#Edinburgh Napier University

[scotianostra]

Merchiston Tower.

Also known as Merchiston Castle, has stood in the area since the mid 1400s. The castle, and the land surrounding it, belonged to Alexander Napier, a landowner and Provost of Edinburgh who gave the Napier University the was John Napier, the 8th Laird of Merchiston and the inventor of logarithms, he was born there in 1550.

Although it was originally intended as a country house for the family, the political turbulence of the 16th century meant that it soon had a more strategic purpose, with some walls as much as six feet thick – and it was frequently under siege. During restoration in the 1960s, a 26-pound cannonball was found embedded in the Tower, thought to date from the struggle in 1572 between Mary, Queen of Scots, and supporters of her son, James VI.

These days, the L-shaped tower forms the heart of Napier’s Merchiston campus which is home to the creative, computing and engineering students.

I wouldn't mind a wee look inside where there is a painted ceiling which dates back to 1581. The painting had originally been part of the ceiling at Prestongrange House until the Ministry of Public Buildings and Works and the National Trust had it removed and preserved. The artwork is grotesque - and no, that’s not a judgement on its artistic merit. ‘Grotesque’ means ‘of the Grotto’, inspired by the extravagant ancient Roman decorative art that was discovered at the end of the fifteenth century and then enjoyed a revival as a popular style across Europe. It’s likely that this example was done by a foreign painter, although it’s unclear who that might be.

Tours can be arranged to see the interior, maybe I need to enquire how to go about it.

[consanguinitatum]

DT talk throwback: my interview w/Steve Pang, writer/director/producer of SPACES

This post is the second in the series of posts I'm making to rescue my lost interviews with people who worked with David in his earlier years: you can find the first, with David Blair - the director of Takin' Over The Asylum - right here.

Over half a decade ago now I was a writer for David Tennant News/DT Forum, one of the bigger unofficial fan sites of DT's at the time (now sadly defunct). During my time there, I got the chance in July 2015 to interview Steve Pang - the writer/director/producer of SPACES, a short film David starred in back in 1993. I didn't want this interview to sink into the depths of the Wayback Machine and I thought y'all might enjoy reading it, so here is that interview in its entirety (and if you'd like to see it in its original form, click here.)

Screenshot of SPACES from Moving Image Archive / Steve Pang, Writer-Director-Producer (today, and in a 1993 interview)

--

Recently I was able to chat with Steve Pang, the writer, director and editor of SPACES. SPACES is a 1993 short film starring David Tennant as Vinny, a young man working a night shift in a car park in Edinburgh. The film depicts the characters Vinny meets over the course of the night: an older colleague with a troubled past, a bright young girl who uses the empty car park for her violin practice, and a young homeless boy.

Pang won a First Reels funding Award in 1993 from the Scottish Film Council and Scottish Television for the script he submitted for SPACES. First Reels was “a joint short film initiative from Scottish Screen (and its predecessor body the Scottish Film Council) and Scottish Television that was launched during 1991 by the Scottish Film Council in response to a perceived need for small grants to help young and first time film-makers to make or complete their first film or video project.”

Winning the award gave Pang the funds to make SPACES a reality. In the following years he decided to shift gears and move into film and television editing. He began in film as an assistant editor in the 1997 James Bond film Tomorrow Never Dies and on television in The Vicar of Dibley. Since then he has worked in various editing capacities on a lengthy list of projects including Wonka, Band of Brothers, The Da Vinci Code, Lord of the Rings: The Return of the King, The Hitchhiker’s Guide to the Galaxy, The 10th Kingdom, and Gravity.

How did you hear about the First Reels project? 

The scheme was announced whilst I was at Napier University in Edinburgh studying for my degree. As it was open to students, pretty much everyone on the course applied as it was a rare opportunity to get funding to make films.

It’s my understanding the First Reels project gave filmmakers grants to help them realize their projects, but that the projects didn’t have to be finished films to be submitted.  What stage in its development was SPACES at when you submitted it? Did the grant you won help you film and complete the work or had it already been completed in a rough form? 

As I recall I submitted a script and a supporting application form. Had we not won the grant, I think the film would have still gone ahead in some form but we would not have been able pay the cast or equipment suppliers – which would have undoubtedly had a detrimental effect on the film, in my opinion.

Was SPACES your first film? Take us through its development from idea to reality. How did you decide on it as your submission for First Reels?

It was probably my second or third short, but certainly the most ambitious (everything else before that was really more just fooling around and experimenting with a camera). The goal was to ‘keep things simple’ and come up with an idea that could be shot in one location with a small cast. I had worked part time in a 24hr car park in the past and my experiences in that job were the source material for the film.

SPACES is set in a car park and tells the story of one young man’s night shift. What were your inspirations for the story line?  he ending? Can you share a bit more about what you hoped people would take away from the film?

The short is essentially a dramatisation of a number of real life experiences I had working part time in a 24hr car park in Edinburgh. It sounds like a pretty mundane job, but I worked with some very interesting people and there were one or two unusual incidents. I thought collating everything into a single night would make an interesting short film. I’ve always found night time in cities really fascinating and I thought SPACES would be an original way of depicting that kind of atmosphere and mood. 

Screenshots from SPACES

Were the actors you chose initially the ones that actually appear in the film? How involved were you in choosing the talent, and how did the actors you chose come to your attention? 

We contacted a number of local actors agencies and as I recall the actors in the film were all our first choices for each role. At the time I had no idea who David was or that he was about to become a big star. Looking back, I think he was already making a name for himself as an up-and-coming actor within the industry but as a lowly, newbie film student I didn’t have that ‘inside knowledge’. All I knew was that he seemed remarkably in tune with the character I’d written and came across as incredibly natural in the first audition. The role was his immediately. It was only after the film was completed and submitted that I started hearing comments along the lines of ‘wow you had David Tennant in your short.’

Speaking of actors — David was very young when you worked with him (it’s listed as only his 4th credited role). Was there something that impressed you about this young unknown actor? What about the experience of working with him still stands out for you all these years later?

Working with him – from rehearsal to shoot – was great. We had a tiny budget, a cold, dark location, and it was a night shoot. In hindsight, given that we were a bunch of newbie students and he was about to break through as a major actor, I’m grateful that he was so tolerant of the unsociable hours, the unglamorous location and facilities we had!

I have information that SPACES was shown on television sometime in the latter half of 1993, when Scottish Television ran three half-hour documentaries showing excerpts of the winners from the First Reels. Do you recall if it was shown, and if so, how did you feel seeing your film broadcast?

An excerpt was shown yes, along with a short interview with me. I remember being wracked with nerves on the night of the broadcast and kind of being in shock afterwards. It was probably only a couple of minutes of screen time in total.

Do you have any interesting behind-the-scenes sorts of recollections about working on the short?

I remember our equipment causing a short circuit at the location that required us to completely re-order the schedule. And I think our catering consisted of soup and bread for everyone. It was all very basic.

How do you think working on First Reels influenced you in developing your career?

It was an invaluable boost and a great learning experience. Who knows what would have happened had I not received that grant.

For Further Reference:

View Mr. Pang’s IMDb or his extensive CV.

Synopsis from entry on SPACES from the full film record at the Scottish Screen Archive.

A copy of SPACES is held at the Moving Image Archive and can be viewed at the National Library of Scotland. Private and research viewing only.

--

And that's that! I hope you all enjoyed this unique insight into SPACES and DT's work with Steve Pang!

[happilyhadesbound]

Y'ALL maybe i am the only one who didn't know this but Edinburgh Napier University has digitalised versions of The Hydra up on their website!! for free!!!!

[sztupy]

The study, by Edinburgh Napier University, also shows an average 4% reduction in collisions with each 1mph reduction in average speeds on rural roads. It found that 85% of drivers dropped their speed by 3mph, with some areas - where higher speeds had been seen in the past - seeing an average reduction of 5.4mph. The trial is the first of its kind to look at the effects of a 20mph limit on such a large, rural area.

The study also found that the change in driver behaviour had a lasting impact, with average speeds still well below previous levels eight months after the start of the trial.

[ecopoetry4teachers]

Teaching Current Events in the Classroom Through Ecopoetry

Last week, my students spent time viewing weather reports, watching projections and talking about Hurricane Lee. After gauging their interest in the hurricane, I decided to use short lessons that allowed them to steer the conversation. They used their experience with post tropical storm Fiona in 2022 to engage in the daily lessons. Most of my students are not yet 10, but their conversations and insights told me it is an area of interest, or perhaps concern, for them.  What can Adora Svitak teach us?

I have always felt it was important to teach current issues in an age appropriate manner. I believe students are curious about their world and want to know more about it. As a parent, I want to shelter my children from some of the harsh realities, but I also know the importance of teaching them the truth. Young educational activist Adora Svitak said:

"By bringing current events into the classroom, everyday discussion, and social media, maybe we don't need to wait for our grandchildren's questions to remind us we should have paid more attention to current events."

Adora Svitak https://www.brainyquote.com/quotes/adora_svitak_594720

Adora Svitak and Paulo Freire: What is the connection?

This young activist reminds me of Paulo Freire. Freire believed that teaching adult learners to read would help them see their own oppression. This knowledge could then transform their lives through action. Teaching current events in the classroom, can do the same. Elizabeth Lange, in her 2023 book Transformative Sustainability Education, stated that Freire’s:

"literacy process was called conscientization as adult learners become conscious of the root causes of their oppression and then took collective action to improve their lives" (Lange, 2023, pg. 76). 

This is similar to Svitak's belief that children need to understand current events, so they can begin their work toward change. To learn more about Paulo Freire’s theory of education, watch the following video.

An informative academic article regarding Freire's transformative learning theory can be found here:

The Ecopoetry Connection

One major current issue that faces children globally is climate change. Extreme weather events, loss of ecosystems, endangered species and species at risk, pollution, environmental disasters or social system failures are all partly the result of climate change. We need look no further than Great Thunberg to see how these issues are affecting children and young adults. Her global climate strike has mobilized millions of students throughout the world. My own students have hosted small rallies outside our school as a way to tell adults they want change. Youth do have the intelligence, willingness and creativity to take action against climate change. Young spoken word poet, Amanda Gorman, gives us a glimpse as to what youth can do:

Black eco-poets, such as Frank X Walter use their experience with oppression and resilience in his poems. Contemporary eco-poets are using their word to teach about environmental impacts to our natural world. Below is Walter's poem Love Letter to the World.

https://www.sierraclub.org/sierra/8-black-eco-poets-who-inspire-us#:~:text=%E2%80%9CEco%2Dpoetics%E2%80%9D%20%20may%20be,finding%20home%20away%20from%20home.

Edinburgh Napier University Professor Sam Illingworth states that ecopoet Elise Paschen, uses her poem The Tree Agreement, to

"promote the idea of the agency people possess in protecting and preserving their local environment. These poems discuss neighborhood resistance to tree felling and challenge our need to make a mark on the world."

Eco-poetry is more than poetry about the environment. It tells a story that is meant to expand the reader's thinking and make connections between humankind and the litany of social issues that surround their lives. As Eleanor Flowerday (2021) states,

“Eco-poetry roots you in your environment both physically but also in the way we tell stories to one another. It provides that line of connection to your surroundings that is so necessary in founding a relationship with the natural world: that feeling that you actually belong there.”

As an educator, I believe eco-poetry has a role to play in helping to transform the global climate crisis. Eco-poetry has a place in every language arts curriculum because the climate crisis effects everyone. The poets, educators and activists discussed in this blog are just a few in the every growing list of climate change activists.

Reference List

https://docs.google.com/document/d/1ImsBe97u3DMtBAbB4hj3N9Rt8ASKcpEYfYP6JJPUhZQ/edit

[timeless-clarity]

Women Making It - Photo Essay

This series of images was created in late 2017 at the Glasgow Women’s Library (GWL) in Glasgow, Scotland. GWL is the only museum in the UK dedicated entirely to the lives of women. At the time of this shoot I was studying a BA in Photography at Edinburgh Napier University. All of the work I had been producing that year was deeply feminist and asked a lot of questions about societal norms and the needs of women. I connected with GWL to see if I could learn more about their history and what they offer. And request to make a photo series. They had women’s-only art classes called ‘Women Making It’ which still run at present! See this link: https://womenslibrary.org.uk/event/women-making-it-13/2023-08-11/

All the events and classes that they run are made with the intent of being a safe space for women, both in the local community and visiting. The women who attended ‘Women Making It’ were a range of ages coming from different backgrounds. What most of these women had in common was having experienced patriarchal oppression, either at some point in their lives or still ongoing. Some through domestic abuse and others through societal pressure or witnessing the oppression of those close to them. You can see in these images, the women were preparing costumes and props and rehearsing for a play. As well as taking a look in the GWL archives for some inspiration. In this play they would act out true stories of abuse experienced by women in the local community. As a form of community catharsis and solidarity. Many of these women came from traditional Islamic backgrounds and had felt the institutional wrath of shame controlling them. Arranged marriages were common as well as unwanted pregnancies. Domestic abuse and particular cultural narratives and expectations placed on these women. The play explored the emotional wounds of these events as well as touching on coping through substance abuse and experiencing suicidal thoughts.

A few months before beginning this project I had recently got out of a domestic abuse situation with an ex-partner, who I was living with. All the courage it took me to take back life for myself lead me to use my photography, to passionately advocate for other women who have had a similar struggles. I realised that most women in my family had also been extremely oppressed by patriarchy, most to the point of Stockholm syndrome.

Some of the words I heard growing up that shaped my reality, that became my thought patterns that justified me living with domestic abuse:

“The amount of pain that I can bare shows that I am a good person. How I can control myself and put the needs of others first is proof that I’m a good person, a good partner, a good woman.”

“How much I can take is evidence that I’m a strong person”

“When he’s in a good mood he’s great, when he’s in a bad mood he’s terrible” As a certified EFT(Emotional Freedom Techniques) Practitioner, I have an active role in supporting people who have survived trauma. If you feel the call to reach out to me for support please do, you are absolutely so welcome.

All my love,

Claire

[robynlilyblack]

i want to do a psychology/criminology school and the cheaper one from what I've seen is Edinburgh Napier University at 14,170£ per year😭the most expensive one is University of Aberdeen at 20,800£ per year ??!! (but if i want to do only a year it's £19,800 and if i wanna do one semester it's £9,900!!). it's so expensive 😭

Hi so sorry for the late reply love, omg that’s a lot just for a year! Psychology/criminology sounds so cool tho xx

[buckiegotit]

NOTICE

Published 15 November 2024 Buckie Got It St. Kitts and Nevis News Source FOR IMMEDIATE RELEASE The Ministry of Education announces that Edinburgh Napier University will hold an information session at the CUNA Conference Centre on Wednesday, 20th November from 6.30-8pm. This session will make clear the range of 100% online programmes offered by Edinburgh Napier University in the Caribbean…

[scottishgames]

Make Some Noise: Games Companies Invited to Creative SoundLAB - September 2024

The Creative Soundlab September 2024 event from Opera.Agency brings together creators from audio, animation, games, film and other areas.

The excellent Opera.agency is gearing up for its Creative SoundLAB September 2024 event, a unique opportunity for games developers, animators, film-makers and other creators to connect with top audio talent and elevate the soundscapes of their projects. Network with the Best in Audio: The event will be held at Edinburgh Napier University’s Bright Red Triangle Startup Studio on Monday, September…

[scotianostra]

James Graham, 1st Marquess of Montrose was born on October 25th 1612.

I'm lying, Graham's birth date is unknown, it is thought he was born in mid to late October, but a couple of sources give this date, he was educated in Glasgow when he was about 12 before before attending the University of St Andrews at 15.

Initially James Graham took up arms against his King and signed the National Covenant in protest of the introduction of the new prayer book which was seen as a vehicle for introducing Anglicanism to Scotland.

Montrose's loyalties began to waver when he suspected that Archibald Campbell, Earl of Argyll, wanted not just to defend the Kirk, but overthrow the authority of Charles Stuart. Although a sincere Calvinist, Montrose was unable to countenance disloyalty, and he broke with the Covenanters in 1641. In 1642 Graham raised a Royalist army in Scotland to regain the country for Charles and pin down Covenanter troops in their home country.

If you follow my posts you will have read about his exploits on the battlefield in 1644/45, victories at Tippermuir, Aberdeen, (Justice Mills), Inverlochy, Auldearn, Alford and Kilsyth. Of course it wasn't all victories, the slaughter at Philiphaugh in September 1645 he spent the next year on the run employing guerrilla warfare.tactics without making any gains, King Charles , now a prisoner of Cromwell's army, order Graham to lay down his arms. During his years in charge of Charles I army in Scotland not once did Montrose retaliate against his Covenant prisoners, but he was a wanted man and fled to the continent spending three years travelling through Germany, Poland and Scandinavia trying to gain allies and troops to take up arms once more.

After the execution of Charles I in January 1649 he was given the nominal role of Lieutenant of Scotland by Charles II who himself was still in exile

In March 1650 Graham returned to Scotland to avenge his King's death, landing in Orkney and meeting with some German and Danish mercenaries that he had sent beforehand, he was joined by George Hay, 3rd Earl of Kinnoull. Crossing to the mainland, he tried in vain to raise the clans, and on 27 April was surprised and routed at the Battle of Carbisdale by Archibald Campbell, 1st Marquess of Argyll and a grouping of radical Covenanters, known as the Kirk Party. Graham escaped the battlefield and asked for refuge at Ardvreck Castle, Neil MacLeod, laird of Assynt is thought to have been an ally and served with the Royalist army during the previous campaign, he however was not present when they called ,his wife, Christian Monro, daughter of Monro of Lemlair who had fought on the opposite side at Carbisdale. Montrose was confined in the vaulted cellars of the castle.

Montrose was taken to Edinburgh and led through the streets in a cart driven by the hangman. Already under sentence of death for his campaign of 1644-5, Montrose was hanged at the Mercat Cross on 21 May 1650, protesting to the last that he was a true Covenanter as well as a loyal subject.

Montrose's head was fixed on a spike at the Tolbooth in Edinburgh, his legs and arms were fixed to the gates of Stirling, Glasgow, Perth and Aberdeen. His dismembered body was buried in Edinburgh, but Lady Jean Napier had it secretly disinterred. The heart was removed, embalmed, placed in a casket, and sent to Montrose's exiled son as a symbol of loyalty and martyrdom. After the Restoration, Montrose's embalmed heart and bones were buried at the High Kirk of St Giles in Edinburgh in an elaborate ceremony with fourteen noblemen bearing the coffin.

Probably the best place to read a bit more about James Graham is the website here that bares his name https://www.firstmarquisofmontrosesociety.co.uk/

[consanguinitatum]

An in-depth look at David Tennant's 1993 short film, 'SPACES'

I'm back!

Today's David Tennant post will stick with my trend of covering David's roles in his harder-to-find short films. Before 1997's short Bite (covered in my last post) and 2001's One-Eyed Jacques (covered a few posts back), David played the lead role in the 1993 short film SPACES.

SPACES got made because of a Scottish joint short film initiative called First Reels. First Reels - funded by Scottish Screen/Scottish Film Council and STV - was launched in 1991 to provide grants for young and first-time filmmakers to complete their first film or video project.

With a running time of 14:54, SPACES was written and directed by Steve Pang and produced by Pang, Jo Roberts, and Stray Dog Film Company. SPACES starred David as Vinny, Colin Brown as Duncan, Becky Baxter as Jane, Mike Gibbin as the Kilted Drunk, and Daniel Byrne as the Homeless Boy.

When the First Reels project was announced, Pang was studying at Edinburgh's Napier University. He submitted a script - and won the grant. When I spoke with him, Pang told me winning the grant helped provide the funds to make SPACES a reality, in the way he wanted it made. "Had we not won the grant," he said, "I think the film would have still gone ahead in some form, but we would not have been able to pay the cast or equipment suppliers – which would have undoubtedly had a detrimental effect on the film, in my opinion."

In the following years Pang decided to shift gears and move into film and television editing. He began in film as an assistant editor in the 1997 James Bond film Tomorrow Never Dies and on television in 1997-1998’s The Vicar of Dibley. Since then he's worked in various editing capacities on a lengthy list of projects including Band of Brothers, The Da Vinci Code, Lord of the Rings: The Return of the King, The Hitchhiker’s Guide to the Galaxy, The 10th Kingdom, and Gravity.

Initiatives like First Reels (and Prime Cuts, which funded six 5-min film dramas annually and helped fund the production of Bite) allowed creators the funds to produce incredible pieces of art that would have otherwise never been made.

And bless them for it! The years these kinds of initiatives were active also happened to be some of the first professional ones of David's career since graduating in 1991 from the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland). The fact these initiatives were both available and encouraged certainly gave us David Tennant fans more early opportunities to see him on film!

IMDb describes the short as "a young man's night shift in a car park in Edinburgh and the characters he meets over the course of the night: an older colleague with a troubled past, a bright young girl who uses the empty car park for her violin practice, and a young homeless boy." David's character, Vinny, is challenged with a difficult situation and must rise to the occasion to face it.

Pang told me his goal was to "keep things simple", and he came up with an idea to collate all his experiences working part time in a 24-hr car park into a single night. He settled upon an idea that could be shot in one location, and with a small cast.

About David, Pang told me that he was his first choice for the lead role of Vinny in the film. He said DT seemed remarkably in tune with the character he had written, and came across as incredibly natural in the first audition. The role was his immediately. "We contacted a number of local actors’ agencies and as I recall, the actors in the film were all our first choices for each role," Pang told me. "Working with him from rehearsal to shoot was great. We had a tiny budget, a cold dark location, and a night shoot. I remember once our equipment caused a short circuit at the location which required us to completely re-order the schedule. I think our catering consisted of soup and bread for everyone? It was all very basic."

That's it for SPACES. If you want to see it you can- it's available for onsite viewing only at the Moving Image Archive in Glasgow. If you're near there go reserve a viewing. Oh. and here's a screenshot of the film taken from the record for SPACES at the Moving Image Archive website:

And here are all the other screenshots I've gathered up from the film:

[scotianostra]

Happy birthday to Scottish actress and model Freya Mavor.

Freya was born in Glasgow on August 13th 1993, but grew up in the Inverleith area of Edinburgh, her father is an award winning playwright and teaches at Napier University in the city , her great grandad was also a very successful writer, O H Mavor but used the pseudonym James Bridie. He also was instrumental in 1950 setting up a college of drama which has evolved into The Royal Conservatoire of Scotland. Freya says she got interested in acting after watching the Shining aged just ten! She spent time in France as a child and was educated there and at Mary Erskine's in Edinburgh

Her first acting experience was in school productions of Shakespeare plays. She made her professional debut in 2011, when she gained a lead role as Mini McGuinness in the fifth and sixth series of E4 Bafta-winning drama Skins. She gained this role after going through an open audition process, with more than 8,000 other teenagers auditioning for the show.

Since starting out Freya has gone on to a build a career between France and the UK. She has worked on features such as L'Empereur de Paris alongside Vincent Cassel, and indie films such as The Sense of an Ending by Ritesh Batra or La Dame dans L'auto by Joann Sfar. Her TV credits include The ABC Murders on the BBC and Il Etait Une Seconde Fois for Arte/Netflix, her time in France means she is bilingual, always handy for her acting roles over there. Freya was last seen in another Arte/Netflix show Twice Upon A Time, a sci fi/romance mini series filmed in Bordeaux, Paris, London and Iceland

Mavor has always expressed a love of the theatre and made her own stage debut in London for the play Good Canary, directed by John Malkovich, where she played a drug addict battling with mental illness.

Last year she starred in Balance, Not Symmetry about an American student who is living a privileged existence at Glasgow School of Art when her father unexpectedly dies. She has also completed a film called in 2019 called Gore but it is on hold due the controversy over one of the stars Kevin Spacey.

Last yaer Freya has returned in the second season of the British-American television drama series Industry shown on HBO in the United States and BBC 2 over here. She also starred in a joint BBC and Canal+ historical series Marie Antoinette, for which a second series has been commissioned.

Freya also starred in a stage play, The Other Boleyn alongside the excellent Alex Kingston

According to IMDb she has a series due to be released, Invitation to a Bonfire and in recent news she has been cast as the female lead role on HBO’s “Virtuoso,” a pilot set in 18th Century Vienna, it follows a class of young musical prodigies from all over Europe at the prestigious Academy of Musical Excellence. Mavor will play Marie, daughter of a prestigious Catholic family in Paris and the only girl chosen for the inaugural class of the prestigious academy.

[mthompsonfilm]

Hemolymph (2024) - Design Methodology

Title card over the scientific samples we were given access to by the Edinburgh Napier Science department, where we shot the laboratory sections of the short.

Archie's home laboratory. This set was meant togive the idea of a laboratory shoddily set up in a spare room, loft space or shed. Most of the elements we used to create the space were thrifted or borrowed, and everything purpose bought was divided amongst the cast and crew to re-use afterwards.

The cinematography was informed by the idea that Archie was filming these videos as his own research documentation, the shot is a very flat front facing look to create the effect that Archie is filming this himself in a very efficient, uncinematic style. I still wanted the shot to be visually appealing and so created depth within the shot by giving the background a lot of detail and having the elements the actor interacts with be spaced out, requiring him to move around the space. In post-production I highlighted this self-filmed approach by giving the shot vertical letterboxing, creating the square aspect ration something seen in cheaper digital cameras and webcams.

The only location we were able to create the set for Archie's lab was a classroom at the university, which gave me interesting restrictions to work with. We had strict restrictions on time and what we were allowed to move or cover in this location. We couldn't permanently change anything, and only had 9 hours to block the action, build the set, film and return everything to its original condition. We also had restrictions on budget, the budget for the entire film was around £100, and so the main furniture in the room was scouted from around the university and scavenged on the day, being returned to their places after wrap.

The table seen in the background covered with a sheet is made of 2 desks, a cardboard box and a metal grate. The research papers on Archie's cork board were made up by myself, creating fake article titles, using filler text from public domain books with keywords relevant to the film spread about to avoid any Lorem Ipsum being readable in close-ups, the images were sourced from public domain illustration and stock material.

The biochemical research lab was a lab in the the Biology department at Edinburgh Napier, who very kindly let us film for a day during the mid-semester spring break. The glassware for this was all provided by the department staff, and the skulls and ivy were existing decoration in the location. I filled them with varying levels of diluted blue and red food dye as blue is a major thematic colour in the film, and is the colour of the chemical everyone in the film is trying to produce.

The tall beaker in the back is to highlight the tray of 5 vials on the trolley behind Archie, which he pockets during this scene. During blocking Archie's actions weren't clear enough, and adding this vial helped to highlight what he was doing. It along with the microscope also create visual barrier between Archie and the other scientist, Dr Kain. Archie's side of the frame is full of skulls and scattered paper whilst Kain's is full of data and planning.

The shot of Kain in the hallway happens after the reveal that Kain has been relying on Archie taking things into his own hands the whole time, and that his sacrifice was needed for the greater good of her project. Kain operates on analysis and data without empathy. Archie operates on ego without regard for life. The initial visual divide of skulls and samples over data is key to the conflict of the two characters, which finds its resolution in the calculated planning of Kain thwarting the egotistical passion of Archie.

I wanted to make the difference in the two lab spaces very clear, and so with the on set lighting and post-production colour grading I made the colour space for each setting unique. The biochemical lab in he beginning is very cold and bright, it takes a clinical, sanitary look. Archie's home lab is warm and more dimly lit. It's clearly not a space built for this purpose, it's part of a home environment and the lighting and colour reflect this. When Kain brings Archie back to the lab at the end, the environment has changed. It's still cold, but it's also now dark and cluttered. Archie is not being kept in a clinical or medical space, but a sample and material storage cupboard the way the projects animal test subjects have been kept. The hallway Kain steps into after taking Archie's blood is still bright, plainly showing that the outcome of the story is a bright future in science for Kain, and a life in the shadows for Archie.

[evoldir]

Fwd: Conference: Edinburgh.ComplexTraitsGenetics.Jun28

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Conference: Edinburgh.ComplexTraitsGenetics.Jun28 > Date: 15 June 2024 at 05:12:47 BST > To: rdmpage@gmail.com > > > The Edinburgh-based Alliance for Complex Trait Genetics, generously > sponsored by the Genetics Society, will hold its 19th meeting on 28th > June. Details below. > > If you would like to attend please do so here: > https://ift.tt/ec1H20d > > Josephine Pemberton > > Edinburgh Alliance for Complex Trait Genetics > 19th Meeting - Friday 28th June 2024 > Royal Society of Edinburgh > 22-26 George Street, EH2 2PQ > > From  13.30 Arrival & registration > > Session 1 Chair: Smaragda Tsairidou (Global Academy of Agriculture > and Food Systems) > > 14.00 welcome > > 14.05 Athina Spiliopoulou (Usher Institute) > > Identifying core genes for complex diseases through genome-wide > aggregation of trans-effects. > > 14.30  Rongrong Zhao (Roslin Institute) > From human to cattle: Using machine learning to identify functional > variants across species > > 14.55  Luke Holman (Napier University) > Phenome-wide variation in the response to sex-specific selection in > Drosophila. > > 15.20 > Daniel Garrick > (The Helical Company Ltd and School of Agriculture and Environment > Massey University, NZ) Helical: building blocks for every step of > genomic prediction. > > 15.45 Tea and Coffee > > Session 2 Chair: > James Prendergast (Roslin Institute) > > 16.15 Lizy Mittell (Institute of Ecology and Evolution) > The missing fraction problem when measuring selection. > > 16.40  Meenu Bhati (Roslin Institute) > Impact of sex on gene expression and regulation across cattle tissues. > > 17.05 Mark Adams (Psychiatry) > From hypothesis-free to hypothesis-driven depression genetics. > > 17.30  Drinks and nibbles. > > The University of Edinburgh is a charitable body, registered in Scotland, > with registration number SC005336. Is e buidheann carthannais a th' > ann anOilthigh Dhùn Èideann, clàraichte an Alba, àireamh clàraidh > SC005336. > via Email June 15, 2024 at 06:32AM

[navneetmindmaker]

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[jeduka]

The United Kingdom boasts a rich tapestry of higher education institutions renowned for their academic excellence, cutting-edge research, and vibrant campus life. From historic institutions dating back centuries to modern universities driving innovation, the UK offers a diverse array of options for students seeking quality education. In this guide, we delve into the top 100 ranking universities in the UK, providing insight into their strengths, specialties, and contributions to the global academic landscape.

University of Oxford

University of Cambridge

Imperial College London

London School of Economics and Political Science (LSE)

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University of East Anglia (UEA)

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University of Kent

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Queen's University Belfast

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University of Strathclyde

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University of Westminster

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University of Greenwich

University of Salford

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University of the West of England

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University of the Arts London

Leeds Beckett University

London South Bank University

University of Northampton

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York St John University

University of Bedfordshire

University of Wales Trinity Saint David

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Bishop Grosseteste University

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Canterbury Christ Church University

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University of Wales

University of Wales Trinity Saint David