Modelling water flow in a complex watershed in humid a tropical area using SWAT: a case study of Taabo watershed in Ivory Coast

2017 ◽  
Vol 16 (2) ◽  
pp. 157-167 ◽  
Author(s):  
Kouao Armand Anoh ◽  
Tanoh Jean Jacques Koua ◽  
Kan Jean Kouamé ◽  
Jean Patrice Jourda ◽  
François Laurent
Keyword(s):  
Author(s):  
Mirco Nanni ◽  
Roberto Trasarti ◽  
Barbara Furletti ◽  
Lorenzo Gabrielli ◽  
Peter Van Der Mede ◽  
...  

2020 ◽  
Author(s):  
María Cabrera Fernández

<p>In recent years, there has been an increasing number of studies about freshwater micro-litter  and how it ends up in the ocean. Nevertheless, macro-litter studies are not common in freshwater landscapes and yet less frequent among rivers. Almost always, research is focused on estuaries rather than rivers.</p><p>The Asociación Paisaje Limpio has been developed, for some years, several studies as an affordable methodology to measure macro-litter in rivers throughout its.</p><p>This way, our methodology is a combination between research and action. We don’t just tackle the macro-litter data field, but also identify specific litter problems along the river. We act through campaigns, agreement for companies and public administrations, etc.</p><p>A need have been observed to combined different types of methodology to monitoring different types of rivers in order to be able to draw a conclusion:</p><ul><li><strong>Visual counting</strong>: counting floating macro-litter on <strong>surface </strong>using RIMMEL app.</li> <li>By the <strong>riverbank,</strong>through a <strong>Citizen Science</strong> tool create by Asociación Paisaje Limpio and Asociación Vertidos Cero, called <strong>eLitter</strong>. Elitter is harmonized with other marine-litter methodologies (Marine litter watch, MARNOBA in Spain) and its litter classification is based on OSPAR protocol.</li> <li>If the <strong>riverbed </strong>is accessible eLitter is also used, but when is not accessible a dredge "Van Veen" have been used instead. This method has been applied in other marine-litter projects on seabed.</li> <li><strong>Floating booms</strong>: it lets us know plastics rate in captured floating litter, and the water flow extrapolation.</li> <li><strong>Nets from a kayak</strong>: to study the plastic concentration  in <strong>the water column </strong>and the water flow extrapolation.</li> <li><strong>Water quality general analysis:</strong>this analysis is useful to support the hypothesis about litter’s source in a river, mainly where the source is the sewage as happens with wet wipes, ear sticks...</li> </ul><p>-<strong>Case study</strong>: river Lagares, a spanish river in Pontevedra, Galicia. The river Lagares flows into the Atlantic, in a Special Protection Area (SPA), a designation under the European Union Directive on the Conservation of Wild Birds.</p><p>The Asociación Paisaje Limpio is working on this river since 2018. We have applied the different methodologies explained before, in the river Lagares.</p>


2009 ◽  
Vol 15 (2) ◽  
pp. 132-151
Author(s):  
Ruth Skilbeck

Arts journalism and reflective practice intersect in a new field of ‘journalism as research’ (Bacon 2006). This article takes an innovative approach informed by the multimodal, musical and psychogenic fugue to discuss a case study of arts journalism reflexive practice. The journalistic research topic is the impact of the traumatic journey of exiled writers on their creative writing, the empathetic effects of trauma and courage on their advocates and the impacts of researching trauma on the researcher. The journalistic, interview-based articles discussed in the case study are on exiled writers in Australia, Iranian poet-musician Mohsen Soltany Zand and Ivory Coast political journalist Cheikh Kone. In reflecting on processes of writing of the stories, the author begins to outline the foundations of an innovative, critical fugal methodology of reflexive practice for modes and pieces of arts journalism. Image: Exiled Iranian poet-musician Mohsen Soltany Zand giving a reading at Bar Me, Kings Cross, Sydney, September 2007. Photo: Ruth Skilbeck


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