Proposed Methodology to Evaluate CO2 Capture Using Construction and DemolitionWaste

Since the Industrial Revolution, levels of CO2 in the atmosphere have been constantly growing, producing an increase in the average global temperature. One of the options for Carbon Capture and Storage is mineral carbonation. The results of this process of fixing are the safest in the long term, but the main obstacle for mineral carbonation is the ability to do it economically in terms of both money and energy cost. The present study outlines a methodological sequence to evaluate the possibility for the carbonation of ceramic construction waste (brick, concrete, tiles) under surface conditions for a short period of time. The proposed methodology includes a pre-selection of samples using the characterization of chemical and mineralogical conditions and in situ carbonation. The second part of the methodology is the carbonation tests in samples selected at 10 and 1 bar of pressure. The relative humidity during the reaction was 20 wt %, and the reaction time ranged from 24 h to 30 days. To show the e ectiveness of the proposed methodology, Ca-rich bricks were used, which are rich in silicates of calcium or magnesium. The results of this study showed that calcite formation is associated with the partial destruction of Ca silicates, and that carbonation was proportional to reaction time. The calculated capture e ciency was proportional to the reaction time, whereas carbonation did not seem to significantly depend on particle size in the studied conditions. The studies obtained at a low pressure for the total sample were very similar to those obtained for finer fractions at 10 bars. Presented results highlight the utility of the proposed methodology

Mineral carbonation of ceramic brick at low pressure and room temperature. A simulation study for a superficial CO2 store using a common clay as sealing material

This research explores the possibilities of CO2 sequestration on ceramic bricks in a short time and at surface conditions. The experiment was carried out in a specially designed reaction chamber, filled with brick wastes and sealed with common clays. The brick used were composed of quartz, wollastonite, diopside, orthoclase and anhydrite, and the common clay was a marl composed of calcite, quartz, illite, smectite and kaolinite. Experimental condition in the reaction chamber were: reaction time 5 months, pressure of CO2 0.5 bar, 4:1 solid/water ratio. The experiment was followed by XRD, XRF, BET, physical sorption by N2 and CO2, Hg porosity, TG-DTA, SEM and ICP-EOS. After the CO2 treatment, wollastonite and anhydrite were practically destroyed and some diopside and orthoclase. Calcite precipitated as new phase (up to 48 wt%), and small amount of illite was the result of orthoclase alteration. Concerning the sealing clay, the CO2 produced an increment of calcite content (from 32 to 41 wt%) and a partial destruction of smectite, particularly close to the upper part of the brick layer. These results are hopeful in relation with the possible mineral carbonation of building ceramic waste in a short time at surface conditions, and open the opportunity to use those wastes for CO2 trapping in an appropriate system, as a quarry reclamation

Characterization of Zafarraya Polje geometry by gravity survey (Betic Cordillera)

The Zafarraya Polje is a Neogene endorheic basin, which lies on the contact between internal and external Zones of the Betic Cordillera. This basin limits on its southern boundary with the Ventas de Zafarraya fault, related to 1884 Andalusian earthquake. In this area a gravimetric survey was conducted in order to determine the geometrical characteristics of the basin infill. Bouguer, regional and residual anomaly maps have been calculated. Also, three residual anomaly profiles have been modeled and interpreted. All these results show the existence of horst and grabens in the substrate of the basin that determine thickness variations of the sedimentary infill. The up to now non-described blind faults have also been characterizedEl Polje de Zafarraya es una cuenca neógena endorreica que se sitúa sobre el contacto entre zonas internas y externas de la Cordillera Bética. Esta cuenca limita en su borde sur con la falla de Zafarraya, responsable del terremoto de Andalucía de 1884.Se ha realizado un estudio gravimétrico en el Polje para determinar las características geométricas del relleno sedimentario de la cuenca. Para ello, se han realizado mapas de anomalía Bouguer, regional y residual y se han interpretado 3 perfiles de anomalía residual con los que se ha podido observar la existencia de horsts y grabens en el substrato de la cuenca que condicionan la potencia del relleno detrítico. Del mismo modo también se ha podido caracterizar tanto fallas identificadas en superficie como fallas ciegas que no llegan a aflora

El desarrollo artístico de niños en comunidades indígenas mexicanas

This paper explains the actual circumstances of indigenous people in Mexico related to the art education of their children, there is a lot of evidence that most indigenous communities produce or make art, mainly art crafts. We can also see that while some of the members of the communities are making these art crafts or preparing paintings or modest sculptures to perform some rites, children are learning the skills to do that too. This is the art education we find in the indigenous community; this text compares it with a formal art education and gives an overview of what can we learn from an informal art education practice and from their artistic development.Este documento explica las circunstancias de los pueblos indígenas en México relacionadas con la educación artística de sus hijos, hay muchas pruebas de que la mayoría de las comunidades indígenas producen o hacen arte, principalmente artesanías. También podemos ver que mientras algunos de los miembros de las comunidades están haciendo manualidades, o preparando pinturas o esculturas modestas para realizar algunos ritos, los niños también están aprendiendo las habilidades para hacerlo. Esta es la educación artística que encontramos en las comunidades indígenas, este texto la compara con una educación artística formal y ofrece una visión general de lo que podemos aprender de una práctica informal de educación artística y de su desarrollo artístico. Una conclusión general es que incluso a pesar de las circunstancias difíciles en las que viven; el desarrollo artístico les ayuda a sobrevivir y enfrentar la vida y su realidad

Rotenone selectively occludes sensitivity to hypoxia in rat carotid body glomus cells

Carotid body glomus cells release transmitters in response to hypoxia due to the increase of excitability resulting from inhibition of O2 -regulated K+ channels. However, the mechanisms involved in the detection of changes of O2 tension are unknown. We have studied the interaction between glomus cell O2 sensitivity and inhibition of the mitochondrial electron transport chain (ETC) in a carotid body thin slice preparation in which catecholamine release from intact single glomus cells can be monitored by amperometry. Inhibition of the mitochondrial ETC at proximal and distal complexes induces external Ca2+-dependent catecholamine secretion. At saturating concentration of the ETC inhibitors, the cellular response to hypoxia is maintained. However, rotenone, a complex I blocker, selectively occludes the responsiveness to hypoxia of glomus cells in a dose-dependent manner. The effect of rotenone is mimicked by 1-methyl-4-phenylpyridinium ion(MPP+), an agent that binds to the same site as rotenone, but not by complex I inhibitors acting on different sites. In addition, the effect of rotenone is not prevented by incubation of the cells with succinate, a substrate of complex II. These data strongly suggest that sensitivity to hypoxia of carotid body glomus cells is not linked in a simple way to mitochondrial electron flow and that a rotenone (and MPP+)-sensitive molecule critically participates in acute oxygen sensing in the carotid body.Ministerio de Ciencia y Tecnología 1FD97–161

La Puesta en Obra del espacio. Construir un habitar poético

Work and space are terms that seem to affect architecture very directly. Terms that are also common in everyday life, in our relationship with the world. Architecture unfolds its task in dealing with space, we could say that it works space, and from the conjunction of these two terms we intend to unveil possible non-immediate meanings. This text intends to investigate the concept of “space”, place, end and means of architecture, with the help of some texts that Martin Heidegger wrote in his last stage and also by turning to other sources that have analysed it in depth. The aim is to provide a new layer in the understanding of the term, to unblock its most immediate meaning, questioning the usual way of conceiving it. Architecture is involved in questions that not only affect the extensive aspect of space, but point to its experience, its experience, its perception, its poetics. This poetics will refer us to the relationship with art and technique, terms twinned in classical Greece where a single voice named both things (téchne). Reflection on this will help us to progress in the analysis because, following Heidegger, there is a link that we will try to clarify between space and téchne. To put space into action will not mean here its construction in the usual sense, but will allude to unveil it, to show its meaning, to point it out as a place. The revealing relation space-place, discovered by some thinkers, leads us to perceive space as a sphere of relations between things, which through the metaphor of the fabric will gain meaning.Obra y espacio son términos que parecen afectar muy directamente a la arquitectura. Términos habituales también desde lo cotidiano, desde nuestra relación con el mundo. La arquitectura despliega su tarea en el trato con el espacio, podríamos decir que obra el espacio, y desde la conjunción de estos dos términos pretendemos desvelar posibles significaciones no inmediatas. Este texto pretende investigar el concepto de “espacio”, lugar, fin y medio de la arquitectura, con ayuda de algunos textos que Martín Heidegger escribe en su última etapa y acudiendo también a otras fuentes que lo han analizado en profundidad. Se pretende así aportar una nueva capa en la comprensión del término, desbloquear el sentido más inmediato, cuestionando el modo habitual de concebirlo. La arquitectura está implicada en cuestiones que no solo afectan al aspecto extensivo del espacio, sino que apuntan a su experiencia, su vivencia, su percepción, su poética. Esta poética nos remitirá a la relación con el arte y la técnica, términos hermanados en la Grecia clásica donde una sola voz nombraba las dos cosas (téchne). La reflexión sobre ello nos ayudará a progresar en el análisis pues, siguiendo a Heidegger, existe un vínculo que intentaremos esclarecer entre el espacio y la téchne. Poner en obra el espacio no significará aquí su construcción en sentido habitual, sino que aludirá a des-velarlo, mostrar su sentido, señalarlo como lugar. La reveladora relación espacio-lugar, que nos descubren algunos pensadores, nos dirige a presentir el espacio como un ámbito de relaciones entre las cosas, que a través de la metáfora del tejido irá cobrando sentido

Um modelo de supervisão com Equipe Reflexiva para a formação de terapeutas com abordagem integrativa

This paper describes the Reflective Team (ER, initials in Spanish) as a model for training psychotherapists with an integrative approach. The theoretical basis of the ER and the objectives of supervision are presented to justify the choice of this model. It also describes the methodology, techniques, and tools used in supervision to discuss the possibilities and results obtained.Este trabajo describe un modelo de supervisión clínica que utiliza al Equipo Reflexivo (ER) como una propuesta para la formación de psicoterapeutas con enfoque integrativo. Se plantean las bases teóricas del ER y los objetivos de la supervisión para justificar la elección de este modelo. Igualmente se describe la metodología, técnicas y herramientas ocupadas en la supervisión, así como sus alcances para referir los resultados obtenidos.Este artigo descreve um modelo de supervisão clínica que utiliza a Equipe Reflexiva (ER) como proposta para a formação de psicoterapeutas com abordagem integrativa. As bases teóricas da ER e os objetivos da supervisão são propostos para justificar a escolha deste modelo. Da mesma forma, são descritas a metodologia, técnicas e ferramentas utilizadas na supervisão, bem como seu alcance para se referir aos resultados obtidos

The statute of form in the architecture of Borromini. Baroque, tragedy and excess

[EN] Borromini’s work is undoubtedly unique in the context of mid-17th century Roman baroque architecture, and his approaches are very different from those of his principal contemporaries. Nevertheless, his work is particularly relevant when it comes to the meaning of certain formal categories in his architecture, which, maybe surprisingly, can be thought about in the same way in many contemporary works of architecture. Through the use of the fold, inflection, topological elements or un-forme, in Borromini’s architecture we discover a certain refusal to individuate into a concrete formal appearance. His procedures and planning process that can be seen in many of his sketches are also especially significant. The method that Borromini uses to seek a form is closely linked to the final constructed results of his architecture: he turns the formal metamorphosis into a cornerstone of his project. The formal result seems to be holding unrealised potential: form in metamorphosis. All this expresses nature’s lament as it is ripped apart into individuals, as Nietzsche describes in his The Birth of Tragedy.[ES] La obra de Borromini es sin duda singular en relación con el resto de la arquitectura barroca romana de mediados del siglo XVII, pues se aleja en sus planteamientos de otras grandes figuras contemporáneas a él. Sin embargo resulta ser especialmente relevante en relación con el sentido que adquieren algunas categorías formales en su arquitectura, que sorprendentemente, se dejan pensar de la misma manera que en muchas obras de arquitectura contemporánea. A través del uso de del pliegue, la inflexión, lo topológico o lo in-forme, descubrimos en la arquitectura de Borromini una cierta negación a individuarse en una apariencia formal concreta. Resulta además singularmente significativo su procedimiento y proceso de proyectar, que podemos conocer a través de muchos de sus croquis. El método que utiliza Borromini de búsqueda de forma tiene una estrecha relación con los resultados construidos de su arquitectura; él hace de la metamorfosis formal un argumento de proyecto. Su resultado formal parece llevar en sí potenciales no actualizados: forma en metamorfosis. Todo ello manifiesta ese sollozo de la naturaleza por su desgarramiento en individuos al que se refiere Nietzsche en su Nacimiento de la Tragedia.Fernández García, P. (2019). El estatuto de la forma en la arquitectura de Borromini. Barroco, tragedia y desmesura. EN BLANCO. Revista de Arquitectura. 11(27):120-133. https://doi.org/10.4995/eb.2019.12061SWORD120133112

El imaginario cívico y el 15M: ¿qué pasó antes del 15 de mayo del 2011??

The 15M movement is one of the most salient phenomena of the Spanish recent history of social movements. As reflected in surveys, the number of people involved was extraordinary and a broad majority of the population felt sympathy towards it. How to explain the outbreak of the political protest generated by the 15M movement in Spain? Which ingredients fed the protests and formed the climate for people to engage? The aim of this paper is to present the findings of a qualitative research on citizens' perceptions about the performance and quality of democracy, and the role that citizens should play in it; several focus groups were administered two months before May 15th. The research has been also complemented by interviews with participants and with information gathered from the participant observation during four months in the movement itself. This research allows us to better understand the process of framing (Snow & Benford, 2000) in which the protest emerged and developed. Which political ideas were mobilized? How and why did the movement connect with the population? Which kinds of framing processes were displayed? This is a relevant discussion since the 15M movement has been an emergent form of protest with “replicas” in other occidental countries such as Indignati or #Occupy, etc.Peer reviewe