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Decomposição de peróxido de hidrogênio em um catalisador híbrido e oxidação avançada de efluente têxtil por processo Fenton modificado
Full text linkDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-graduação em Engenharia QuímicaA indústria têxtil utiliza um grande volume de água durante os processos, gerando um volume bastante elevado de água residuária com elevada carga orgânica; sendo que os compostos presentes são em sua grande maioria não-biodegradáveis. Processos oxidativos Avançados (POAs) são baseados na geração de radicais hidroxil OH· que possuem um potencial de oxidação superior ao do ozônio e reagem rápida e não- seletivamente com inúmeros compostos orgânicos. O reagente Fenton é um Processo Oxidativo Avançado (POA); em que há a geração de radicais hidroxil a partir da decomposição catalítica de peróxido de hidrogênio por íons ferro e que vem sendo largamente utilizado no tratamento de contaminantes em soluções aquosas. Neste trabalho foi utilizado o reagente Fenton modificado no tratamento de um efluente têxtil real, usando um catalisador heterogêneo para decompor peróxido de hidrogênio e produzir radicais hidroxil. A eficiência do processo Fenton heterogêneo foi comparada àquela do processo Fenton homogêneo. No tratamento de efluentes têxteis pelo processo Fenton homogêneo, os resultados mostraram que a remoção de cor é bastante rápida. A remoção máxima de DQO com mínimo custo foi obtida na relação mássica [Fe]T:[H2O2] igual a 400mg/1000mg. As análises de DBO e toxicidade aguda mostraram que os compostos remanescentes são biodegradáveis e não tóxicos. Em virtude do grande volume de lodo gerado durante o processo Fenton Homogêneo; foi proposta a degradação do efluente têxtil por um processo heterogêneo em que a fonte de ferro utilizada foi um compósito Fe2O3/carvão mineral adsorvente, com o objetivo de eliminar a etapa de coagulação após a reação Fenton. Os resultados mostraram que o compósito pode ser utilizado como catalisador para a decomposição do peróxido de hidrogênio para produzir radicais hidroxil, que decompõem os compostos orgânicos presentes no efluente têxtil. A cinética de decomposição do peróxido de hidrogênio foi descrita de acordo com o mecanismo de Langmuir-Hinshelwood e é aproximadamente independente do pH
Kevin Fenton: A Reading
No full textThe John S. Lucas Great River Reading Series (GRRS) hosts Winona native and author Kevin Fenton. Fenton will read from his new novel Cyan Magenta Yellow Black published by Black Lawrence Press, 2025.
Kevin Fenton is the author of Merit Badges, which won the AWP Prize for the Novel and the Friends of the American Writers Award, and Leaving Rollingstone, which Patricia Hampl called “the most important memoir to come out of the Midwest (or anywhere) in years.” He works as an advertising writer and creative director; in that capacity, he’s published essays in the design quarterlies Émigré and Eye (London), the anthology Looking Closer 2: Critical Writing On Graphic Design, and the UX design blog Boxes and Arrows. He got a slightly better education than he deserved at Beloit College, the University of Minnesota Law School, and the University of Minnesota MFA program. He lives in St Paul with his wife Ellen and his greyhound Evie
Removal of color and organics by Fenton related process
No full text碩士Fenton程序兼具氫氧自由基(OH‧)氧化及鐵鹽混凝雙重功能去除有機物，本研究探討Fenton相關程序去除色度與DOC之效率與去除機制，Fenton相關程序包含混凝、Fenton及Fenton-like程序。以反應性偶氮染料Evercion Red H-E3B與聚乙烯醇(Poly(vinyl alcohol), PVA)配製染料濃度20~100 mg/L、PVA 50 mg/L之人工染整廢水，以pH、鐵鹽種類與加藥量及H2O2加藥量為操作變數，所有實驗皆採取瓶杯試驗。
研究結果顯示Fenton程序之最佳操作pH範圍為2.5~4，色度及DOC去除率可達95 %及78 %以上。Fenton及Fenton-like程序於低鐵鹽加藥量(5 mg/L)，色度去除率可達90 %以上，但DOC去除率低於13 %，脫色所需之鐵鹽加藥量低於混凝程序，Fenton相關程序單位鐵鹽加藥量去除色度約為混凝之6至7倍 ，Fenton程序氧化與混凝去除之色度分別為88.9 %與2.7 %，脫色以氧化機制為主。高鐵鹽加藥量(50 mg/L)時，可同時去除DOC與色度分別達75%與95%以上，DOC去除效果則以Fenton-like最佳(Fenton-like>混凝≒Fenton)。Fenton氧化與混凝機制去除之DOC為7.9 %與72.9 %，Fenton-like程序則為3 %與74.2 %。增加鐵鹽加藥量可提升去除DOC之成效，混凝機制去除之色度隨鐵鹽加藥量增加而趨顯著。此外，增加H2O2加藥量雖可增加氫氧自由基生成，但仍無法提供礦化去除DOC，增加H2O2加藥量提高無法顯著提高DOC去除率。依本研究結果，建議廢水脫色採用以氫氧自由基氧化為主之Fenton、Fenton-like程序；，同時脫色去除DOC則採用鐵鹽混凝程序。The purposes of this study are to investigate the removals of color and dissolved organic carbon (DOC) by ferric coagulation, the Fenton and Fenton-like processes, to compare the removal mechanisms of color and DOC among three processes. The synthetic colored wastewater samples were prepared from 20~50 mg/L of a red reactive azo dyestuff (Red H-E3B) and 50 mg/L of polyvinyl alcohol (PVA).The experimental variables studied include dosages of iron salts (ferrous and ferric) and hydrogen peroxide (H2O2), pH. All experiments were conducted by the Jar test.
The result shows that more than 95 % and 78 % of color and DOC can be removes by Fenton and Fenton-like processes when pH is between 2.5 to 4. In low iron dosages (5 mg/L), by both Fenton and Fenton-like processes, the color removals was higher than 90 %, but the removal of DOC was lower than 13 %. The iron dosages used for decolorization by Fenton and Fenton-like processes are lower than ferric coagulation. The ratio of color removal efficiency, expressed by color removed per iron dosage, between Fenton related processes and ferric coagulation was 6~7. The ratio of color removal by OH． Oxidation and ferric coagulation was 32.9 : 1 and 1.37 : 1 by Fenton and Fenton-like processes, respectively.
In high iron dosages (50 mg/L), Fenton-like process has the best efficiency of DOC removal between ferric coagulation and Fenton related processes. The ratio of DOC removal by OH． Oxidation and ferric coagulation was 1 :9.2 and 1 : 9.39 by Fenton and Fenton-like processes, respectively. Increase H2O2 dosages can increase the ratio of color removal by ferric coagulation by Fenton process. In Fenton-like process, the ratio of color removal increase when H2O2 dosages increase. For the removal of DOC, increase H2O2 dosage won’t improve the efficiency of DOC.
It was also found that the non-color background organic compound PVA can complete with the red dye H-E3B for OH．, leading to the reduced color removal as the PVA content increases. Therefore, it demonstrated that the removal of color is the OH． Oxidation and the removal of DOC is ferric coagulation by Fenton related processes. It is concluded that both the Fenton and Fenton-like processes were better used for color removal but DOC removal.圖目錄 III
表目錄 IV
第一章 前言 1
1-1 研究緣起 1
1-2 研究目的 2
第二章 文獻回顧 3
2-1 染整廢水特性及處理技術 3
2-1-1染整廢水特性 3
2-1-2 染整廢水處理技術 6
2-2 化學混凝理論及處理染整廢水 7
2-2-1 化學混凝理論 7
2-2-2 化學混凝法處理染整廢水 10
2-3 Fenton程序處理染整廢水 12
2-3-1 Fenton程序理論 12
2-3-2 Fenton程序影響因素 14
2-3-3 Fenton程序處理染整廢水 16
第三章 實驗材料與方法 18
3-1 實驗材料 18
3-1-1 人工染整廢水 18
3-1-2 實驗藥品 21
3-1-3 實驗設備 22
3-2 實驗方法 23
3-2-1 化學混凝與Fenton程序瓶杯試驗 23
3-2-2 水質分析 24
第四章 結果與討論 25
4-1 鐵鹽混凝去除色度與DOC 25
4-1-1 鐵鹽加藥量對化學混凝去除色度之影響 25
4-1-2鐵鹽加藥量對化學混凝去除DOC之影響 25
4-2 Fenton程序去除色度與DOC 28
4-2-1 pH對Fenton程序去除色度與DOC之影響 28
4-2-2 鐵鹽加藥量對Fenton程序去除色度與DOC之影響 30
4-2-3 H2O2加藥量對Fenton程序去除色度與DOC之影響 32
4-2-4 Fenton程序去除色度與DOC之機制 34
4-3 Fenton-like程序去除色度與DOC 38
4-3-1鐵鹽加藥量對Fenton-like程序去除色度與DOC之影響 38
4-3-2 H2O2加藥量對Fenton-like程序去除色度與DOC之影響 40
4-3-3 Fenton-like程序去除色度與DOC之機制 43
4-4 各程序去除色度與DOC效能之比較 47
4-4-1 各程序單位鐵鹽加藥量去除色度與DOC效能之比較 47
4-4-2 有機物背景濃度對各程序去除色度影響之比較 51
第五章 結論 52
參考文獻 53
圖3- 1 Evercion Red H-E3B之UV-VIS光譜圖 19
圖4- 1鐵鹽加藥量對化學混凝去除色度與DOC之影響 26
圖4- 2鐵鹽加藥量對化學混凝去除色度之影響 27
圖4- 3鐵鹽加藥量對化學混凝去除DOC之影響 27
圖4- 4 pH對Fenton程序去除色度與DOC之影響 29
圖4- 5鐵鹽加藥量對Fenton程序去除色度與DOC之影響 31
圖4- 6鐵鹽加藥量對Fenton程序去除色度與DOC之影響 31
圖4- 7 H2O2加藥量對Fenton程序去除色度與DOC之影響 33
圖4- 8 H2O2加藥量對Fenton程序去除色度與DOC之影響 33
圖4- 9不同鐵鹽加藥量對Fenton程序色度溶出之影響 36
圖4- 10不同鐵鹽加藥量對Fenton程序DOC溶出之影響 36
圖4- 11不同H2O2加藥量對Fenton程序色度溶出之影響 37
圖4- 12不同H2O2加藥量對Fenton程序DOC溶出之影響 37
圖4- 13鐵鹽加藥量對Fenton-like程序去除色度與DOC之影響 39
圖4- 14鐵鹽加藥量對Fenton-like程序去除色度與DOC之影響 39
圖4- 15 H2O2加藥量對Fenton-like程序去除色度與DOC之影響 42
圖4- 16 H2O2加藥量對Fenton-like程序去除色度與DOC之影響 42
圖4- 17 Fenton-like程序於不同鐵鹽加藥量時色度之殘留率變化 45
圖4- 18 Fenton-like程序於不同鐵鹽加藥量時DOC之殘留率變化 45
圖4- 19 Fenton-like程序於不同H2O2加藥量時色度之殘留率變化 46
圖4- 20 Fenton-like程序於不同H2O2加藥量時DOC之殘留率變化 46
圖4- 21各程序之色度殘留率 49
圖4- 22各程序之DOC殘留率 49
圖4- 23有機物背景濃度對各程序去除色度之影響 51
表2- 1典型紡織染整廢水特性 4
表2- 2我國目前印染整理業規範之放流水標準 5
表2- 3常用之混凝劑 9
表3- 1人工染整廢水之色度與DOC資料表 18
表3- 2紅色反應性偶氮染料Evercion Red H-E3B基本資料 19
表3- 3水溶性高分子化合物聚乙烯醇基本資料 20
表4- 1混凝、Fenton及Fenton-like程序於低鐵鹽加藥量時，去除色度及DOC之比較。(Fe2+ / Fe3+ =5 mg/L) 50
表4- 2混凝、Fenton及Fenton-like程序於高鐵鹽加藥量時，去除色度及DOC之比較。(Fe2+ / Fe3+ =50 mg/L) 50學號: 697480605, 學年度: 9
Avaliação do processo Foto-Fenton aplicado ao efluente têxtil com alta concentração de sólidos
Full text linkTCC(graduação) - Universidade Federal de Santa Catarina. Centro Tecnológico. Engenharia Sanitária e Ambiental.A indústria têxtil é responsável pela utilização de grandes volumes de água em seus processos industriais, como consequência, um grande volume de efluente é gerado. A presença de cor, devido ao uso de corantes nos processos industriais, é uma característica desse tipo de efluente. Neste cenário surgem os Processos Oxidativos Avançados (POAs) que conseguem promover a mineralização da matéria orgânica com consequente remoção da cor. O presente trabalho tem como objetivo geral avaliar o processo Foto-Fenton no tratamento de efluente têxtil com alta concentração de sólidos. O efluente têxtil utilizado nos experimentos Foto-Fenton foi coletado na indústria após o tratamento biológico e a pesquisa foi realizada em duas etapas: planejamento fatorial e realização dos experimentos 1 e 2. O experimento 1 aconteceu em um reator com lâmpada de vapor de mercúrio de baixa pressão e o experimento 2 em um reator com lâmpada de vapor de mercúrio de média pressão. O tempo de exposição à radiação UV foi de 120 minutos, realizando coletas em tempos pré-determinados (5, 10, 15, 20, 25, 30, 45, 60, 75, 90, 105,120 minutos) para análise da cor. Os parâmetros analisados foram: pH, COR, COTd, H2O2, Ferro, Alcalinidade, ST, SDT e SST. A remoção de cor foi de 21% e 50% no experimento 1 e 2 respectivamente. A remoção de COTd foi de 62% no experimento 1 e 75% no experimento 2. O efluente tratado se manteve fora dos padrões exigidos pelo setor têxtil para que seja possível seu reúso nos processos de produção, refrigeração ou geração de vapor
‘Wounded Parties’ (2024) by David Fenton
No full text‘Wounded Parties’ (2024) NTRO Rationale
The research field is Performance Studies, specific to the practice of live art, and within that field the theoretical concerns are the monstrous feminine, post-humanism/new materialism, queer theory and performance ontology. All are central to the question(s) of the research. The methodology – which also informs the research question(s) – are interdisciplinary, intermedial, autoethnographic and process art based.
The primary question is ‘In what way does “Wounded Parties” (2024) by David Fenton maintain its ontology of performance when presented as an artifact?’ Sub questions that are concerned with the work are ‘In what way can the monstrous feminine intersect with post-human/new materialist and queer theory conceptions in digital performance to form a new expression of the artist’s own contingent masculine monstrousness?’ and ‘In what way can the auto-biographical images collected in the form of wounds (over time) operate as auto-ethnographic data?’
The theoretical context of the practice includes theories of the body in/through performance and theories of form and methodology. They are…
• Live Art: ‘Live Art is a cultural strategy to make space for experimental processes, experiential practices, and the bodies and identities that might otherwise be excluded from traditional contexts. Rather than a description of an artform or discipline, Live Art is a way of thinking about what art is, what it can do, and where and how it can be experienced. Some may experience Live Art in a gallery, others in a theatre, and others still in forests or town squares, or as a process in which they are involved’ (What Is Live Art?, n.d.).
• Intermedia: Chapple and Katenbelt describe intermedia in relation to theatre as ‘a hyper medium offers a staging space where such realities in-between performer, computer-generated realities and the audience perception of those realities is realized in performance’ (2006, p.19). Further (Fenton, 2008) in reference to Bolter and Grusin (2000) notes that ‘intermediality can work very simply in performance, merely as a convergence of media through a prosthetic relationship, where one media extends the meaning and aesthetic language of the other through remediation’ (pg. 110).
• The Monstrous Feminine: In Creed’s work The Monstrous-Feminine (2015) she harnesses Kristeva’s psychoanalytic framework to explore multiple archetype subject to the abjectification of the female body which are ‘crucial to the functioning of the patriarchal order’ (pg.166). The ‘monstrous feminine’, is a feminist move towards a post-human deconstruction of object/subject. Creed’s positioning envisions an alternate reconstruction of patriarchal hegemony, which has implications for masculinity studies, wherein the masculine is destabilised and provisional.
• Post-humanism/New materialist: ‘A post-humanist account calls into question the givenness of the differential categories of “human” and “nonhuman,” examining the practices through which these differential boundaries are stabilised and destabilised…’ (Barad, 2003: 808). While new materialism ‘…a term coined in the 1990s to describe a theoretical turn away from the persistent dualism in modern and humanist traditions whose influence are present in much cultural theory’ (Dolphijn et al., 2012, cited in et al., 2012, cited in Sanzo, 2018). Specifically, Barad, through a post-structural feminist lens, emphasises ‘how matter comes to matter’ (2003). In this new materialist approach Barad recommends the operational paradigm of performativity. Barad states, ‘A performative understanding of discursive practices challenges the re-presentationalist belief in the power of words to represent pre-existing things. Performativity, properly construed, is not an invitation to turn everything (including material bodies) into words; on the contrary, performativity is precisely a contestation of the excessive power granted to language to determine what is real’ (Barad, 2003: 2).
• Autoethnography: The work is autoethnographic and follows in a tradition of Live Art and Process Art performance which is then mediatised. Autoethnography, is a method which ‘make[s] the researcher's own experience a topic of investigation in its own right’ (Ellis and Bochner, 2000: 733). Significantly, this study is a performative autoethnography, ‘the critical stance of the performing body constitutes a praxis of evidence and analysis’ (Spry, 2011: 19). The site for data collection is the performance process in its entirety. Thus, the conceptualisation, embodiment, material crafting, presentation, and digital refinement are all processes that hold autoethnographic data. Importantly, ‘Autoethnography seeks to communicate the mechanisms of the [performers] “inner world”’ (Holt, 2003: 5). Specifically, the type of autoethnography implemented is ‘estrangement autoethnography’, in this case an autoethnography based on uncomfortable everyday accidents (and or formal medical procedures) that wound or draw blood. Hughes and Pennington define estrangement autoethnography as a method ‘in which the researcher purposefully performs in countercultural ways, thinking and acting in ways that are counter to the status quo, the norms and rules of the dominant culture. In this way, the autoethnographic researcher can critically and reflexively examine …in an estranged state and respond to the theoretical body of knowledge on the area being studied’ (Hughes and Pennington, 2017: 19).
• Process Art: ‘Process art emphasizes the “process” of making art (rather than any predetermined composition or plan) and the concepts of change and transience, as elaborated in the work of such artists as Lynda Benglis, Eva Hesse, Robert Morris, Bruce Nauman, Alan Saret, Richard Serra, Robert Smithson, and Keith Sonnier. Their interest in process and the properties of materials as determining factors has precedents …’ (Process Art, n.d.)
‘Wounded Parties’ (2024) is a series of photographs of wounds the artist/researcher, David Fenton, has incurred and recorded over since 2023, stitched together to create a digital composition which is accompanied by a QR code of the process of making the work. As such, the work is presented as both artifact and performance – overall the combination of artefact/performance constitutes ontologically the work as a performance.
The background of the work stems from a series of works called ‘Field: White-card’ (2023/4), which commenced creation and investigation in late 2023. ‘Field: White-card’ has had three iterations all of which have investigated de-anthropocentric performance. The most recent NTRO was called ‘Field-Canvas’ (2024) and was a transitionary work that started to challenge how the presentation of a traditional artefact could also maintain the ontology of its original intent as a performance. New knowledge that informed the artist’s methodology was the inclusion of a QR code along with the artefact that operated as Bolter (1991, p. 25) describes hypertext as “Electronic writing [which] is…not the writing of a place, but rather a writing with places, spatially realized topic[s]” [original emphasis]. This writing with place leads the viewer into more in-depth performative understandings of the work’s construction and as such alternative meaning through alternative perceptions of the stability of the work. This was applied to the ‘Wounded Parties’ (2024) and the artifact as well as the QR code (leading to the performative process of making the work) were included in the ‘Resilience’ exhibition at St Andrew’s Toowoomba Hospital August 2024.
Performance Ontology: New knowledge manifests materially in two ways within the work. It is the first digital collage the artist has attempted/performed. This is a new formal application for the artist who has predominately worked in ‘live’ performance. Here the live performance of the work is mediatized at least three times. Firstly, through its original capture, second through its digital collage manipulation and third through the QR code conveying the performance of the whole process. As such, this has become an interdisciplinary foray into a deeper understanding of intermedia for the artist. The work troubles the field by troubling the ontological status of the artifact, destabilizing the primacy of its reception as a static object and reconceiving the work as a work ‘in a performative process’. It contributes as it were to a significant debate concerning the ontology of the still image. For example, in Derrida’s notion of hauntology he expresses the ontology of the photographic image as an operation of metonym, a substitution, for what was or what may have been. Derrida proposes that the ‘living present divides itself’ ( Derrida and Stiegler, 2002; 51). The photographic referent has no ‘presence’ of itself after itself, but rather exists as an ontological paradox, a process of disappearing and becoming. In this way a work that has been mediatized three times plays with the notion of presence, plays with the ontology of performance through multiple ‘re-mediations’ (see Bolton and Grusin 2000) and as such, a multiplicity of readings and experiences become available to the percipients – those who ‘perceive’ the work.
Monstrous Post-humanism: With regards to content the work is akin to live art, often informed by the monstrous feminine. Here, however the work examines the wounded masculinity of the artist. Deconstructing, repeating, and reframing that masculinity through a queer theory lens. As such, the work can be seen as both body parts (fingers) but also genitalia. This would seem an inevitable consequence of ‘Filed: white-card’ that endeavored to destabilise the body’s primacy of performance so that (through a new materialist imperative) the body operated as an equal inter-actant in the assemblage. Instead, here in ‘Wounded Parties’ (2024) the artist/research has placed the body central with primary status. Here the masculine wounded body is not denied or reduced to mere material but forms the entire landscape of the material of the work. This is a breakthrough into a new form of expression for the artist, where before the body was interacting with other material objects, in an endeavor to reduce its primacy (i.e. de-anthropocentric performance) here the body in the digital intermedial form can only interact with itself, forming reconfigurations impossible to form through live performance.
The work contributes to its field in as much as the content continues a conversation concerning the necessity to reframe the masculine through feminist notions of the body in performance. It is also significant as it is an affirmation of post-human positioning of the male body (wounded, incomplete and provisional) in response to itself i.e. intar-subjectively. Here there are other practitioners in the field who have performed in this monstrous and queer territory and indeed have had their performance re-mediated from the live to the mediatised. For example Paul McCarthy’s early Live Art works, which trouble the ongoing concerns of what is permissible, between live acts and the audience. Additionally, the performance oeuvre of other artist’s work such as Hermann Nitsch, Franco B, Ron Athey, Karen Finley and Holly Hughes, in the 21st century still remain transgressive and shocking. They trouble the boundaries of the body as it performs itself, with its own fluids, food and other substances.
Regarding the form, the work is significant to the field as it attempts to destabilise the form in an interdisciplinary, intermedial manner while maintain the ontology of performance. This destabilisation of both content and form challenges the perception of the viewer.
The work was not funded, there were no collaborators nor have there been any peer reviews as a result of the exhibition at St Andrew’s Hospital Toowoomba.
There was some concern that the work might be too incendiary or grotesque and it with reviewers by the curator Dr Rhi Johnson and the UniSQ School of Creative Arts Head of School Dr Kyle Jenkins and it was deemed appropriate for the exhibition context. In this respect it has been reviewed by two significant artists.
The work is exhibited alongside other significant artist such as Kyle Jenkins, Rhi Johnson, David Usher, Rachel North, Linda Clark, and Danish Quapoor (to name but a few).
The venue itself is significant to the UniSQ School of Creative Arts they have a Memorandum of Understanding with the hospital and the work forms part of the overall school’s research agenda in Community Health and Wellbeing.
References:
• Barad, K. (2003). Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter. Signs: Journal of Women in Culture and Society, 28(3), 801–831. https://doi.org/10.1086/345321
• Bolter, J. D. (1991) Writing Spaces. Hillsdale, N.J.: Lawrence Erlbaum Associates.
• Bolter, J. D. and Grusin, R. (2000) Remediation: Understanding New Media. Cambridge, Mass: MIT Press.
• Chapple, F. and Kattenbelt, C. (Eds.) (2006) Intermediality in theatre and performance. Amsterdam: International Federation of Theatre Research.
• Creed, B. (2015). The Monstrous-Feminine (0 ed.). Routledge. https://doi.org/10.4324/9780203820513
• Ellis, Carolyn and Bochner, Art (2000). Autoethnography, Personal Narrative, Reflexivity: Researcher as Subject. Handbook of Qualitative Research (2nd Ed.), [online] pp.733–768. Available at: https://digitalcommons.usf.edu/spe_facpub/91.
• Fenton, D. (2008). Unstable acts: A practitioner’s case study of the poetics of postdramatic theatre and intermediality. [Queensland University of Technology]. https://eprints.qut.edu.au/16527/
• Holt, Nicholas L. (2003). Representation, legitimation, and autoethnography: An autoethnographic writing story. International Journal of Qualitative Methods, 2, 18-28.
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Comparisons of treatment of colored wastewater between ferric and Fenton coagulation
No full text碩士本研究以Evercion Red H-E3B反應性染料配製100 mg/L人工色度廢水，以鐵鹽(亞鐵及三價鐵)與過氧化氫加藥量、pH等為操作變數，研究目的為探討鐵鹽（三價鐵）混凝、Fenton、Fenton-like程序去除色度與溶解性有機物（DOC），同時比較各處理程序色度、DOC之去除機制。所有實驗採瓶杯試驗，人工色度廢水含色度及DOC分別為6,500單位(以ADMI方法表示)及16.5 mg/L。此外，各程序去除色度與DOC機制比較實驗之皆控制pH 4。
研究結果顯示Fe3+混凝與Fenton混凝去除色度、DOC之最佳pH分別為pH 3~5與pH 2~4，色度去除率可達80%以上。Fenton及Fenton-like混凝脫色效果較鐵鹽混凝佳，其單位鐵鹽色度去除量為Fe3+混凝之10.5倍，但鐵鹽混凝、Fenton、Fenton-like 程序於DOC效果上，無明顯差異。Fenton及Fenton-like程序同時具有氫氧自由基氧化及混凝效果，氫氧自由基氧化可有效脫色，但無法礦化DOC。於低鐵鹽加藥量時，脫色主要機制為氧化，色度去除率可達90%以上，DOC主要為氧化去除，但僅有約25%去除率。
於高鐵鹽加藥量時，Fenton及Fenton-like混凝去除率約90%，主要為混凝去除，而非氫氧自由基氧化。比較Fenton及Fenton-like混凝去除色度機制，顯示Fenton程序氧化與混凝脫色比率約4 : 1，相對地Fenton-like程序氧化與混凝脫色比率約為1 : 4。高鐵鹽加藥量時，Fenton及Fenton-like混凝去除色度機制之主要分別為氧化與混凝去除。故Fenton及Fenton-like程序較適用於脫色處理而非去除DOC。The purposes of this study are to investigate the removals of color and dissolved organic carbon (DOC) by ferric coagulation, the Fenton and Fenton-like coagulation processes, to compare the removal mechanisms of color and DOC among three processes. The synthetic colored wastewater samples were prepared from 100 mg/L of a red reactive azo dyestuff, Red H-E3B, and contained color and DOC were 6,500 uint (expressed by ADMI method) and 16.5 mg/L, respectively. The experimental variables studied include dosages of iron salts (ferrous and ferric) and hydrogen peroxide (H2O2), pH. All experiments were conducted by the Jar test. Furthermore, the experiments for comparing the removal mechanisms among three processes were controlled at pH of 4.
The result showed that optimum pH for color removal occurred at pH 3-5 and at pH 2-4 by ferric coagulation and the Fenton coagulation, respectively. The color removal can reach more than 80% by both ferric and the Fenton coagulation processes. The color removals by the Fenton and Fenton-like coagulation were markedly better than ferric coagulation. The ratio of color removal efficiency, expressed by color removed per iron dosage, between the Fenton, Fenton-like and ferric coagulation was 10.5. However, the DOC removals were the same among three processes. Since the Fenton and Fenton-like coagulation have dual functions of the hydroxyl radical(OH●) oxidation and ferric coagulation, the OH● oxidation can effectively remove color, but the removal of DOC was poor. In the presence of low iron dosages, more than 90% of color can be removed mainly by the OH● oxidation, whereas, only 25% of DOC was poorly removed by the Fenton and Fenton-like coagulation processes.
In the presence of high dosages, the DOC removals can reach to more than 90% by both the Fenton and Fenton-like coagulation processes. Moreover, it was observed that the removal of DOC was mainly by ferric coagulation but the OH● oxidation. Besides, comparing the color removal mechanisms between the Fenton and Fenton-like coagulation processes, the ratio of color removal by the OH● oxidation and ferric coagulation was 4 to 1 for the Fenton coagulation. In contract, it was 4 to 1 for the Fenton-like coagulation. Therefore, it demonstrated that the color removal was mainly by the OH● oxidation and ferric coagulation, respectively, by the Fenton and Fenton-like coagulation. It is concluded that the DOC was mainly removed by ferric coagulation but the OH● oxidation. Both the Fenton and Fenton-like coagulation processes were better used for color removal but DOC removal.目錄
目錄 Ⅰ
表目錄 Ⅴ
圖目錄 Ⅶ
第一章 前言 1
1-1 研究緣起 1
1-2 研究目的 3
第二章 文獻回顧 4
2-1 染整廢水與化學污泥基本特性 4
2-1-1染料廢水特性 4
2-1-2 染整化學污泥特性 8
2-2 化學混凝處理染整廢水 10
2-2-1化學混凝理論 10
2-2-2化學混凝法處理染整廢水 14
2-3 Fenton程序處理染整廢水 16
2-3-1 Fenton程序理論 16
2-3-2 Fenton程序影響因素 18
2-3-3 Fenton程序處理染整廢水 20
2-4污泥酸化與污泥脫水特性 23
2-4-1化學污泥酸化原理 23
2-4-2污泥脫水特性 24
第三章 實驗材料與方法 28
3-1 實驗材料 28
3-1-1 人工色度廢水 28
3-1-2人工污泥 31
3-1-3 實驗藥品 32
3-1-4實驗設備 33
3-2 實驗方法 36
3-2-1 三價鐵與Fenton程序混凝瓶杯試驗 36
3-2-2 污泥調理瓶杯試驗 39
3-2-3 污泥過濾SRF試驗 40
3-2-4 污泥脫水CST試驗 41
3-3 水質分析 42
第四章 結果與討論 44
4-1 鐵鹽混凝處理人工色度廢水 44
4-1-1 pH 對鐵鹽混凝去除色度與DOC之影響 44
4-1-2 鐵鹽加藥量對鐵鹽混凝去除色度與DOC之影響 45
4-2 Fenton/Fenton-like程序處理人工染整廢水之影響 48
4-2-1 pH對Fenton混凝去除色度與DOC之影響 48
4-2-2 鐵鹽加藥量對Fenton/Fenton-like混凝去除色度與DOC之影響 50
4-2-3 H2O2加藥量對Fenton/Fenton-like混凝去除色度與DOC之影響 53
4-2-4 鐵鹽混凝與Fenton / Fenton-like混凝處理人工色度廢水綜合比較 58
4-3 鐵鹽混凝與Fenton / Fenton-like混凝去除色度及DOC機制 62
4-3-1鐵鹽混凝與Fenton / Fenton-like混凝去除色度機制之比較 62
4-3-2 鐵鹽混凝與Fenton/Fenton-like混凝去除DOC機制之比較 66
4-3-3 H2O2加藥量對Fenton/Fenton-like混凝去除色度與DOC機制之影響 68
4-4 人工色度污泥酸化及脫水性 71
4-4-1 酸化對污泥體積及固體物減量影響 72
4-4-2 酸化對鐵鹽溶出濃度、回收率與效率之影響 75
4-4-3酸化對上澄液色度、有機物的影響 78
4-4-4酸化對污泥脫水性之影響 80
第五章 結論 83
參考文獻 84
圖目錄
圖3- 1 Evercion Red H-E3B 偶氮染料之UV-VIS光譜圖 30
圖3- 2六連式瓶杯試驗機 33
圖3- 3布氏(Buchner)漏斗試驗裝置 35
圖3- 4毛細汲取時間(CST)試驗設備 35
圖3- 5 鐵鹽化學混凝之實驗流程 38
圖3- 6 Fenton / Fenton-like之實驗流程 38
圖3- 7 Fe 檢量線 43
圖4- 1 pH對鐵鹽混凝去除色度及DOC之影響(Fe3+=50 mg/L) 45
圖4- 2鐵鹽加藥量對鐵鹽混凝去除色度與DOC之影響 47
圖4- 3鐵鹽加藥量對鐵鹽混凝污泥產量之影響(pH 4) 47
圖4- 4 pH對Fenton混凝去除色度及DOC之影響 49
圖4- 5鐵鹽加藥量對Fenton程序處理人工色度廢水之影響 52
圖4- 6鐵鹽加藥量對Fenton程序處理人工色度廢水之影響 52
圖4- 7 H2O2單獨氧化去除色度與DOC之影響( Fe2+=0 ) 56
圖4- 8 H2O2對Fenton / Fenton-like混凝去除色度與DOC之影響(Fe2+ / Fe3+ =5 mg/L) 56
圖4- 9 H2O2對Fenton / Fenton-like混凝去除色度與DOC之影響 57
圖4- 10 Fe3+混凝、Fenton/ Fenton-like混凝經溶出後色度殘留率之比較(H2O2=100 mg/L) 64
圖4- 11鐵鹽混凝與Fenton / Fenton-like混凝色度溶出率之比較( H2O2=100 mg/L) 65
圖4- 12 Fe3+混凝與Fenton/ Fenton-like混凝經溶出後DOC殘留率之比較 (H2O2=100 mg/L) 67
圖4- 13鐵鹽混凝與Fenton / Fenton-like程序DOC溶出率之比較(H2O2=100 mg/L) 68
圖4- 14 Fenton/ Fenton-like色度及DOC溶出率比較 70
圖4- 15 Fenton/ Fenton-like色度及DOC溶出率比較 70
圖4- 16 酸化對鐵鹽污泥重量及體積減少之影響 73
圖4- 17 酸化對Fenton污泥重量及體積減少之影響 73
圖4- 18鐵鹽、Fenton污泥酸化調理後上澄液鐵含量 77
圖4- 19鐵鹽、Fenton污泥酸化調理後鐵回收率 77
圖4- 20鐵鹽、Fenton污泥酸化調理後上澄液色度濃度 79
圖4- 21鐵鹽、Fenton污泥酸化調理後上澄液DOC濃度 80
圖4- 22 酸化對鐵鹽污泥脫水特性之影響 81
圖4- 23 酸化對Fenton污泥脫水特性之影響 82
表目錄
表2- 1典型紡織染整廢水的特性 7
表2- 2 我國目前印染整業規範之放流水標準 8
表2- 3污泥比阻抗與過濾難易程度之關係 26
表3- 1反應性偶氮染料Evercion Red H-E3B基本資料 29
表4- 1鐵鹽混凝與Fenton / Fenton-like混八於低鐵鹽加藥量時去除色度及DOC之比較 (Fe3+、Fe2+ = 5 mg/L) 60
表4- 2鐵鹽混凝與Fenton / Fenton-like混凝於高鐵鹽加藥量時去除色度及DOC之比較(Fe3+、Fe2+ = 50 mg/L) 61
表4- 3 鐵鹽加藥量對人工色度廢水 ( 0.5、50L )之色度與DOC去除效果(pH 4) 71
表4- 4 鐵鹽、Fenton污泥酸化後之減量及鐵溶出特性 74學號: 696480994, 學年度: 9
Tratamento de efluente agroindustrial contendo compostos persistentes por meio dos processos de coagulação-floculação, fenton, foto-fenton, foto-peroxidação e ozonização
Full text linkTese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Engenharia Química.Os efluentes gerados nos mais diversos segmentos de indústrias contêm uma série de compostos orgânicos e, dentre eles, substâncias químicas altamente perigosas, os chamados compostos persistentes de difícil degradação, também conhecidos como recalcitrantes, altamente prejudiciais ao meio-ambiente e que apresentam elevada toxicidade e bioacumulação. Esses compostos não são degradados nos sistemas de tratamento biológico normalmente aplicados nas indústrias, o que faz com que seja de fundamental importância que as indústrias busquem formas de melhorar a qualidade de seus efluentes por meio de modificações no processo ou nos sistemas de tratamento utilizados. Os processos de oxidação química e oxidação avançada têm se destacado como forte alternativa para o tratamento desses efluentes que contêm compostos persistentes. No presente trabalho, o efluente de estudo foi originário de um incubatório de aves e contém uma série de compostos persistentes. Numa primeira etapa, o efluente foi caracterizado e submetido a diferentes tipos de tratamento físico-químicos, como a coagulação-floculação, Fenton, foto-Fenton e foto-peroxidação. Dentre os processos investigados, o tratamento do efluente pelo processo foto-Fenton foi o que se mostrou mais adequado, resultando nas melhores eficiências de remoção de matéria orgânica, de aproximadamente 92% DQO. Posteriormente, o efluente foi submetido a análises de cromatografia líquida acoplada a espectrometria de massas (LC/MS), onde a presença de compostos persistentes foi investigada. Dentre os compostos detectados, confirmou-se a presença no efluente de um composto organoclorado, o pesticida imazalil, que é um fungicida utilizado nas atividades de limpeza da indústria, sobre o qual não há dados na literatura relacionados ao seu tratamento e degradação, sendo, portanto, definido como composto alvo desta etapa do trabalho. A cinética de degradação do pesticida imazalil pelo processo de oxidação avançada, foto-Fenton foi estudada. Paralelamente, investigou-se o tratamento do imazalil pelo processo de ozonização, em uma faixa de pH determinada, onde tert-butanol (t-BuOH) foi utilizado como agente seqüestrante de radicais hidroxilo, para que se pudesse avaliar a ação do ataque direto do ozônio molecular sobre o imazalil. Procederam-se, para ambos os processos, aos estudos de investigação, detecção e identificação dos produtos de degradação resultantes desses processos oxidativos, pelo emprego de LC/MSn (cromatografia líquida acoplada a espectrometria de massas tandem), bem como a avaliação da toxicidade causada por eles. Para cada processo detectou-se a presença de quatro produtos de degradação, antes desconhecidos, cujas estruturas foram elucidadas. As análises de toxicidade resultaram em um decréscimo na toxicidade no decorrer de ambos os tratamentos, indicando que os produtos de degradação formados não são mais tóxicos que sua molécula original, o imazalil. O presente trabalho resultou em uma importante contribuição por apresentar opções de tratamento para efluentes que contêm compostos persistentes, e em especial pelo estudo de degradação do pesticida imazalil, composto não estudado até então e, identificação de produtos de degradação originados nesses tratamentos, antes desconhecidos
Interview with Eleanor Fenton
No full textClarke A. Chambers interviews Eleanor Fenton, graduate of the University and one of the founders of Continuing Education for Women.Fenton, Eleanor; Chambers, Clarke A.. (1995). Interview with Eleanor Fenton. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/49128
Regeneration of activated carbon by fenton and photofenton oxidation for the treatment of phenol wastewater
Full text linkAdvanced Oxidation Processes have emerged as promising technologies for the recovery of carbons saturated with aromatic molecules, owing to their potency to degrade a wide range of organic pollutants by the generation of very reactive and non selective free hydroxyl radicals. The purpose of this work is to study the adsorption of phenol on activated carbons (ACs) and the consecutive in-situ regeneration of carbon by Fenton oxidation. Two different processes have been carried out: - the first one is based on a complete batch system in order to investigate the influence of Fe2+ and H2O2 concentrations; - the second one consists in a continuous fixed bed adsorption, followed by a batch circulation of the Fenton’s reagent through the saturated AC bed, to examine the efficiency of the real process. Two different activated carbons have been also studied: a both micro- and mesoporous AC (L27) and an only microporous one (S23). In the batch reactor containing a 1 g/L phenol solution, the optimal conditions found for pollutant mineralization in the homogeneous Fenton system (Fe2+ = 10 mmol/L, [H2O2] = 1000 mmol/L, corresponding to 6.5 times the stoechiometric amount for complete mineralization) are not the best for AC regeneration: a continuous reduction of adsorption capacity of L27 from 100% to 23% is observed after 3 oxidations, due to the decrease of both AC weight and surface area. Higher concentration of Fe2+ (20 mmol/L) and lower concentration of H2O2 (2 times the stoechiometry) lead to a 50% recovery of the initial adsorption capacity during at least 4 consecutive cycles for L27, while about 20% or less for S23. In the consecutive continuous adsorption/batch oxidation process, the regeneration efficiency reaches 30% to 40% for L27 after two cycles whatever the feed concentration (0.1 g/L or 1 g/L of phenol) and less than 10% for S23 (0.1 g/L of phenol). During oxidation step, Total Organic Carbon removal is found to reach a limit, probably due to the formation of Fe3+/organic acid complex, hindering Fe2+ regeneration. Such complexes are stable in usual Fenton conditions, but can be destroyed by UV radiation. A photo-Fenton test performed on L27 indeed shows almost complete mineralization and improved recovery of AC adsorption capacity although not complete (56% after two cycles)
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