l’equip del museu han incentivat i afavorit aquesta iniciativa que ara esdevé exposició i publicació. Una col·laboració d’aquestes característiques és un exemple molt notable del ventall de possibilitats que s’obre de cara a la confluència entre els joves creadors i el món del patrimoni en l’espai comú de la contemporaneïtat.Pensar el museo únicamente como un edificio monumental que alberga unas colecciones de valor patrimonial es sin duda, una idea periclitada. Hoy entendemos el museo como el resultado de una pluralidad de intenciones, de miradas y de experiencias que protagonizan tanto los que lo administran como los que lo visitan. De hecho, la mirada exterior adquiere cada día que pasa más relevancia en la vida del museo, lo que va mucho más allá de las cifras de visitantes con las que algunas veces -quizás demasiadas- la política cultural evalúa la rentabilidad de las asignaciones presupuestarias. Por supuesto, la vocación pública y formativa son supuestos ineludibles de la misión de un museo, pero no todo se acaba en la cantidad de público visitante, ni siquiera en las condiciones de calidad en que se ofrece la recepción de obras y discursos museográficos. “Ir al museo” implica también maneras de vivir el entorno urbano y arquitectónico, propicia formas de concurrencia y sociabilidad específicas y valida una práctica cultural en la que se hace inseparable el acceso al onocimiento, la abundancia de ocio masivo o el disfrute individual y compartido. Trasladarse a un museo resulta hoy un tipo de experiencia difícilmente clasificable en la que se mezclan expectativas intelectuales con ganas de pasar el rato, miradas atentas y distraídas, atracción por el arte y por las cosas banales... No necesariamente prima una jerarquía de intenciones y, en todo caso, la combinación de éstas es tan heterogénea como lo es el tráfico de personas y la profusión de estímulos. La colección de dibujos que presentan los participantes de la Diplomatura de postgrado de Ilustración creativa y técnicas de comunicación visual de EINA aparece como una especie de prospección etnográfica de esta realidad. A sus méritos técnicos y creativos de realización, se suma la capacidad de captar la diversidad de personas y situaciones que conforman la cotidianidad del museo, incorporando esa confluencia de vulgaridad y poesía que desprenden las escenas que construimos cuando no nos damos cuenta de ello. Así, las ilustraciones son el resultado de miradas sin prejuicios que registran, con encuadres insospechados, los comportamientos menos canónicos que cabe esperar en un museo, o prestan atención sobre “otros” focos de interés que no pasan necesariamente por las obras. De esta manera, estos trabajos operan como reportajes de este nuevo territorio ambiguo que, entre lo sagrado y lo profano, ocupan los museos hoy en día. Desde EINA debemos celebrar la audacia y el entusiasmo con el que Pepe Serra, director del Museu Nacional, y el equipo del museo han incentivado y favorecido esta iniciativa, que ahora se convierte en exposición y publicación. Una colección de estas características es un ejemplo muy notable del abanico de posibilidades que se abre de cara a la confluencia entre los jóvenes creadores y el mundo del patrimonio, en el espacio común de la contemporaneidad.Thinking of a museum only as a monumental building that houses a series of collections of valuable heritage is certainly an idea that has become outmoded. Today we understand a museum as the result of a plurality of intentions, views and experiences featuring, both those who administer and those who visit it. In fact, the outside vision becomes more important in the life of museums each passing day, going far beyond from the relevance of the numbers of visitors -which perhaps too often- is the sole factor contemplated by the cultural policy that evaluates the profitability of budgetary allocations. Of course, the public vocation and education are essential assumptions of the mission of a museum, but it does not all end in the number of visitors, not even in the terms of quality offered in the reception of the museum’s works and discourses. “Going to a museum” also implies ways of living the urban and architectonic environment, fostering specific forms of audience and sociability and validating a cultural practice that is inseparable of aspects such as: the access to knowledge, the competition to mass-market leisure or the individual and shared enjoyment. Going to a museum today, is a kind of experience that is difficult to classify; a hybrid of the intellectual expectations, the wanting to hang gaze distracted, or the “simple” attraction for art and trivial things... Not necessarily a premium hierarchy of intentions and, in any case, the combination of such being as heterogeneous as it is the movement of surrounding people and the profusion of stimuli. The collection of drawings presented by the participating students of the Postgraduate Diploma in Creative Illustration and Visual Communication Techniques at EINA, appears as a kind of ethnographic exploration of this reality. To its technical merits and creative realization, is added the ability to capture the diversity of people and situations that make of everyday life in the museum, an immix of vulgarity and poetry scenes, spontaneously created by all characters unaware. Thus, the illustrations are the result of unprejudiced eyes that record, under unexpected frames, the less canonical behavior you would expect in a museum, paying attention to “other” focus of interest, not necessarily the art works. In this sense, these graphic pieces operate as reports of this new ambiguous territory, between the sacred and the profane, that museums occupy today. From EINA we celebrate the courage and the enthusiasm with which Pepe Serra, director of the Museu Nacional, and the museum staff have encouraged and supported this initiative, now becoming an exhibition and a publication. A co-operation of these characteristics is a notable example of the range of possibilities that opens towards the junction between young artists and the common space and patrimony that is the world of the contemporary

Welcome to the jungle

La jungla és diversa, la il·lustració també. Ens belluguem entre infinitat d’estils, traços, formes, textures i colors, on cadascú vol deixar la seva pròpia petjada. En això ens hem basat per a donar forma a “Welcome to the jungle”, la nostra mostra final del postgrau d’Il·lustració Creativa i Tècniques de Comunicació Visual d’EINA 2014-2015, per la qual hem seleccionat els nostres millors treballs del curs. A més a més ens hem posat a la pell de diferents animals de la jungla, aquells que d’alguna manera ens identifiquen i cadascú hem il.lustrat la nostra elecció. En aquest catàleg hi trobareu les il·lustracions. Benvinguts!La jungla es diversa, la ilustración también. Nos movemos entre infinidad de estilos, trazos, formas, texturas y colores, donde cada uno quiere dejar su huella. En esto nos hemos basado para dar forma a “Welcome to the Jungle”, nuestra muestra final del postgrado de Ilustración Creativa y Técnicas de Comunicación Visual de EINA 2014-2015, para la que hemos seleccionado nuestros mejores trabajos del curso. Además nos hemos puesto en la piel de distintas especies de la jungla, aquellas que nos identifican, y cada uno ha ilustrado la suya. Este catálogo reúne dichas ilustraciones. ¡Bienvenido!The jungle is diverse, so is illustration. We move amongst an infinity of styles, strokes, shapes, textures and colors, where everyone wants to make an impression. This is the inspiration for “Welcome to the Jungle”, the final show of our postgraduate course in Creative Illustration and Visual Communication Techniques at EINA 2014 - 2015, for which we have chosen our best work from the course. Also, we have put ourselves in the skin of different species of the jungles, those that identify us, and each of us has illustrated their own. This catalogue brings together these illustrations. Welcome

Search for dark matter produced in association with bottom or top quarks in √s = 13 TeV pp collisions with the ATLAS detector

A search for weakly interacting massive particle dark matter produced in association with bottom or top quarks is presented. Final states containing third-generation quarks and miss- ing transverse momentum are considered. The analysis uses 36.1 fb−1 of proton–proton collision data recorded by the ATLAS experiment at √s = 13 TeV in 2015 and 2016. No significant excess of events above the estimated backgrounds is observed. The results are in- terpreted in the framework of simplified models of spin-0 dark-matter mediators. For colour- neutral spin-0 mediators produced in association with top quarks and decaying into a pair of dark-matter particles, mediator masses below 50 GeV are excluded assuming a dark-matter candidate mass of 1 GeV and unitary couplings. For scalar and pseudoscalar mediators produced in association with bottom quarks, the search sets limits on the production cross- section of 300 times the predicted rate for mediators with masses between 10 and 50 GeV and assuming a dark-matter mass of 1 GeV and unitary coupling. Constraints on colour- charged scalar simplified models are also presented. Assuming a dark-matter particle mass of 35 GeV, mediator particles with mass below 1.1 TeV are excluded for couplings yielding a dark-matter relic density consistent with measurements

Azimuthal anisotropy of charged jet production in root s(NN)=2.76 TeV Pb-Pb collisions

We present measurements of the azimuthal dependence of charged jet production in central and semi-central root s(NN) = 2.76 TeV Pb-Pb collisions with respect to the second harmonic event plane, quantified as nu(ch)(2) (jet). Jet finding is performed employing the anti-k(T) algorithm with a resolution parameter R = 0.2 using charged tracks from the ALICE tracking system. The contribution of the azimuthal anisotropy of the underlying event is taken into account event-by-event. The remaining (statistical) region-to-region fluctuations are removed on an ensemble basis by unfolding the jet spectra for different event plane orientations independently. Significant non-zero nu(ch)(2) (jet) is observed in semi-central collisions (30-50% centrality) for 20 <p(T)(ch) (jet) <90 GeV/c. The azimuthal dependence of the charged jet production is similar to the dependence observed for jets comprising both charged and neutral fragments, and compatible with measurements of the nu(2) of single charged particles at high p(T). Good agreement between the data and predictions from JEWEL, an event generator simulating parton shower evolution in the presence of a dense QCD medium, is found in semi-central collisions. (C) 2015 CERN for the benefit of the ALICE Collaboration. Published by Elsevier B.V. This is an open access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/).Peer reviewe