#1. UEA student house

[jjalproperties]

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[teawiththeot]

United Nations: Due 2030 Also United Nations: Oh we meant Do 2030?

In September 2015, 193 countries met at the United Nations (UN) to plan and adopt 17 global goals and basically ‘transforming and healing the world’. This is how we’ve learnt of the sustainable development goals such as ending poverty and hunger and ensuring everyone has access to clean water, affordable services by 2030. But are ready to have the conversation of that these goals have been all talk and no action? 1) In 2021, global hunger had risen for the third year in a row, according to the latest UN’s world food security report. The National Income Dynamics Study – Coronavirus Rapid Mobile Survey (NIDS-CRAM) revealed that during April/May 2021, approximately 2.3 million households reported child hunger, while an Ipsos study found that more than 40% of South Africans of all age groups were affected by hunger. 2) According to researchers at the University of East Anglia (UEA) and the Global Carbon Project (2018) global carbon emissions were also set to rise by 2% in 2018 to hit their highest ever level. The trend is driven by rises in the use of coal, oil and gas. In South Africa, the petrol price hike is hitting us even if we don’t have cars.😢 3) According to the United Nations, globally, the gender gap has stagnated over the past 20 years. 62% of women are in the labour force, compared to 93% of men. According to the unemployment figures released by Stats SA, unemployment rates for males were 31.4% and females were 34.0%. 4) Globally, at least 773 million youth and adults still cannot read and write, and 250 million children are failing to acquire basic literacy skills. According to nationally representative surveys, more than half (58%) of South African children do not learn to read fluently and with comprehension in any language by the end of Grade 4. A staggering 29% are illiterate. You don’t want to hear anymore statistics, right? Me neither. 😠 the list goes on and on. Unfortunately, these findings are disheartening.

Image 1: sourced from the article: social media Memes as Commentary in Health Disasters in South Africa and Zimbabwe. I have used this image to show how the current living situation through laughter – this cartoon critiques, questions, desensitize and rebels yet taps into the reflection of the living economy of SA. – we are promised change yet no where to be seen.

I do not want to belittle the importance of having the SDGs. These goals are very important, and it will take time, dedication and only with collective effort can change the face of South Africa. However, let’s not wait for change to start at the top to come in our communities because we might be waiting forever; instead let’s convert their promises to action from the bottom. We have a role as individuals and society to attempt to solve our societal problems. I, as a community Occupational Therapy student intend to work towards the following SDGs:

Goal 4: Quality education: in the community we see many children with learning difficulties in the classroom from reading, writing, maths or paying attention in class. I attempt to encourage creche and primary teachers and parents to play a crucial role in shaping a child's success by teaching them how to speak two languages at young age, teach reading books and cultivate that love for books at a young age.  

Goal 5 Gender inequality + Goal 10: Reduce inequalities - To reduce inequalities, attention to the needs of disadvantaged and marginalized: Gender equality and the empowerment of all women and girls by advocating for change. By educating men how they will do differently to help other women, plans to protect women against violence, and denouncing the structures of cultural oppression that women belong in the house. It is the one of ways to dismantle patriarchy we attempt to teach men is to question their daily practice and work through systems they have grown accustomed to.

Goal 3: Good health and well-being: I attempt to focus on maternal health at PHC clinics by equipping pregnant women and all women with the knowledge of having their children’s health and development frequently checked and at the same time looking after their own health. We are having these conversations around mental health, breaking the stigma of ‘having it all together’, adherence to HIV medication and risk of taking substances during pregnancy and encouraging peer support

Goal 8: Decent work and economic growth: attempt to providing capacity building and growth opportunities by providing Work skills training in the community we are working in. The training looks at empowering people especially women with skilled labor to obtain employment for themselves. With the economic and political system of South Africa, we cannot always wait for the government to give us jobs, but we can make our own. I also plan to encourage women to draw business ideas from their strengths, hobbies such as starting a vegetable garden – sell fresh produce

Image2: This is image sourced from UN SDG website of how to achieve the targets of SDG3. The image shows just how superficial the solutions planned are. I am looking at the actions and thinking okay but how? when? How are you including the community who are on the ground?

Image 3: this is from unknown source. A white male is holding this sign in front of the President of South Africa. This is it- to teach men is to question and work through systems they have grown accustomed to

To conclude, we am attempting to do this against a political and economical system that have all forgotten about its people. Working with the minds of individuals who have been in poverty and oppressed and being told for many years to just ‘deal with it’. There is no transformation without breaking ‘its been like that, and it will be that’. To our leaders: I just wanna say: You have met the wrong generation. We are here to breakdown those walls of inequality, patriarchy – no matter how long it takes.

References

https://www.uea.ac.uk/news/-/article/strong-growth-in-global-co2-emissions-expected-for-2018

https://www.un.org/en/un75/women_girls_closing_gender_gap#:~:text=Globally%2C%20the%20gender%20gap%20in,93%20per%20cent%20of%20men

Akala B. (2019). Gender inequality in education is still an issue in Kenya and South Africa. Available at: https://theconversation.com/gender-inequality-in-education-is-still-an-issue-in-kenya-and-south-africa-125747 (Accessed: August 12, 2022)

[mediasinfluencealicia]

Media’s Portrayal of Africa

Alicia Pereira - Student No. 100275824

When I ask you think of Africa what are the first things that come to mind? Most would say something along the lines of poverty, lack of development, conflict, famine, but simultaneously the exotic wildlife, nature and safaris. It can be argued that this is a very one-sided, biased view of the entire continent of Africa, but where do these stereotypes originate from?

What we know about Africa comes from many different sources, as Hawk (1992) highlights: consisting of school textbooks, news media, church missionaries, and the entertainment industry. However, when it comes to the generation we are living in - the media holds vital power, as it is where most individuals come to be informed. With this comes the fabrication of poverty porn - a media discourse that exploits the poor in Africa (Stavinoha, 2019) for sympathy and promotion of non-profits. Keep in mind: media discourses sometimes do not accurately represent the world, they construct ‘social reality’ - warranting, yet constricting our knowledge of the globe.  

1: Poverty Porn - Perpetuating Stereotypes and Denying Real Activism.

Arguably, the issue with poverty porn, as Nathalie Dortonne mentions in a CNN special (2016), is that it is a tactic used by nonprofits to gain contributions. Showing exploitative images leaves many of us feeling ‘uncomfortable, disconnected and guilty’. The image above shows photographers illustrating a picture which may not necessarily be the case, it can be argued that they may be manoeuvring poses and angles to make the child appear more desperate than he may be. Another query that arises is if the child is truly in need, why aren’t the photographers helping? This has connotations to the colonial past where Africa was dubbed a human zoo. Perhaps it is time to change the visual conversation from stereotypes to something more innovative.

Poverty porn defines poverty as ‘observable suffering’ (Dortonne, N. 2016) stemming from the lack of material resources, whilst completely ignoring governmental injustices, political issues and economic debates. Hence, it is fair to say that poverty porn, as a social construction of reality, could be denying real activism.

Effects

Furthermore, a Guardian article written by Remi Adekoya (2013) accentuates how the media’s portrayal of Africa affects her and other Africans. She describes all the images of poverty in Africa as ‘embarrassing’, but simultaneously (as a journalist) acknowledges that negative coverage ‘sells’ better than positive. Another interesting mentioned is how she knows people with African roots living abroad in Europe who are constantly being underestimated in their workplace because of assumptions that they ‘grew up and went to school in a poor, backward environment’ - which can seem demeaning and humiliating. She states ‘that there are many different... stories to be told from Africa’s 54 diverse countries, yet we only hear the same repeated lines’ (Adekoya, R. 2013). This, from my perspective, highlights the Invisibility of Africa. 

2: Massawa, Eritrea’s Red Sea Port

3: Lake Chad - seen to be drying up

Above are two images of Eritrea and Chad to represent said Invisibility of Africa, of all the countries in Africa - these are the ones with the least media coverage. Most Eritrean citizens are lacking basic human rights. Children do not have access to proper education - instead, the government utilises the school system to funnel these kids into army camps, and national service jobs. Moreover, there are plenty of restrictions on freedom of speech, expression, association, and finally: the government fails to recognise the different religions present in Eritrea - deposing religions they do not agree with by putting people under house arrest. Yet, the media is silent.

Lake Chad - a natural resource that enables survival for millions across Africa is drying up, it has shrunk by nine-tenths due to climate change, overpopulation and irrigation (Ross, W. 2018). Yet, apart from a few articles - the media is quiet. 

So the question we need to ask ourselves is why can it be proposed that the media only want to propel a one-sided, extremely biased view of Africa whilst ignoring other ongoing issues? Africa is a massive continent - surely there should be millions of brilliant, positive stories? Portraying one aspect by projecting poverty porn to generate money should not be the focal point of the media, instead they should be more inclusive to social and environmental stories. 

In conclusion, this clip accentuates and summaries my arguments incredibly well - it mentions how ‘media is used as a propaganda tool to put down and destroy the African brand’ (2nacheki, 2018). Overall, change is demanded from the media to portray a better, wholesome perspective of the continent of Africa. 

Bibliography

2nacheki, (Youtube Uploader - 2018) Africa True Story: Western Media war against Africa / Youtube. Available at: <https://www.youtube.com/watch?v=FT0Ndu-gemc>. (Accessed: 22 February 2020) 

Adekoya, R. (2013) Why Africans worry about how Africa is portrayed in Western Media / The Guardian. Available at: <https://www.theguardian.com/commentisfree/2013/nov/28/africans-worry-how-africa-portrayed-western-media>. (Accessed: 21 February 2020) 

Davey, S. (2018) Everything You Need to Know about Poverty Porn / Oaktree. Available at: <https://www.oaktree.org/poverty_porn_101>. (Accessed: 20 February 2020) 

Dortonne, N. (2016) The Dangers of Poverty Porn / CNN. Available at: <https://edition.cnn.com/2016/12/08/health/poverty-porn-danger-feat/index.html>. (Accessed: 20 February 2020) 

Hawk, B. G. (1992) Africa’s media image /. Praeger. Available at: https://search.ebscohost.com/login.aspx?direct=true&db=cat07845a&AN=uea.24701722&site=eds-live&scope=site (Accessed: 19 February 2020).

Redmayne, N. (2018) Eritrea / The Independent. Available at: <https://www.independent.co.uk/travel/africa/eritrea-holiday-visit-africa-asmara-italy-architecture-ethopia-a8668156.html>. (Accessed: 22 February 2020) 

Ross, W. (2018) Lake Chad: Can the vanishing lake be saved? / BBC. Available at: <https://www.bbc.co.uk/news/world-africa-43500314>. (Accessed: 22 February 2020) 

Stavinoha, L. (2019) UEA Module Outline / Lecture Slides / UEA Blackboard. Available at: <https://learn.uea.ac.uk/webapps/blackboard/content/listContent.jsp?course_id=_128190_1&content_id=_2726963_1&mode=reset>. (Accessed: 20 February 2020)

Unknown, Colourful Picture of Africa, / Available at: <https://www.google.com/search?q=africa&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiUsfaZmNvnAhXZUhUIHXmjDGMQ_AUoAnoECBQQBA&biw=615&bih=711#imgrc=3mkpCadgD69erM>. (Accessed: 19 February 2020)

Unknown, Poverty Porn Image, Source: Fair Development Consulting. Available at: <https://www.verveup.com/shesaid/poverty-porn-perpetuating-stereotypes-and-denying-real-activism>. (Accessed: 19 February 2020)

Unknown, (2019) Chad / Unknown. Available at: <https://www.google.com/search?q=chad&tbm=isch&chips=q:chad,g_1:country:3yJ7vzxA45Y%3D&hl=en&ved=2ahUKEwiphsGpnuDnAhUIXxoKHR9YAUsQ4lYoAHoECAEQFA&biw=1440&bih=740#imgrc=plva29Cuf9nS9M>. (Accessed: 22 February 2020)

Wikipedia contributors. (2020, January 18). Human zoo. / In Wikipedia, The Free Encyclopedia. Available at: <https://en.wikipedia.org/w/index.php?title=Human_zoo&oldid=936382075>. (Accessed: 21 February 2020) 

[valentinathinks]

People & Planet’s University League is a comprehensive and independent league table of UK universities ranked by environmental and ethical performance. It is compiled annually by the UK’s largest student campaigning network, People & Planet.

This page is a guide to UEA's compliance with the People & Planet requirements.

1. Environmental Sustainability; Policy and Strategy

Our environmental policy is publically available. UEA's Environmental Sustainability Policy is reviewed annually by the Sustainability Board, and signed off by the Vice-Chancellor.

[UEA Environmental Sustainability Policy]

The Management Review as part of our Environmental Management System (EMS) was is held each January, and the latest version of the Environmental Sustainability Policy was signed March 2019.

UEA environmental strategy sets out time-bound targets. The Environmental Sustainability Policy outlines the University’s commitment to the areas specified. Each area has its own strategy/ policy documents that highlight the targets and timescales. The targets are reported and reviewed through the Sustainability Board, via quarterly reports from each Implementation Team. These are publicly reported through the Annual Environmental Report.

Read more about our Strategy and Policy

2. Human Resources for Sustainability

Sustainability is included within the portfolio of responsibilities of a member of the university senior management team.  Sustainability is included within the portfolio of responsibilities of three members of UEA's Executive Team (the University’s Senior Management Team). Professor Dylan Edwards, Pro-Vice-Chancellor of the Faculty of Medicine and Health Sciences, chairs the Sustainability Board (Dylan Edwards took over from Professor Phil Gilmartin as Chair in May 2019). Professor Mark Searcey, Pro-Vice-Chancellor of the Faculty of Science, and Jenny Baxter, Chief Operating Officer, are also Board members.

[Strategy and Policy page]

[Screenshot of UEA staff portal (password protected): See here]

Staff working in dedicated sustainability roles are listed on the university website. UEA's Sustainability, Utilities and Engineering Department consists of 13 roles. Eleven members of staff work full-time. The Sustainable Laboratories Manager (0.2FTE) and Building Services Engineer (0.4FTE) work part-time.

[Meet the Team]

Staff are supported with a budget for sustainability, and resourcing remains stable. Budget is available annually for Sustainable Performance and Energy Performance.

UEA has invested around £2 million in energy efficiency measures since July 2018. Phase 1 of these measures has reduced our energy use by 7% and Phase 2 has offset the energy use of the New Science Building.

UEA supports a staff engagement scheme to involve staff in improving the environmental performance of the University. Our Sustainability Network is key to delivering campaigns and information across campus. We use Green Impact as a key tool to enable change making champions on campus, as well as running a monthly meeting schedule and a 'Focus On Month' programme to shape engagement.

Green Impact is taking a break for 2019/20, but teams are still working on projects this year.

[Sustainability Network]

[Green Impact @ UEA: including celebrating our previous Award winners]

3. Environmental Auditing and Management Systems

UEA has an externally verified environmental management system (EMS), which covers the whole University estate. UEA passed its ISO14001:2004 audit in May 2015 and the updated ISO14001:2015 Standard in May 2018. We also hold the EcoCampus Platinum award.

[Strategy and Policy page]

4. Ethical Investment

UEA does not currently have an Ethical Investment Policy.

The University divested from fossil fuels in November 2017 and has signed up to the NUS Divest Invest commitment.

5. Carbon Management

UEA has a publicly available carbon management plan which meets the Carbon Trust and most current Capital Investment Framework requirements. On 23 November, 2015, UEA’s Executive Team discussed and approved the 2015-2020 Energy and Carbon Reduction Programme.

The Sustainability Team, in collaboration with colleagues across Estates and UEA, will report annually on progress against the agreed target of reducing carbon emissions by 35% over the next 5 years and a 25% reduction in energy consumption.

[UEA Energy and Carbon Reduction Programme: 2015-2020]

[Energy Efficiency and Carbon Reduction page]

UEA declared a joint climate and biodiversity emergency on World Environment Day, 5 June 2019.  We have committed to net-zero carbon emissions by at least 2050 and are currently investigating our pathways towards this.

Scope 3 emissions are included within UEA's carbon management. Carbon emissions from waste, water and imported electricity are reported in each Annual Environmental Sustainability Report.

Based on EMR methodologies, 77.5% of our scope 1 and 2 emissions are related to non-residential activities and 22.5% are related to student halls of residence. This does not cover privately rented student houses.

Based on EMR methodologies, 51.9% of our reported scope 3 emissions are from non-residential activities and 48.1% are related to student halls of residence. This covers waste and water at the moment.

6. Workers Rights

UEA students created the UEA Fairtrade Society in 2016, which is working with UEA Catering and the Sustainable Development Manager within the Sustainability, Utilities and Engineering Team to re-accredit UEA as a Fairtrade University.

UEA joined the Worker Rights Consortium (WRC) in 2014, allowing us to work towards ensuring the factories we procure from are compliant with the WRC code of conduct. Joining also commits us to conducting business in a socially responsible and ethical manner, and to protect and preserve the global environment.

Electronics Watch: UEA belongs to the Southern Universities' Purchasing Consortium (SUPC) to enable the university to access more financially beneficial contracts and frameworks, and centrally-managed auditing of suppliers and supply chains. SUPC is not a member of Electronics Watch, although they include the terms and conditions in any relevant contracts. For example, the Apple contract has the Electronics Watch T&Cs.

[Sustainable Procurement page - Procurement Team]

[Sustainable Procurement page - SustainableUEA]

[Catering case study: New dairy contract brings improved social sustainability to local region]

7. Sustainable Food

UEA's publically-available Sustainable Food Policy is currently under review. This document is reported to the Sustainability Board. The EMS Implementation Team for Catering involves University, Student Union, and contract caterer representatives.  For the first time, the Sustainable Food Policy will be institution-wide, including both UEA Catering and outsourced providers on campus.

The Sustainable Food Policy commits us to providing sustainable fish, and Red Tractor meat. The Sustainability Team and central catering are working together to increase the provision of vegetarian and vegan food options, and to promote local sourcing. All milk is sourced from local dairies. All vegetables and meat come from a local supplier. The catering teams are focusing on waste reduction and on reducing water and energy use, including through the purchase of new, efficient dishwashers purchased in 2017. Tap water and water machines are available in all catering outlets. Keep Cups and the use of customers' own mugs are subsidised and actively promoted.

Several UEA student societies support sustainable food, from local organic vegbox schemes to bulk purchase options through the Food Co-op Society, to the Green Growers Society's allotments.

[Sustainable Food Policy - currently under review]

[Sustainable Food page]

[Catering case study: New dairy contract brings improved accountability and visibility to campus milk]

8. Staff and Student Engagement

UEA is committed to student and staff engagement for sustainability. KPIs reported quarterly to the Sustainability Board are:

Maintain Sustainable Ways website as a live resource for staff, students, and interested stakeholders

Increase @SustainableUEA social media engagement.

Maintain an active and progressive Sustainability Network, with a cross-section of staff and students represented

Increase in number of participating Green Impact teams from the previous year (Green Impact is taking a break in 2019/20)

Use the Living Lab programme as an opportunity for enhancement of UEA and EMS development.

These targets are reviewed annually by the Communications and Engagement EMS Implementation Team, which includes representatives of UEA operations, students, staff and academic groups.

Students and staff have oversight and involvement in the development and ongoing monitoring of UEA's Energy and Carbon Reduction Programme, and Environmental Policy and strategies. The Student Union has two representatives on the EMS Implementation Teams for 'Communications and Engagement' and 'Carbon Reduction', as well as two representatives on the Sustainability Board for overall oversight of the EMS and sustainability policy/ plan/ strategy.

Engagement opportunities for sustainability are a component of student induction processes. The Sustainability, Utilities and Engineering Department work with the Sustainability Society and Enactus UEA to deliver stalls throughout Welcome Week, as well as hosting events for specific networks. Members of the Department also deliver welcome talks to a number of academic programmes, including all new students of the School of International Development, and Health Sciences (including nursing and paramedic students, who are largely based off-campus). Students in their first year live in on-campus accommodation. All students receive information on waste management and sustainable travel, and on wider sustainability projects within their Accommodation Handbook.

[Communications and Engagement Plan]

[Green Impact @ UEA: a key opportunity for staff and student involvement]

[Go Green Week: annual collaboration with UUEAS]

[Big Holiday Switch Off: example of UEA-wide sustainability campaign]

[June 2017 Newsletter: includes Green Impact celebration, and details of some of our Focus On Month engagement programme]

Sustainability in staff inductions

The UEA Induction Module includes a section on sustainability. The staff training website includes the Sustainable Ways website in its list of essential links.

Training programme held on a secure site. See here for evidence.

UEA Students’ Union is working toward continual improvement for environmental sustainability. They participate in Green Impact Student Unions.

9. Education for Sustainable Development

UEA is in the process of mapping current ESD activity, and supports student and staff engagement in ESD development. The University is investing resource and finances in improving institutional awareness of opportunities to increase ESD; the Sustainable Development Manager will be attending an international conference in September 2017 following separate national and international learning network opportunities.

UEA is a co-founder of the Aurora Network. Network members are committed to working together to find solutions to globally relevant problems, in areas such as sustainability, climate and energy, digital technology and human life and health. Members are actively developing new models for ESD, including through use of the UN Sustainable Development Goals to help structure and report progress.

The UEA Living Laboratory for Sustainability enables student sustainability projects on campus. Examples of coursework or PhD investigations linked to sustainability projects within the University/ Estates include investigations into sustainable travel options; changing messaging to enhance water-saving; social governance for sustainability in the built environment; biodiversity audits and habitat surveys.

The University supports and highlights School, Faculty or Research team projects for Sustainable Development. Find out more here: Research Connections.

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger. The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Julian Stannard

is a poet and a university teacher. He obtained his PhD. from UEA and is now a Reader in English and Creative writing at the University of Winchester, where he is the Programme Leader for the MA in Creative and Critical writing. He writes critical studies – his most recent book was about the work of Basil Bunting   (http://writersandtheirwork.co.uk/index.php/author/authors-s-u/201-stannard-julian) – as well as reviews, essays, and poetry. His most recent collection is What were you thinking? (http://www.cbeditions.com/stannard.html)(CB Editions, 2016). His work appears variously in TLS, Poetry, Manhattan Review, Poetry Review, Poetry London, Spectator, Guardian, Telegraph, The Honest Ulsterman, The Forward Book of Poetry (2017) and Nuova Corrente (Italy). An essay on the poetry of Leonard Cohen appears in Spirituality and Desire in Leonard Cohen’s Songs and Poems (Cambridge Scholars, 2017.) He is at present writing a study of British and American poetry entitled Anglo-American Conversations in Poetry: 1910-2015 (Peter Lang). He has read at various literary festivals, including the Aldeburgh Poetry Festival, as well as literary venues in the UK, mainland Europe and the USA – including London, Amsterdam, Utrecht, Paris, Rome, Prague, Genoa, Munich, New York and Boston. He teaches for the Poetry School (London) and is often invited to organise and lead workshops in a freelance capacity. He is both a Hawthornden and Bogliasco Fellow and has been a visiting Erasmus scholar at Charles University Prague and the University of Warsaw. Presently he is an External Examiner for the MA in Creative Writing at Birmingham City University and has been nominated for both Forward and Pushcart Prizes for his poetry. From 1984 to 2005 he lived for long periods in Italy, where he taught English and American Literature at the University of Genoa. He has written poetry about that mysterious port city and is now working on a bilingual publication of his Genoese poems for Il Canneto Publishers ( Genoa).

http://www.julianstannard.com/about/

The Interview

1. What inspired you  to write poetry?

As a young kid I was sent to a boarding school near Sheffield. I had been living in Malaysia  up until that moment  so boarding school  felt like an unexpected  and unwanted incarceration; it could be  nightmarish at times, and it was always  extremely cold! Reading –  as is so often the case, I think,   was  a way of coping generally  and English  was more or less the only thing I was  reasonably good at . At ‘A level’  we studied  the poetry of Gerard Manley Hopkins  who, it turned out, had actually taught at the school in the  19th century,  and  we also studied The Waste Land  which seemed to resonate across the years. Something in my head said   ‘Holy shit, I think I like this!’

2. Who introduced you to poetry?

Our A level English Lit teacher was an irascible drunken left-wing Scotsman who was nevertheless on occasion  quite brilliant. He didn’t discourage drinking; in fact, he probably saw it as part of our wider education (an extra-curriculum activity), so we would trek across the damp hills looking for accommodating Public Houses.  In the 1970s no one seemed to bother that much about the legal dimension.  A barmaid would say ‘I suppose you’re going to say you’re eighteen?’ and we would say ‘Yes’ in the deepest voices  we could muster.  The beer flowed and in  our state of  inebriation  we would sometimes   talk about  poetry, and  even begin  to write it, in  our heads at least.  At the ages of sixteen, seventeen, eighteen, drinking and writing poetry  and  smoking hash were somehow inter-related and it felt better than most of the other things you were expected to do. The English teacher had a record of Eliot reading The Waste Land which, as it most  likely seemed the easiest option, he   would  play quite often, invariably nodding off before  we got to What the Thunder Said. We knew much of it off by heart. At University, in 1983,  I met Fleur Adcock , who came to give a reading and I realised in an instant that  poetry could be conversational,  colloquial and utterly contemporary. For me this was a real breakthrough!

3. How aware were you of the dominating presence of older poets?

In those days it  was still mostly all about older poets, but less so after meeting Fleur.  At University I read  a lot of medieval poets, including Chaucer, who were in turn  indebted to classical poets.   Later when I moved to Italy in the 1980s I learnt that every school child  could cite something  from Dante’s Divine Comedy. And I learnt that Liguria and Genoa, the city  which for a decade or so  became my home , had a rich literary history.   Which included the presence of Byron, Shelley, Dickens, Lawrence, Charles Tomlinson,  Hemingway, WB Yeats, Ezra Pound, Max Beerbohm, Basil Bunting , Camillo Sbarbaro, Eugenio Montale, Giorgio Caproni, Dino Campana. This year, much to my delight,  the Italian publishers Canneto has published my book Sottoripa (2018), which is  a bilingual  publication of my poems about Genoa, translated by Massimo Bacigalupo. http://www.cannetoeditore.it/libri/arte-e-grafica/sottoripa-poesie-genovesi-di-julian-stannard/ In 2013 the title poem had been  made into a short film by Guglielmo Trupia  which was nominated  at the Rain Dance Film Festival https://vimeo.com/82730928 But it was also in that period –  the 1980s – I got hold of a copy of Michael Hofmann’s Acrimony  –  an outstanding  collection by such a youthful poet  – Again  it  was a case of reading old and new voices  – and then finding  one’s own voice.

4. What is your daily writing routine?

I begin new poems with a mixture of hope and fear and excitement.  Because  I spend a lot of time teaching in  a university which also means  marking, and all that other bureaucratic stuff and then, when possible,  enjoying some recovery time,  I don’t always have a consistent writing routine but I take the opportunities when they arise  – on the train maybe, or weekends or during holiday  time. I spend a lot of time working on drafts or reading new poetry. I like listening to music, especially Thelonious Monk, Miles Davis,  Charlie Parker et al. This helps me write or re-write or just relax. When  my younger son was living  with me I would  listen to  a lot of  Rap – whether I wanted to or not – and when it comes to   the Notorious B.I.G , I have acquired a coating of  expertise! And  sometimes I send poems to friends to see what they think.

5. What motivates you to write?

A response of a kind.  The general weirdness of stuff I think – overheard conversations, things I‘ve read, billboards, train announcements (endless!), anger, desolation, joy, memories. I think we’re living in particularly challenging times; the political climate is worrying, more food banks, more homelessness, more poverty, fear of losing one’s job. The wider international situation too.  I have always been a loyal supporter of the Labour Party so that in itself brings  highs  and lows, rather like watching  your football team play brilliantly for much of the game yet somehow  throw it away  right at the end. Brexit fills me with immense sadness. 6. What is your work ethic? Teaching  often  consumes swathes of my life, it’s  draining , but because I also teach creative writing  I can, from time to time, get inspired by student  work which is wonderful too. It’s a delight to come across real talent and help nurture it.  I like to read  a lot of contemporary poetry and new fiction  generally. I am asked to review quite frequently which is a discipline in itself, a kind of homework, and a way of keeping up to date. Travelling often produces new poetry. Notwithstanding work pressures I manage to write a fair amount; and if a poem demands  to be written I  usually find the time to answer those demands! It’s a lot more enjoyable than writing some anodyne document or funding bid. 7. How do the writers you read when you were young influence you today? Their influence never really goes away, even if you spend a lot of time with newer or different  voices. I think  those ‘early’ poets helped fashion a way of thinking  about poetry  – and it’s  always a great pleasure to return to their  writing, whether it be those earlier generation such as the modernists  –  Eliot ,Pound, William Carlos Williams, DH Lawrence  – or  poets such as Frank O’Hara or Robert Creeley,  and/ or Lowell, Berryman  and co. Not to mention those older contemporary poets, especially if they are still producing new work: poets such as Fleur Adcock, Christopher  Reid, Hugo Williams, Maurice Riordan , Selima Hill, Michael Hofmann-  to name a few.

8. Who of today’s writers do you admire the most and why?

There are so many! There’ s a kind of resurgence in the world of  poetry I feel. I could roll out  a list off the top of my head but I am surely  leaving people  out; but the list would surely include Caroline Bird, George Szirtes, Kathryn Maris, Andrew Macmillan, Declan Ryan, Emily Berry, Tim Cumming,  André Naffis-Sahely,  Claudia Rankine, Sharon  Olds, Annie Freud, Ishion Hutchinson, Luke Kennard, Richard Skinner,  and some pieces  from  Bobby Parker  and Ocean Vuong too. I would also want  to acknowledge the dark genius  of Frederick Seidel, the intimations of mortality still coming from the pen of Clive James. And I take my hat off to my former student and colleague Antosh Wojcik who’s making   quite a name for himself as a performance poet. And why? Variously and varyingly  there is so much  energy  here, a lot of drive, and risk- taking,  and moments of candour (Lowell said ‘ why not say what happened’?)  and plenty of ludic mischief  too and experiment  with form;  in effect some lively conversations between poetry and prose, including  prose poetry, and other media too, including social media.  Some of the poets above work across genres: variously novelists, translators, essayists,  reviewers,  editors, teachers, events’ organisers  and  publishers . Difficult not to mention Charles Boyle, ex-poet, and now writer of prose under various names and the founder of CB Editions. The blogging of Katy Evans-Bush  –  fine poet – has been  significant and the gregarious Bethany Pope, poet and novelist, is now writing more or less daily reports from China.   I look forward to reading her next book.

9. Why do you write?

After forty years or so of doing it  –  oh  my God ! – it’s become a habit, a way of thinking and even a way of  living. Sometimes reportage, sometimes invention, I guess it’s a way of dealing  with some deep, not always unpleasant,  itch  – which in turn probably answers to  all  sorts of Freudian-like  neuroses… Writing, at times, is totally satisfying and, in a practical sense, quite easy to do. I don’t need a studio or a theatre or complicated props.  Just the page itself, I guess, which  is a kind of stage. 10. What would you say to someone who asked you “How do you become a writer?” I’d say Read, read and read yet more  and try thing out. Experiment, take risks, be thick-skinned,  and try and get  plenty of sleep!

11. Tell me about the writing projects you have on at the moment.

My last  English collection came out in 2016 –  What were  you thinking? (CB Editions http://www.cbeditions.com/stannard.html) ; so  I’m grappling  with the creation of a new MS – several pieces of which  have been published in  magazines. Any new collection  has , at least for me , a rather  aleatory dynamic –  feeling  my way forwards, as it  were, letting  poems butt their way in, or conversely slide away … I’m also writing a book called Transatlantic Conversations – which is about the relationships, harmonious or otherwise,  between British and American  poetry; this is for the publisher Peter Lang. As well as the above ,I’m  also working with  the novelist and artist Roma Tearne on a collaborative  project  called  Heat Wave  – It’s s a sort of dialogue between  poems of mine and Roma’s  fantastic  paintings . Not an ekphrastic venture I hasten to add. More a dark night of the soul with some gleeful moments too! A kind of synaesthetic fugue…. It’s coming out next year thanks to Green Bottle Press. We’re planning  several readings /events so watch this space!

Wombwell Rainbow Interviews:  Julian Stannard  Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.

[netmyname-blog]

Jake Renold GA

New Post has been published on https://nerret.com/netmyname/jake-renold/jake-renold-ga/

Jake Renold GA

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[definingvalue-blog]

‘New life for post-war campuses. Why universities are willing to invest into preservation of their modern campuses and how it can be effectively done.’ (Part VI)

Conservation Development Strategy & Concrete Preservation. The case of UEA Lasdun’s Norfolk & Suffolk Terraces student residences in Norwich.

(Image 4-1 ‘UEA Buildings under construction,circa 1967′)

In case of University of East Anglia case study, the essay will be looking at another successful preservation strategy for Grade II* listed student residential complex designed by Denis Lasdun between 1964-68. We will be looking at agencies, who were involved into developing a new preservation strategy and refurbishment process for this project, which has been used by English Heritage (now Historic England) as a pilot study to simplify listing process procedure for government assessment and creation of Heritage Partnership Agreement based on UEA Conservation Development Strategy adopted for the scheme.[1] The second part of this essay is briefly investigating into concrete preservation framework and specific restoration measures in relation to Dunelm House and how it can affect the quality of the work. Within our current research, we are aware that Dunelm House has been suffering from concrete deterioration and requires extensive repair strategy according to Arup’s assessment report commissioned by Durham University. Therefore, the researched case studies can suggest suitable protection measures for affected concrete to mitigate any damage in case of potential plans to preserve the building.

(Image 4.2 ‘Building during construction, circa 1967’)

Building in Context

The University of East Anglia was established in 1960, and Sir Denis Lasdun (1914-2001) was appointed as consultant architect in April 1962, where he proposed the 'five-minute university' scheme with long study departments building and adjacent by walkways student accommodation blocks gathered in lines on a gently sloping site in order to provide views on picturesque landscape with its open, marshy Yare river valley below.[2] Only ten buildings forming two large Norfolk and Suffolk Terraces were completed out of intended fifty between 1965-67 and were nicknamed as ‘the ziggurats’ due to their distinct form resembling stepped forms of Maja temples and consisting of several student flats placed on top of each with setback intended for student’s use as a balcony.[3] Lasdun argued that utilitarian interiors could be always refurbished later instead of structure, therefore by reducing costs with inexpensive and standard internal fittings and focusing on delivering structurally and materially solid construction quality of the scheme, the buildings eventually lasted several decades without any maintenance.[4] Shortly after completion, the ziggurats got widely recognised in press including appraisals from theoretical pioneers of brutalism Smithsons stating that ‘…possibly the only successful large-scale post-war industrialised pre-cast reinforced concrete building complex yet built – the University of East Anglia’.[5]

Although not everything was going great with the architect’s great masterplan vision as the construction process on project was suffering from budget cuts, disruptions of construction on site and soon exposed design shortcomings, resulting with only two accommodation blocks built and Lasdun’s resignation from the project in 1968 with appointment of Bernard Feilden, who carried out work on later less ambitious schemes.[6] Since the whole campus was completed by late eighties, Britain underwent large social and economic changes which certainly resulted in real struggle to financially support and maintain such a large university building of Welfare State slowly leading to gradual deterioration of these monumental structures. In the essay ‘The living ruin’, Johnathan Hill mentions that UEA ziggurats ‘appeared archaic by the end of the twentieth century suggesting wartime destruction as well as picturesque and ancient ruins older than Houghton’, which indicates certain ‘ruination’ of building.[7]

(Image 4.3 ‘Building in landscape’)

Agencies Involved in Preservation

In case of Lasdun’s Ziggurat accommodation blocks, the listing process had a very strong impact on its preservation strategy. In September 2003, Andrew McIntosh, the heritage minister has announced plans to list all Lasdun’s UEA buildings, stating that: ‘We plan to list a group of buildings of national significance at the University of East Anglia. They illustrate how post-war British architecture can be innovative and elegant, but also practical in its approach to design and living. The best of post-war architecture deserves listing in the same way as their older counterparts’.[8] In 2003, after recommendation from English Heritage (now Historic England), the UEA Lasdun’s designs were Grade II* Listed imposing restrictions on University of East Anglia estate management as they had to apply for consent from local planning authority in case of potential refurbishment or alteration.[9] In order to prevent any future dispute between preservation agencies, local planning authority and the university in case of any refurbishment works, the English Heritage appointed Cambridge Architectural Research (CAR) Ltd, professional experts in relation to applied architectural research and the built environment, to create a Conservation Development Strategy (CDS).[10] According to CAR, the CDS is a conservation briefing document that provides an in-depth analysis of building’s architectural merit, investigating into its current problems, and outlines recommended strategies to protect its recognised features without creating obstacles for any changes in the future.[11]

After conducting an extensive study between April 2004 to 2006 on UEA Lasdun’s campus buildings in consultancy with other architectural experts, CAR released a lengthy document Conservation Development Strategy for UEA, which is available online.[12] Additionally, UEA’s 2006 CDS was so successful that it became a prototype for Heritage Partnership Agreement (HPA), later introduced to Parliament in April 2008 as a form of statutory agreement between local planning authority and owner of the building that defines the heritage value of the listed building’s and grants permission for refurbishment or any other alterations throughout its duration without a need to reapply for listed building consent on every occasion, hence allowing to save money and time for both agencies.[13] The important lesson from this case was an early introduction of CDS framework that ensured no conflict between planning/heritage authority policies and university estates team, which looked for an opportunity to refurbish the buildings that were in need for repairs. Although in case of Dunelm House, the listing was rejected with applied certificate of immunity leaving no consideration of plans for similar CDS framework application.

(Image 4.4 ‘Clancy is supervising building on site, 2003’)

Refurbishment Scheme

In 2004, the university representatives started to search for architects which could deliver a small refurbishment of Grade II* listed ziggurats with estimated budget of £4m which were though of ‘structurally sound’.[14] Following in October 2005, the refurbishment scheme for Lasdun’s ziggurats was finally triggered after selection of Cambridge-based RH Partnership (RHP), which conducted an extensive survey of two accommodation blocks - the Norfolk and Suffolk Terraces exposing major structural problems that got UEA estate team anxious with facing potential high repair costs.[15] According to Joseph Saunders, the UEA estate development director at that time, the concrete structure was ‘four out of the seven criteria for progressive collapse’ and badly in need for urgent works since it hasn’t been maintained over 40 years.[16] In order to ensure the suitability of future preservation methods for Grade II* Listed building, according to Cambridge Architectural Research (CAR) report UEA appointed a forensic structural engineer to do research with various concrete repair samples on existing building and prepare a Concrete Preservation Plan (CPP) for Lasdun’s protected buildings on campus, which provided guidelines for an acceptable approach to repair each important element and must be approved with the local concervation authority.[17] The report clearly states that concrete repairs must be executed according to following criteria:

• same texture as original

• similar colour to the least weathered original concrete

• improved durability to eliminate or reduce the risk of deterioration in the future

• constituents as similar as possible to the original, subject to achieving improved performance

• on-going maintenance plan.[18]

The report was also investigating ‘potential loss of significance’ by critically assessing other revamped Lasdun’s buildings including student residences at Christ’s College, renovated in 2002-2003. According to CAR assessment, restoration was well executed, but as ‘an imitation Lasdun building, not a real one’, signifying that its original fabric and elements were overdone to meet new functional requirements losing its brutalist merit that made it significant.[19] Even if CDS methods were very descriptive, further analysis of UEA case shows that there was still some place for error.

(Image 4.5 ‘Lasdun’s Christ’s College when completed, 1966-70’)

(Image 4.6 ‘Lasdun’s Christ’s College after refurbishment, 2003’)

The research hasn’t not indicated any indication of working progress on refurbishment of Lasdun’s ziggurat at least until 2011, when the Clancy Consulting Ltd - a forensic structural engineer firm, was commissioned by the UEA to develop a five-year plan for the rejuvenation and preservation of the concrete costing £3m.[20] The ziggurat’s main structure is defined as cross-wall concrete construction with 10" thick external precast panels with neoprene baffle and damp proof backing joints, prepared on site and 6" loadbearing in-situ cross wall internally.[21] The building was suffering from structural concrete spalling with severe reinforcement exposure and weathering from carbonation with clear indication of rust streaks from rusting reinforcement. Carbonation decay is the main problem of any Brutalist structure caused by gradual decrease of material’s alkalinity with absorption of carbon dioxide from the environment, which weakens concrete for corrosion of reinforcement by water and sulphates causing subsequent spalling.[22] Any preservation measures for concrete are determined by correctly examining the depth of carbonated zone (see diagram) in proximity to reinforcement, and if the latter was absorbed, the outer surface protection would not enough as internal corrosion can only be prevented by waterproofing.[23] Represented by photo materials from concrete contractor’s website (refer to pictures), in some places reinforcement was located within carbonated zone, which resulted in complete removal of affected material in order to reach corroded elements for application of anti-corrosive treatment and save the building from collapse.[24] The concrete repair works were provided by VolkerLaser contractor from June 2012-2015 in 4 phases, including extensive structural repairs with partial removal of old material, anti-corrosive protection measures on reinforcement and application of Keim Coating anti-carbonation paint (KEIM Concretal Lasur) in order to protect the structure, costing totally £2.1 million for all buildings.[25]

(Image 4.7 ‘Spalling concrete & exposed heavily corroded reinforcement due to carbonation’)

(Image 4.8 ‘Anti-corrosive treatment of reinforcement with removed decayed material’)

(Image 4.9 ‘Anti-corrosive treatment of reinforcement with removed decayed material by VolkerLazer’)

(Image 4.10 ‘Lasdun’s Ziggurats before and after refurbishment with KEIM Concretal Lasur, indicating significant change of color and loss of texture’)

Although, the questionable part of the refurbishment was concrete contractor’s decision to apply anti-carbonation paint over the structure, which strongly impacted on it giving a strong painted look with yellow tint in comparison to grainy weathered concrete look before. It is quite bizarre considering that any concrete works were specified by the CDS and CCP requiring it to ‘achieve the same texture as original and colour to the least weathered original concrete’.[26] In the contrast, the lecture Centre at Brunel University in Uxbridge is another notable brutalist post-war campus building that got Grade II listed in 2011.[27] After consultation with local conservation officer, the contactor Concrete Restoration Ltd (who also worked on Arup Building in Cambridge) did equivalent repairs of spalling concrete with corrosion inhibitor costing £240,000, but applied transparent layer of anti-carbonation coating that didn’t visually affect the appearance of the building as drastically as in UEA case.[28] Most importantly, Lasdun was recalled contemplating the idea of his ziggurats gradually blending with sloping river landscape with all natural growth on its surface, lovingly describing that:

‘As bits get chipped off and bits grow around it, I think it will become part of landscape…On a wet day it may look drab and forbidding, and they might scuttle away from it. On a sunny day it’s magical, but then buildings are like that, they should be…’.[29]

Jonathan Hill in his essay The living ruin argues that in case of UEA such a radical application of wall protection paint from natural growth of algae, lichen and moss resulted in loss of landscape blending effect so anticipated by the architect, and makes a case wherever accepting and accommodating building’s natural decay of material shall ‘question the recurring cycles of production, obsolescence and waste that feed consumption in a capitalist society’.[30]

(Image 4.11 ‘Lasdun’s buildings with untouched natural look before refurbishment, 2003’)

Conclusions

The first conclusion that we could make in relation to Dunelm House is that previous attempts to patch up spalling concrete in multiple affected areas were not effective enough as they should not be repaired in situ, especially if reinforcement has already corroded causing more substantial decay internally and resulting in much higher expense and scope of work at this point. Therefore, the building with such a sub-standard concrete quality must be completely coated with various protection layers with all existing decay patches being taken care of individually - depending on their damage impact on structure. Secondly, the extent of concrete restoration works on much appreciated visual appearance of Dunelm House would depend on adopted approach and quality of contractor’s work, which might be a challenging goal considering university’s goal on improvement of energy efficiency.

This research indicated that every preservation case of brutalist building is very individual and in some particular instances the listing is not helping to preserve its iconic appearance like Lasdun’s Grade II listed Norfolk and Suffolk Terraces. The conservation development strategy is not a solid guarantor of quality of preservation measures by selected contractor, who’s appointment also depends on the cost that university is willing to invest. Although principle architects of this scheme RH Partnership proudly state that their development strategy was adopted as a pilot study for English Heritage to redefine the legislation of the listed building process and the execution of large conservation management plans.[31] Other notable buildings like former Arup Building in Cambridge can be impressively preserved from being entirely, yet sympathetically redeveloped if the client is keen on finding a particular use and invest money into quality of work undertaken. In case of Dunelm House, the approach to preservation suggested by Cambridge seems more applicable within current context of campaign since listing was ruled out as an option and university estate team will be looking to replace the use for the building.

Reference list

[1] The Challenge of Change: Dealing with the Legacy of the Modern Movement by Dirk van den Heuvel, p.220 

[2] https://historicengland.org.uk/listing/the-list/list-entry/1390646

[3] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd, p.13-14

https://portal.uea.ac.uk/documents/6207125/12391477/UEA+Conservation+Development+Strategy+2006_reduced+size.pdf/7ecfa4c5-22ba-4aaf-bb4e-c50281153bb6

[4] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd, p.8

https://portal.uea.ac.uk/documents/6207125/12391477/UEA+Conservation+Development+Strategy+2006_reduced+size.pdf/7ecfa4c5-22ba-4aaf-bb4e-c50281153bb6

[5] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd, p.19 

[6] https://www.bdonline.co.uk/revisiting-denys-lasduns-uea/5010945.article

[7] The Material Imagination: Reveries on Architecture and Matter, p.141

[8] https://www.theguardian.com/education/2003/sep/24/highereducation.news

[9] https://publications.parliament.uk/pa/cm200708/cmselect/cmcumeds/821/8070110.htm

[10] http://www.carltd.com/news/car-uea

[11] http://www.carltd.com/services/buildings/conservation-management-plans

[12]https://www.norwich.gov.uk/download/downloads/id/3412/conservation_development_strategy_for_uea_2006.pdf

[13] https://historicengland.org.uk/advice/hpg/hpr-definitions/h/536284/

[14] https://www.architectsjournal.co.uk/home/lasduns-ziggurats-set-for-overhaul/139903.article

[15] https://www.architectsjournal.co.uk/news/uea-needs-urgent-cash-boost-to-save-lasduns-iconic-ziggurats/584527.article

[16] https://www.architectsjournal.co.uk/news/uea-needs-urgent-cash-boost-to-save-lasduns-iconic-ziggurats/584527.article

[17] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd, p.66 Report https://portal.uea.ac.uk/documents/6207125/12391477/UEA+Conservation+Development+Strategy+2006_reduced+size.pdf/7ecfa4c5-22ba-4aaf-bb4e-c50281153bb6

[18] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd, p.66 https://portal.uea.ac.uk/documents/6207125/12391477/UEA+Conservation+Development+Strategy+2006_reduced+size.pdf/7ecfa4c5-22ba-4aaf-bb4e-c50281153bb6

[19] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd, p.33 https://portal.uea.ac.uk/documents/6207125/12391477/UEA+Conservation+Development+Strategy+2006_reduced+size.pdf/7ecfa4c5-22ba-4aaf-bb4e-c50281153bb6

[20] http://www.clancy.co.uk/project/ziggurats-accommodation-university-east-anglia/

[21] https://historicengland.org.uk/listing/the-list/list-entry/1390646

[22] https://www.keim.com/fileadmin/user_upload/download-center/uk/technical-digests/Concrete___Anti-Carbonation_Protection.pdf

[23] https://www.keim.com/fileadmin/user_upload/download-center/uk/technical-digests/Concrete___Anti-Carbonation_Protection.pdf

[24] http://www.clancy.co.uk/project/ziggurats-accommodation-university-east-anglia/

[25] http://www.volkerlaser.co.uk/dynamics/modules/SFIL0200/view.php?fil_Id=5890

[26] Conservation Development Strategy (CDS) for UEA, Issue 1 April 2006, Cambridge Architectural Research Ltd,p.66

https://portal.uea.ac.uk/documents/6207125/12391477/UEA+Conservation+Development+Strategy+2006_reduced+size.pdf/7ecfa4c5-22ba-4aaf-bb4e-c50281153bb6

[27] https://historicengland.org.uk/listing/the-list/list-entry/1400162

[28] https://crlrestoration.eu.com/brunel-university-lecture-theatre/

[29] The Material Imagination: Reveries on Architecture and Matter, p.186 

[30] The Material Imagination: Reveries on Architecture and Matter, p.142

[31] http://www.rhpartnership.co.uk/assets/uploads/documents/CFO_-_UEA_Ziggurats.pdf

Image list

4.1 - https://www.uea.ac.uk/alumni/photo-galleries/1960s

4.2 -https://www.uea.ac.uk/documents/7645224/7715229/60s+image+1.jpg/92a7872a-dee1-4eba-8912-1fd8168eaadd?t=1416394430487

4.3 - https://gidsey.com/wp-content/uploads/2017/01/UEA_0038.jpg

https://gidsey.com/2016/01/brutal-utopias-the-uea/

4.4 - http://www.clancy.co.uk/wp-content/uploads/2017/04/before-pic-1.jpg

http://www.clancy.co.uk/project/ziggurats-accommodation-university-east-anglia/

4.5 - https://www.gunite.co.uk/casestudy/external-refurbishment-lasdun-building/

4.6 - http://www.arxitecture.org.uk/lasdun8.htm

- http://www.clancy.co.uk/wp-content/uploads/2017/04/before-pic-2.jpg

4.8 -  http://www.clancy.co.uk/wp-content/uploads/2017/04/WP_20160713_09_07_25_Pro.jpg

4.9  - https://www.volkerlaser.co.uk/dynamics/modules/SFIL0200/view.php?fil_Id=6026&thumb_nr=21

4.10 - http://www.rhpartnership.co.uk/assets/uploads/projects/_projectImages/CFO---Ziggurats-Before--After.jpg

4.11 - https://img.theculturetrip.com/fit-in/1024x/wp-content/uploads/2016/05/universitat_von_east_anglia.jpg

[animationresearchreport]

Continuing from the previous post

Choosing a topic 

Your final research report should represent the gathering of weeks of work. Decide the right topic. Must be something you’re genuinely interested in but also be realistic. Enough information available for you to produce a 5000 word report on this topic? Will it feed into your studio practice in some way? Is your topic appropriate for an academic paper?

Advice- ‘If I have seen further it is by standing on the shoulders of Giants.’ Sir Isaac Newton, in a letter to Robert Hooke, 1676.               Your report must be the product of research- ‘It may be tempting to avoid the use of another person’s work altogether. However, this is unadvisable.  Even though you will have your own hypothesis and opinions on a topic, it is essential to back up your positioning with factual findings or research from experts.’ (London School of Marketing, 2015). 

Particularly important if you take a strong or controversial stance on a topic. Take care not to make sweeping statements or generalisations with no evidence, e.g.:‘Disney fairy tales are propaganda for the patriarchy’. INSTEAD if you can find a credible source in which these opinions are stated, you can cite this source to back up your own ideas, e.g. Zipes (2011) argues that Disney’s fairy tales ‘impose’ a vision of ‘the better life’ on their audience, thus reinforcing stereotypes and helping to maintain the patriarchal order. You may have a fantastic theory, argument or idea – if so, you need to find out if someone else has already thought it. (And, if they have, give them credit through the Harvard referencing system) https://net.nua.ac.uk/mod/page/view.php?id=327 Don’t miss out important theories, developments, practitioners, an understanding of history associated with your topic.

Harvard Referencing 

‘Many students do not fully understand why [their research report] needs to be referenced. The answer is two-fold. For one, anyone who has come up with an original thought or piece of research deserves credit for it. Secondly, it is important to you and your career to avoid any claims of plagiarism.’ (London School of Marketing Blog, 2015).                                Conducting Harvard referencing makes your work seem more credible and academic research for your report.                                                       Basically the essay will contribute to a larger body of existing work so show your awareness for it and be respectful of the people who created it. It demonstrates the scope of your reading, viewing and listening around a particular topic. (How would you feel if someone based their paper on your work… and gave you no credit for it?)

Harvard has 3 stages, Citation, Reference and Bibliography:

Citation- A CITATION appears within the main text of your writing and enables a reader to find the source of the information you are presenting. It’s a shortened form of the REFERENCE that appears in your BIBLIOGRAPHY.                                                                                                  And it comes in 3 varieties- According to McKee (1997) the best characters are complex. The best characters are complex (McKee, 1997). ‘Shallow, non-dimensional people exist… but they are boring.’ (Mckee,1997, p. 103)                                                                                          If you quote a source directly, i.e. word for word you need to place the quotation inside quote or speech marks (and give a page reference if it’s from a print source). Very long quotes are not a good idea – it’s far better to process the information you’ve discovered and then produce your own.  For a summary there is no need for quote or speech marks as you summarises information in your own words. Does not mean copying and pasting the original text – then changing a few key words. Must still be cited! i.e. (McKee, 1997) 

Reference- This is a record of the material you have consulted. The citation is drawn from this reference. Eg. McKee, R (1997) Story: Substance, Structure, Style and the Principles of Screenwriting. New York: Harper-Collins- (McKee, 1997, p.103)                                                 Depends on what type of media but Eg. PRINT BOOKS: 1. Author name 2. Date of publication of YOUR COPY (not necessarily the original date of publication) 3. Edition (only mention if not the 1st) 4. Place of publication (CITY, not COUNTRY) 5. Name of publishing house  FILMS- TITLE-YEAR OF RELEASE-DIRECTOR-COUNTRY OF  PRODUCTION-NAME OF PRODUCTION COMPANY-TYPE OF MEDIA, I.E. [DVD]

Bibliography- is a list of your references, in alphabetical order by (preferably) author surname or (in the case of films, TV shows, and several websites) title. Don’t separate into categories (i.e. films, books, podcasts): the Harvard style is a single list [and information in square brackets lets the reader know what type of media you’re referring to]. The important thing is that the reader can use the citation to find the reference (as easily as possible) in your bibliography. A couple of links Lynsey gave to help out https://net.nua.ac.uk/wiki/library:harvard_referencing https://net.nua.ac.uk/mod/page/view.php?id=319

Primary research

Types and examples of evidence needed:

-Online surveys or questionnaires- Screenshots with full transcription of questions and answers

-Interview by email or questions asked on social media- Screenshots or full transcription; date of interview

-Interview carried out in person- Must be recorded and typed up (full transcript submitted in appendix); date of interview

Also

-Watch films, documentaries, director interviews; listen to podcasts or radio broadcasts -Read magazines/journals (online or archived in libraries) -Visit the library (NUA students can have a reader pass for the UEA library, and you can also join the Forum library) -Use Google Scholar to help you search the web for academic material (http://mashable.com/2014/12/03/google-scholar-guide/%234y1y75YpyiqS). -Visit art galleries, exhibitions, film festivals

TASK

You now have 3 minutes… To make a list of anything and everything you find interesting. We retain (and understand) information more easily when it’s interesting. Now go through your list again and put a mark by anything that might possibly link to animation. Put another mark by anything that specifically links to your own animation practice. 

Another quick task is noting down some of the reasons you chose this course, why you’re interested in animation, and what you’re hoping to do in the future. Include the names of any films or animators or other visual artists who inspire you. What has been your favourite part of the course so far? 

Over the next two weeks: Spend time thinking about potential topics for your research report and come to your individual tutorial with notes. You can change your idea later on as ideas/interests can, and do, change/develop. 

Project

Your final research report in BA3a must include:

A cover page

An abstract

A table of contents

A table of illustrations (if your work is illustrated)

An introduction

The body of the report (divided into chapters)

A conclusion

And may include appendices if you have supporting evidence you need to include

For this project (BA2b) you must submit:

An essay question/title (can be refined later on)

A table of contents (a list of chapter headings that you propose to write about in the final report)

A draft of chapter one (edited and proofread, with Harvard citations in place)

A bibliography of sources used, and sources you plan to use (Harvard style)

Chapters

Most standard reports (5000 words) have 3 to 6 chapters. Chapters can be different lengths. Give each chapter a heading (this also helps you stay focused on relevant information). In your chapter plan you need to show an element of antithesis within your report proposal.

Present your argument (the thesis) Consider the opposite view (the antithesis) Combine and compare the two (the synthesis = the conclusion of your essay)

The best reports are always…

Based on a subject the author is genuinely interested in

Planned carefully – in plenty of time

Submitted for feedback (several times)

Written by students who attend their tutorials

Redrafted as many times as needed

Supported with strong visuals

Questioning, analysing, evaluating

Critical Thinking

Whichever type of report you choose it’s important to take a questioning approach. Imagine you’re writing your paper for a future animation student. What makes it relevant, important or useful for that student to read?

3 stages of critical thinking- Describing (who, what, where, when). Analysing (how, why?). Evaluating (so what? What next?).

Or even think in these terms: Past (origins, evolution, timeline of key events). Present (anything topical in the news?). Future (how might things develop/change?).

Use the 2-page technique- more info on powerpoint if needed.

Writing a research question- If you come up with ideas for a title/question, I can help you refine it. Consider a short sharp title for impact, followed by a subtitle that’s more explanatory. Keep your research question in mind as you’re writing (but be open to altering/refining the question as your research progresses).

A research report should be based on your investigative research. However… once you’ve done the research, your own informed opinion is very important. You’re the one who chooses how to shape and present that research. In fact, it’s the reason you’re writing it: to add your own voice to the body of existing work on this topic.

Keep a note of your sources

Do this as you go along (you will save yourself a lot of time and trouble). For web sources you need the date you accessed the site, as well as the title of the page, the URL, the author (if known), the date of publication/uploading. For print books make a note of the page reference of anything you might be quoting directly (especially if you’re using library books…) It can help to scan or photograph the copyright page.

Take a photo or scan the copyright page of any print books you use (see example on powerpoint).

TASK- Speed research: what can you learn in 30 minutes? Our group had JEWELLERY. I found a Peter Hinks book on nineteenth century jewellery with information such as gold was a source of metal and only by melting old jewellery it could be used. 

Prepare for your first tutorial

Choose a potential topic (or topics).

Use the 2-page technique: things you know already on page 1; things you need/want to find out on page 2 (including ways you might do that).

Be able to explain how this topic links to your own animation practice, or future intentions.

I need to see written evidence of the research you have conducted so far (whether handwritten or typed notes, or entries on your research blog)

Abstract

No need to worry about this for BA2b, but when you come to write your final report next year you’ll need to include something called an ‘abstract’. An abstract is a short summary that describes (summarises) a longer piece of work. In the case of your research report, it will be one or two paragraphs long (and 250 words maximum). It appears at the beginning of your research report (but it will be written at the end). It contains a general summary of your report and includes a sentence in which you state your conclusion. An abstract is important because it helps a reader decide very quickly whether or not a research paper is useful or relevant. 

For BA2b you will not need to submit your abstract or ‘introduction’.

Recap

For this project (although it’s called the ‘Proposal’) you will be writing 1000 words of the report itself. This will usually be the first chapter (possibly including part of chapter 2. We’ll discuss this in your tutorials). You will also be ‘proposing’ the format your final report will take, including a title, a chapter plan, and a bibliography (which may also include sources you intend to consult). If you have any questions, please email l.white@nua.ac.uk or speak to Peter.