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Item Metadata only Am I in Higher Education’s third space? Who’s here with me?(SEDA: Staff and Educational Development Association, 2024-11-28) Allman, ZoeThe third space is a concept I regularly encounter in articles, calls, and at conferences, but am I in the third space? And who else is here? Following my SEDA blog article (21/08/2024) of the same title, colleagues across the sector, from various roles, some known to me and many unknown, reached out to share their thoughts and responses. This session extends that discussion, are you here too?Item Metadata only I’m in higher education’s Third Space? Who’s here with me?(2024-11-15) Allman, ZoeThe Third Space is a concept I regularly encounter in articles, calls, and at conferences. I increasingly believe I am in the third space and want to understand who is here with me? By exploring who else is in the Third Space we can better understand current perspectives of higher education, the roles and relationships of those who consider themselves Third Space practitioners, how we all contribute to greater understanding and knowledge of the Third Space, and how we can ensure that we recognise and support one-another.Item Metadata only Integrating mental health and wellbeing into education curriculum(2024-11-19) Allman, ZoeItem Open Access Performance evaluation of Phase Change Materials for cooling Photovoltaics and enhancing efficiency in the Global South(1st International Conference of Net Zero Carbon Built Environment, 2024) Khattak, Sanober; Brookbanks, Warren; Yang, SiliangItem Open Access Energy Efficient Cleanrooms: Evaluation of ventilation control scenarios through CFD analysis with experimental verification(CIBSE Technical Symposium, 2024) Yasir, Muhammad; Painter, Birgit; Zalewski, Szymon; Khattak, SanoberItem Embargo “A game of hare and hounds with one small terrier puffing well in the rear”: working at the birth of British silent cinema music'.(Taylor and Francis, 2024-12-31) Porter, LaraineThe practice and performance of silent cinema music was an ephemeral art form that largely passed into memory with the arrival of the talkies in Britain in 1929. It had existed for two decades with the majority of Britain’s 4,500 cinemas playing up to sixty hours of music each week. As such it provided employment for tens of thousands of musicians and entertainment for the majority of the population who were cinemagoers. But despite its ubiquity, there are no extant recordings of cinema music performances from this period and researchers must rely on the traces left by those early practitioners; the sheet and library music that they used and annotated, the voices of the critics who described and debated the merits of cinema music and the autobiographical material of composers like William Alwyn and Louis Levy who forged their careers in cinema music from the silent period. Early instruction manuals hint at key developments in the art and language of film music and silent cinema musicians performing today offer audiences a strong impression of the experience of live music in cinemas. Some like Neil Brand research and publish on the history of their craft. This article uses these sources to consider the development of silent cinema music in Britain from 1909 to the coming of sound in the early 1930s, focussing on the role of the cinema music director, the music publishing industries and instruction manuals that supported their craft as the language of cinema music developed in tandem with film form and style before passing into history in the rush to embrace the talkies.Item Embargo David Kennerley. Sounding Feminine: Women's Voices in British Musical Culture, 1780–1850(Cambridge University Press, 2024-05-29) Porter, LaraineItem Open Access Towards an Acousmatic Narratology: Narrative approaches in acousmatic music(University of the Arts Helsinki, 2024-09-07) Andean, JamesThis doctoral project is an investigation into the narrative aspects of acousmatic music. The goal of the project is, on the one hand, to propose and develop an advanced narrative approach to the acousmatic genre, and on the other to examine, explore, and illustrate this approach through a portfolio of acousmatic compositions. Acousmatic music is a genre of electroacoustic tape music that has its roots in Pierre Schaeffer’s ‘musique concrète’, the fundamental premise of which is the use of recorded sound from the world around us as primary musical materials. Such sounds, while offering significant musical and sculptural potential, also tend to import images of the possible sources – real or imagined – that might have made these sounds. Despite Schaeffer’s insistence on ‘reduced listening’ as the key to ‘musique concrète’, experience quickly demonstrated that it is not possible to fully ‘turn off’ the string of images and associations that accompany such sounds. These tend to build up towards a narrative experience of acousmatic music, which can be proposed as a kind of ‘parallel’ to the more purely musical experience of the work. This project therefore proposes a ‘musical/narrative dichotomy’ that is central to acousmatic music. The written work starts from an overview of existing literature (e.g. Ferrari, Emmerson, Smalley, Young, Norman, etc.), with reference to key ideas from narratology, psychology, and the musicology of electroacoustic music, and is examined from perspectives including embodiment, cultural relativism, and approaches to space and place. These provide a foundation for the development of a more substantial and coherent approach to the narrative properties of acousmatic music, culminating in the proposal of a model of eleven ‘Narrative Modes’ in acousmatic music. The project includes a portfolio of nine acousmatic compositions, which are examined and discussed through the lens of the proposed ‘Narrative Modes’ framework.Item Metadata only A Demand Response-Based Solution to Overloading in Underdeveloped Distribution Networks(IEEE, 2021-05-13) Jibran, Muhammad; Nasir, Hasan Arshad; Qureshi, Faran A.; Ali, Usman; Jones, Colin; Mahmood, ImranThis paper addresses the problem of overloading in power distribution networks, which stems from the transmission systems being incapable of delivering power from source to consumers during peak hours. This causes frequent power-outages (or blackouts), requiring the consumers to rely on alternative energy sources, e.g., Uninterrupted Power Supply (UPS) systems with batteries to meet their essential needs. This paper proposes a demand response (DR) framework to eliminate the problem of network overloading. The flexibility in the consumption of batteries and air conditioners (ACs) is exploited in the proposed framework. The operation of ACs is manipulated while maintaining occupant comfort, and the power flow from mains and batteries is scheduled based on an ensemble of demand forecast avoiding network overloading and consequent power-outages. The problem is modeled in an optimal control setting and solved using a stochastic model predictive control strategy, and a computationally effective method is also proposed to efficiently solve the underlying optimization problems. Towards the end, simulation results show the efficacy of the proposed framework to avoid overloading.Item Metadata only Hydrological Modelling of Data-Scarce Catchments: A Case Study of Namal Valley(IEEE, 2022-07-17) Kashif, Muhammad; Nasir, Hasan Arshad; Ali, Usman; Manzoor, TalhaThis paper considers the problem of modelling ungauged catchments with minimal sensing. We specifically consider the case of Namal lake catchment which either suffers from water scarcity or flooding and the lack of flow sensors makes their prediction a challenging problem. To this end, we perform the hydrological modelling of the catchment for determining the inflows from the streams to the reservoir using essentially rainfall data in the catchment, thereby circumventing the challenges posed by lack of flow sensors data. This is achieved by performing manual calibration of the SWAT model in ArcSWAT. The comparison of simulated water level with the observed water level demonstrates the efficacy of the our approach for modelling ungauged basins. The inflows generated by the proposed hydrological model can then be used in flood forecasting and effective management of reservoir operations.Item Metadata only Identification of Supporting Hyperplanes in Scenario Optimisation Problems with Random Linear Constraints(IEEE, 2020-12-14) Mahmood, Hamza; Nasir, Hasan Arshad; Ali, UsmanUncertain optimisation problems often require satisfaction of possibly infinite constraints, corresponding to each realisation of the uncertain phenomena influencing the problem setup. To find an approximate solution to such problems, randomised approaches such as the scenario approach can be employed where only a finite sample of these constraints are looked at. However, to have a strong probabilistic guarantee on the feasibility of the scenario solution for the original problem, we still need a large number of constraints. This leads to intractability of the scenario problems as well. In this paper we propose a method to remove redundant constraints in the scenario problem, prior to solving the problem itself. We consider a specific class of scenario problems with linear inequality constraints subject to one additive and one multiplicative uncertain parameter. The proposed method exploits the system structure to identify the supporting constraints and it is based on rigorous theoretical footings. The working of the method is also illustrated with the help of a numerical problem.Item Metadata only A Demand Response Framework to Overcome Network Overloading in Power Distribution Networks(Elsevier, 2021-04-14) Jibran, Muhammad; Nasir, Hasan Arshad; Qureshi, Faran; Ali, Usman; Jones, ColinThis paper considers the problem of network overloading in the power distribution networks of Pakistan, often resulting from the inability of the transmission system to transfer power from source to end-user during peak loads. This results in frequent power-outages and consumers at such times have to rely on alternative energy sources, e.g. Uninterrupted Power Supply (UPS) systems with batteries to meet their basic demand. In this paper, we propose a demand response framework to eliminate the problem of network overloading. The flexibility provided by the batteries at different houses connected to the same grid node is exploited by scheduling the flow of power from mains and batteries and altering the charging-discharging patterns of the batteries, thereby avoiding network overloading and any tripping of the grid node. This is achieved by casting the problem in an optimal control setting based on a prediction of power demand at a grid node and then solving it using a model predictive control strategy. We present a case study to demonstrate the application and efficacy of our proposed frameworkItem Metadata only Feature-Film Audio Commentary (full film + deleted scenes, total 3 hours) for the feature film Maurice (James Ivory, 1987, British Film Institute UK Blu-ray Premiere release. [2-disc Blu-ray], BFI, UK, BFIB1330, SKU 5035673013304.(British Film Institute, 2019-03-04) Claire MonkNewly commissioned by the British Film Institute, a research-led, full-film audio commentary and separate deleted-scenes audio commentary (total: 3 hours) for the BFI’s UK Blu-ray premiere edition of James Ivory’s classic gay heritage film Maurice (UK, 1987). My commentary draws on extensive, rigorous primary research in Ivory’s production papers for the film (University of Oregon Special Collections). The BFI edition is the exclusive UK release of Maurice’s 4K digital restoration for its 30th anniversary by the Cohen Media Group (USA), following the restoration’s cinematic re-release, initially across the US (2017), followed by Korea, the UK (2018), Japan and various European territories. My commentary was reviewed by Tom Birchenough (2019) in The Arts Desk as ‘revelatory’ (17 May) https://www.theartsdesk.com/node/83119: “The key extra ... is a 39-minute run-through of the film’s deleted scenes with indispensable elucidation supplied by film academic Claire Monk, who also contributes the full audio commentary that comes with the Blu-ray edition, as well as a lengthy booklet interview with [the film’s lead actor James] Wilby. [...] Monk’s assembly and explanation of such unused material ... fascinates. The way that it follows ideas from germination through development to their final form is revelatory, a glimpse into the cinematic process itself.”Item Metadata only Invited participant in roundtable discussion as journal contributor of: ‘Such emotional sterility proves ideal for the role‘: Hugh Grant’s proto-celebrity and its media (self-)construction around Maurice(Online symposium: BAFTSS [British Association of Film, Television & Screen Studies] Performance and Stardom SIG in partnership with Celebrity Studies (journal, Taylor & Francis), 2023-02-08) Monk, ClaireItem Metadata only Reconsidering ‘The Other Boat’ (1913–1947–1957): Forster’s other passage to India(Conference Keynote: International E. M. Forster Society, 2024-06-24) Monk, ClaireEarly reception of E. M. Forster’s posthumously surviving queer short fictions, predominantly published in 1972 in The Life to Come and Other Stories , immediately established ‘The Other Boat’ as not merely the collection’s supreme achievement – along with ‘The Life to Come’ itself – but, as Oliver Stallybrass puts it, ‘a worthy finale to Forster s fiction’ (1972: xvii). For Norman Page (1977: 60), ‘The Other Boat’ – a 11,227-word novella in 5 chapters – was ‘Forster’s finest story’. For Stallybrass, it showed Forster ‘at the height of his powers, with a tragic grandeur ... unsurpassed even in A Passage to India’ (1972: xvi). 52 years on, however, ‘The Other Boat’, along with the wider queer short fictions, remains perversely little-known or underrated among potential readers and later-generation critics, in paradoxical contrast with the rising appreciation of Forster’s gay novel Maurice (1971). This paper revisits the erotic, violent story of Lionel and Cocoanut, and the spatial, racial and colonial hierarchies and West-to-East movement of both the SS Normannia (Forster’s ‘other’ boat in more ways than one) and Forster’s narrative, to re-open the terms, contextual as well as critical, in which Forster’s ‘most erotic story’ (in the words of his 1990s biographer Nicola Beauman [1993: 255]) – and his story’s erotics – might be understood, in a text which is notable for its polysemic (and debated) ending within a wider – queer – resistance to narrative fixity or narrowly realist reading. I will also briefly consider Simon Dormandy’s experimental 2019 UK stage adaptation of ‘The Other Boat’ (titled The Point of It), which (as its title signals) interweaves ‘The Other Boat’ with two of Forster’s other ‘overlooked’ stories in a modern staging.Item Metadata only Petit’s family plot(Powerhouse Films/Indicator Blu-ray, 2022-02-21) Monk, ClaireTo encounter An Unsuitable Job for a Woman, Radio On director Chris Petit’s little-seen second feature, for the first time 40 years after the film’s production is to experience a sense – or plural senses – of category confusion and evaluative uncertainty. The film’s reception in 1982 (first at the 32nd Berlin Film Festival, where it was in competition but ill-received, then on its limited UK cinema release) confirms that confused or unmet expectations featured significantly in the responses of contemporary critics, exacerbated by Petit’s (presumably calculated) constant use of ellipsis and indifference to loose ends. This essay considers and situates the film’s production and its contemporary reception in relation to the tensions between Petit’s extremely high film-cultural cachet at the time (as Time Out magazine’s Film Editor turned low-budget auteur) and his calculated commercial decision to direct Unsuitable Job as his second feature in a conscious bid for the mainstream and for industry recognition as opposed to niche acclaim.Item Open Access ‘In this damn country which we hate and love’: revisiting My Beautiful Laundrette (1985)(Curve Theatre, Leicester, 2019-09-20) Monk, Claire‘I believe primarily that dramatists are story tellers. … Good writing, born of reality, is the highest form of consciousness. And it is in itself a revolt, it is criticism, protest, rebellion against kitsch, against all forms of domination, against ignorance and prejudice.’ – Hanif Kureishi, ‘The Writer’s Theatre’ (undated) Commissioned in the early years of Channel 4 television by C4’s founding chief executive Jeremy Isaacs and his ‘head of fiction’ David Rose – the founding father of Film on Four, which later became Film4 – and shot on location in six weeks on 16mm film by the Leicester-born director Stephen Frears for £650,000, My Beautiful Laundrette was not conceived as a movie for cinema release. Britain’s new fourth TV channel had launched in November 1982 with a radical vision (barely evident today) which included rethinking the relationship between TV and film in the UK. The initial plan was to offer filmmakers the chance to make features which would be screened on TV, possibly preceded by a short, promotional, cinema release. On a budget of just £6 million per year, in the first ten years Rose commissioned more than 130 completed feature-length films; half achieved a cinema release. Of these, Laundrette was the first big hit which changed the plan. My Beautiful Laundrette is and can be credited with many things: transforming C4 into the new key force in 1980s to 1990s British film production, making Daniel Day Lewis (who played Johnny) a star, launching the British independent production company Working Title (today part-owned by Universal Studios), as a bold breakthrough in gay and British Asian representation, and as a step-change in the style, tone and ambitions of British film. In line with this hybridity, the reinvention of one of the defining, most praised and debated, British films of the 1980s Thatcher decade as theatre is wholly fitting. Indeed, the theatre is where Hanif Kureishi – born in 1954 in middle-class South London suburbia to a British mother and a Pakistani father – started out as a young writer.Item Metadata only Forster and adaptation: across time, media and methodologies(International E. M. Forster Society, 2021-06-07) Monk, ClaireThis paper seeks to advance conversations around Forster and adaptation – or Forsterian adaptation – by appraising the current state of Forster/ian adaptations scholarship and proposing conceptual and methodological tools for advancing the study of this field. As a cross-disciplinary scholar of film, adaptation, literature, popular and critical reception, and digitally enabled participatory culture, my more specific goal is to heighten and extend transdisciplinary awareness of the materials available to be studied, the available methodologies, and their merits and limitations, while identifying issues and challenges for the development of a Forster/ian Adaptation Studies. Structurally, the paper proceeds by identifying ten ‘themes’ – or important considerations – for the study of Forster/ian adaptation. The ten themes look substantially beyond ‘page-to-screen’ adaptation studies to demonstrate the roles and impacts of institutions, institutional practices, personal relations, the successive ‘new’ media of the past century and their advancing technologies and practices, commercial forces, and Forster’s literary estate (as the rights-holders and royalties beneficiaries for his works). Via this approach I call for a closer, evidence-based, attention to film and media adaptation and production processes and their adaptational consequences; and foreground the importance of the visual and unscripted – performed, embodied, intangible and even accidental – elements and determinants of audio-visual adaptation. Temporally, the paper proposes that there have been three phases of Forster/ian adaptation. Phase 1 (1942–1973) comprises those adaptations of Forster’s stories and novels written and produced (broadly) during his lifetime, always for non-cinematic media. Phase 2 comprises the 1984–1992 era of the Forster feature-films cycle, instigated by a (widely disregarded) institutional shift which brought a step-change in the nature of Forster adaptation: for the first time, the development of new adaptations of Forster’s novels, going back to the source, became the norm. Phase 3 comprises everything that comes after the 1984–1992 Forster feature films and also certain earlier adaptations which fall outside the ‘classic adaptation’ category. This third (and current) phase is characterised by its heterogeneity: adaptation to a range of media, across a range of forms and aesthetic approaches, but, I propose, spanning four main areas: Sci-Fi Forster; Queer Forster; The Revisionist or Condescending Forster Adaptation; and twenty-first-century Forsterian Bio-Drama, Bio-Fiction and ‘Literary’ Paratexts.Item Metadata only The case of My Policeman (2012/2022): sex, lies, Forster’s love triangle and promotional biofictionality(Association of Adaptation Studies, 2023-06-09) Monk, ClaireSet mainly in late-1950s Brighton, but bookended by a 1999 ‘present’, Bethan Roberts’ novel My Policeman, published by Random House in 2012, tells the story of a love triangle between two men – sophisticated art curator Patrick and his younger lover, policeman Tom – and a woman – Marion, a schoolteacher – at a date when male homosexuality remained an imprisonable criminal offence in England, prior to its partial decriminalisation in 1967. Marion, the story’s main narrator, marries Tom with no inkling of his sexuality or the true nature of his existing relationship with Patrick, which continues. On realising the truth, she acts in jealousy – and bigotry – with consequences for all three. Roberts’ novel was warmly reviewed. In contrast, the reception of its 2022 feature-film adaptation backed by Amazon Studios has been strikingly vicious (with the venom centrally directed at the casting of Harry Styles as Tom). My paper will unpick the excess of negativity towards My Policeman the film in relation to this conference’s framing concern – who may write, tell or perform a particular story? – but also by reconnecting both novel and film with Roberts’ initial biographical inspiration for My Policeman, which the published text erases. Originally billed as a novel inspired by the novelist E. M. Forster’s enduring, and extraordinary, real-life relationship with the policeman Bob Buckingham and Bob’s wife May from the 1930s until Forster’s death in 1970, My Policeman’s published text – and the film – tell an almost wholly different story, in a different timeline, less fascinating than the facts that inspired it. This last point has not been lost on some of the film’s critics. None seem aware, however, that two stage bio-dramas exploring the Forster–Bob–May relationship already exist as scripts: Scott C. Sickles’ Nonsense and Beauty, staged briefly in the USA in 2016 after a 20-year genesis; and Charles Leipart’s A Kind of Marriage which at 2017 was in development, and received a rehearsed reading at the Donmar’s rehearsal rooms in London. with Alex Jennings as Forster, but has yet to be staged. In contrast with Roberts’ My Policeman, both scripts have yet to attract rights sales (or even a full theatrical staging), reminding us of the close, and particular, relationship between ‘the adaptation industry’ and corporate book publishing (Murray 2012).Item Metadata only From costume romps to queer-cinema milestones: revisiting sexuality, gender, class (and more) through the lens of the ‘Long New Wave’(Symposium Paper: University of Sheffield, 2023-04-20) Monk, ClaireThe ‘post-New Wave’ films and trajectories of the key British New Wave directors in the period from 1963 onwards remain significantly underexplored terrain, particularly in terms of their potential relevance for rethinking and interrogating how we understand the ‘British New Wave’ itself and for the terms in which we might (or might not) conceptualise a ‘Long New Wave’. The individual directorial careers of Anderson, Reisz, Richardson and Schlesinger have, of course, yielded book-length studies; but the impulse in such work remains broadly auteurist, and often loyal to consensus framings of the four as pre-eminently directors of realism and social commitment. In contrast, my paper argues for the importance of two far-less-analysed areas of connection, commonality and development which emerge across the work of Richardson, Schlesinger and (in a smaller way) Reisz from the box-office triumph of Richardson’s Tom Jones (1963) onwards. First, Richardson’s successful foray into the costume romp was merely the first of several significant contributions by all three directors to a post-New Wave shake-up of the historical/costume film during the ‘pre-heritage film’ period (Monk 2021) across a spectrum of genres including ‘classic’ literary adaptation, revisionist British imperial history and twentieth-century retro. Second, the centrality of gay and bisexual directors (Anderson, Schlesinger, Richardson) and collaborations in shaping the British New Wave highlights a need to revisit the place of queerness, and the male as object of the gaze, within these filmmakers’ ‘long’ oeuvres – not least in Schlesinger’s groundbreaking direct contributions to a post-1967 queer cinema. My consideration of both strands highlights the importance of continuing director–star collaborations and, more speculatively, prompts the question of how attention to these directors’ period and queer films might inform a reassessment of the place of sexuality, gender, class and region in their earlier New Wave work.