CCS

Carbon capture and storage is considered an effective mitigation strategy to reduce the most challenging emissions from heavy industries and gas processing. The safe transport of carbon dioxide via pipelines is an important aspect for developing large-scale Carbon Capture and Storage projects. Dispersion modeling for heavy gas such as carbon dioxide is considerably different from natural gas. The set up for modeling simulations is more challenging than conventional natural gas pipeline for several reasons, such as the differences in thermodynamics that must be considered. Moreover, when the carbon dioxide is transported in dense or liquid phase, the rapid phase changing, and possible consequent formation of solids should be considered. Finally, the equation of state required for accurate prediction of parameters is generally different than the ones applicable for natural gas. The main scope of this comprehensive review is to identify the most important parameters, critical events, suitable models, and identification of dispersion modeling issues. An extensive literature review of experiments conducted in the last ten years has been developed, experimental data, integral and simplified model, as well as CFD modeling issues has been identified and reported in the work proposed to highlight the advances and the gaps that could need further research activities.

This document is the synthesis Report of the Mapping of the competences in the Culture and Creative Sector (CCS) carried on in Greece, Italy and Spain. The Authors of the national reports gave all the documents and information on which the results and comments are based.
The National reports were realized by:
 CUP Consorzio Universitario Piceno (ITALY)
 Athens Chamber of Tradesmen (Greece)
 FVEM, Federación Vizcaína de empresas del metal (Spain)
The comments and the attempt of comparison are in full responsibility of the Authors of the Summary report. The primary idea that comes in mind when we thing to the so defined “art professions” or “creative professions” is related to the idea of defining, validating, maintaining, and reproducing certain categories of actions, related to what is generally accepted and defined as “cultural category of art and craft”, in order to produce an economic added value that it is clearly expected as “added” to the cultural and humanistic values.
The creative sector is distributed through a network of institutions (schools, museums, galleries, commercial market systems, and industries), all of which participate in constructing a global, international system or network of networks for Art and creativity.
The skills related to the Art world and to the creative sectors are thus part of the modern systems of competences, and many parts of these networks are now highly professionalized and organized in an industrial way.
The creative economy is difficult to define and measure. However, we have the opportunity to identify not totally satisfactory attempts to find common terminology and streamline statistical data. Furthermore, if we take into account the Cultural and Creative sector in all the EU Countries and in the rest of the world, matters become even more complex with diverse cultural issues fusing into other definitions.
Even if finding and investigating common definition is not the aim of this report, anyway this complicated debate is one of the reason of the fascination and specificity of the creative industries which ‘refuse to lie down and be measured like other sectors of the economy. And that is why economists and statisticians will probably never stop debating how to define them and how to estimate their worth’ (Newbegin 2010).
The rise of these cultural and creative sectors as an ‘industry’ has also brought resistance from numerous artists and creative practitioners who do not want to associate themselves or their work with the post-industrial consumerist conditions set by ‘industry’. They prefer to see themselves as individual creative practitioners who are closer to social activism and cultural value than industrial workmanship. Without undermining the social and intrinsic value of the cultural and creative sectors, which in themselves add value to the economic discourse for cultural and creative potential, those championing these sectors are also aware that the process of validation for the sector and its specificities cannot be approached without an ‘industry’ lens. This is the process which has revolutionised political agendas in the last decade and which set an important cultural agenda in numerous countries, regions and cities. The most successful managed to fuse the grassroots social and cultural values with the discourse on markets and growth.

This paper investigates the role of CO2 capture and storage (CCS) technologies as part of a portfolio for reducing CO2 emissions from the European electricity generation system until the year 2050. Special emphasis is put on the ramp-up of CCS with respect to timing of investments and requirement of corresponding CO2 transportation and storage infrastructure. The investigation comprises scenario analysis through modeling possible development of the electricity supply system for EU25 and together with a more detailed analysis of Northern Europe (Germany, UK, Denmark, Finland, Sweden and Norway). The modeling has been carried out with a techno-economic model (minimizing the system cost) including a detailed description of the present stationary European electricity generation system as obtained from the Chalmers Energy Infrastructure database.It is concluded that CCS can play a significant role in reducing CO2 emissions at a cost in the range of 20–60 €/t over the period studied. In E...