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Annual Report and Accounts 2014-2015
Annual Report and Accounts 2014-2015 Working together for a safer Scotland Laid before the Scottish Parliament by Mister Paul Wheelhouse MSP under Section 42A(1) of the Fire (Scotland) Act 2005 (inserted by section 118 of the Police and Fire Reform (Scotland) Act 2012) xxxxxxxxx2015 SG-2014-277 Contents Page Welcome and Introduction 1 Management Commentary: Strategic Report 4 > The Scottish Fire and Rescue Service 5 > Our vision, values and targets 6 > Strategic Plan 2016-19 7 > Financial Review 7 > Performance Scorecard 8 > Strategic Aim 1: Improved safety of our communities and staff 22 > Strategic Aim 2: More equitable access to fire and rescue services 32 > Strategic Aim 3: Improved outcomes through partnership 38 > Strategic Aim 4: Develop a culture of continuous improvement 44 Sustainability Report 51 Directors Report 59 Remuneration Report 62 Annual Governance Statement 71 Business Risks 80 Statement of Accountable Officer’s Responsibilities 82 Independent Auditors Report 83 Annual Report and Accounts 85 To find out more, visit our website at www.firescotland.gov.uk Welcome and Introduction One of the things we are most pleased about is our community safety work which demonstrates the true value of our public service. PAT WATTERS Chair Scottish Fire and Rescue Service Board It gives us great pleasure to introduce our annual report Collaboration with the Scottish Government and for 2014-15. Within this document, you will find details engagement with a range of internal and external of the progress made by the Scottish Fire and Rescue stakeholders will ensure that as we move forward our Service (SFRS) in its second year operating as a national strategic direction and priorities continue to deliver organisation. -
Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 // Contents
SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 // CONTENTS // MOUNTAIN BIKE WORLD CUP, FORT WILLIAM © GARY WILLIAMSON ii// SCOTLAND THE PERFECT STAGE // SEPTEMBER 2015 // VISION FOR SCOTLAND //01// MINISTERIAL FOREWORD //03// INDUSTRY FOREWORD //05// 1 // DEVELOPING THE STRATEGY //07// 2 // WHAT WILL MAKE SCOTLAND THE PERFECT STAGE? //09// 3 // STRATEGY FOR SCOTLAND //13// 4 // DELIVERING THE STRATEGY //17// 5 // DEVELOPING PORTFOLIO OF EVENTS //19// 6 // DEVELOPING EVENTS – EVENT IMPACT //21// 7 // DEVELOPING EVENTS – INVESTMENT AND SUPPORT //27// 8 // DEVELOPING THE INDUSTRY – PARTNERSHIP AND COLLABORATION //29// 9 // DEVELOPING THE INDUSTRY – EDUCATION AND KNOWLEDGE SHARING //31// 10 // DEVELOPING THE INDUSTRY – QUALITY ORGANISATION AND DELIVERY //33// 11 // DEVELOPING SCOTLAND – INFRASTRUCTURE AND SERVICES //35// 12 // DEVELOPING SCOTLAND – REPUTATION //39// 13 // DEVELOPING SCOTLAND – VISITOR ECONOMY //43// 14 // COMMUNICATION //45// 15 // REPORTING AND REVIEW //47// SCOTLAND THE PERFECT STAGE //iii VISION FOR SCOTLAND SCOTLAND’S REPUTATION AS THE PERFECT STAGE FOR EVENTS IS RECOGNISED NATIONALLY AND INTERNATIONALLY. MISSION TO DELIVER THIS VISION TO DEVELOP, THROUGH A ONE SCOTLAND APPROACH, A STRONG AND DYNAMIC EVENTS INDUSTRY PRODUCING A PORTFOLIO OF EVENTS AND FESTIVALS THAT DELIVERS SUSTAINABLE IMPACT AND INTERNATIONAL PROFILE FOR SCOTLAND. 01// SCOTLAND THE PERFECT STAGE THE KELPIES, FALKIRK BY ANDY SCOTT SCOTLAND THE PERFECT STAGE //02 // MINISTERIAL FOREWORD // THE ROYAL NATIONAL MÒD © GRAHAM HOOD When Scotland the Perfect Stage was first Among the many legacy benefits secured for published in 2008, it set out this Government’s Scotland through the early planning and delivery vision for events and it highlighted the range of of these events, was the knowledge built, lessons benefits that a strong portfolio of events can yield learned and partnerships forged across the public, for Scotland. -
Night Walking: Darkness and the Sensory Perception of Landscape
Edinburgh Research Explorer Night walking: darkness and sensory perception in a night-time landscape installation Citation for published version: Morris, NJ 2011, 'Night walking: darkness and sensory perception in a night-time landscape installation', Cultural Geographies, vol. 18, no. 3, pp. 315-342. https://doi.org/10.1177/1474474011410277 Digital Object Identifier (DOI): 10.1177/1474474011410277 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Cultural Geographies Publisher Rights Statement: Published in Cultural Geographies by SAGE Publications. Author retains copyright (2011) General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Night Walking: darkness and sensory perception in a night-time landscape installation Dr Nina J Morris School of GeoSciences University of Edinburgh Drummond Street Edinburgh, UK EH8 9XP [email protected] This is the author’s final draft as submitted for publication. The final version was published in Cultural Geographies by SAGE Publications, UK. Author retains copyright (2011) Cite As: Morris, NJ 2011, 'Night walking: darkness and sensory perception in a night- time landscape installation' Cultural Geographies, vol 18, no. -
1 Update Report on the Winning Years Prepared for the Scottish
Update Report on The Winning Years Prepared for the Scottish Parliament’s Economy, Energy and Tourism Committee 9 September 2013 INTRODUCTION This report updates the Scottish Parliament’s Economy, Energy and Tourism Committee on the activity and results from The Winning Years; eight milestones over three years which VisitScotland and partners have been promoting to, and working with, the tourism industry on. The overall ambition behind the development of the Winning Years concept is to ensure that the tourism industry and wider visitor economy is set to take full advantage of the long-term gains over the course of the next few years. The paper is divided into sections covering each of the milestones: Year of Creative Scotland The 2012 London Olympics The Diamond Jubilee Disney.Pixar’s Brave Year of Natural Scotland The Commonwealth Games The 2014 Ryder Cup Homecoming Scotland 2014 (incl. up to date list of events) From this report Committee members will see that excellent progress has been made, with strong interest in Scotland’s tourism product from around the world as the country builds to welcome the world in 2014. All of this despite the continuing global economic difficulties. Evidence of bucking the global trend and the success of the 2012 Winning Years milestones can be seen in VisitScotland’s announcement at the end of August that its two main marketing campaigns brought nearly £310m additional economic benefit for Scotland since January 2012. This is a rise of 14% on the same period the year before. VisitScotland’s international campaigns target Scotland’s main markets across the globe including North America, Germany and France as well as emerging markets, such as India and China. -
Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 Scotland the Perfect Stage Scotland’S Events Strategy 2015-2025 // Contents // // September 2015
SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 SCOTLAND THE PERFECT STAGE SCOTLAND’S EVENTS STRATEGY 2015-2025 // CONTENTS // // SEPTEMBER 2015 // VISION FOR SCOTLAND //01// MOUNTAIN BIKE WORLD CUP, FORT WILLIAM © GARY WILLIAMSON MINISTERIAL FOREWORD //03// INDUSTRY FOREWORD //05// 1 // DEVELOPING THE STRATEGY //07// 2 // WHAT WILL MAKE SCOTLAND THE PERFECT STAGE? //09// 3 // STRATEGY FOR SCOTLAND //13// 4 // DELIVERING THE STRATEGY //17// 5 // DEVELOPING PORTFOLIO OF EVENTS //19// 6 // DEVELOPING EVENTS – EVENT IMPACT //21// 7 // DEVELOPING EVENTS – INVESTMENT AND SUPPORT //27// 8 // DEVELOPING THE INDUSTRY – PARTNERSHIP AND COLLABORATION //29// 9 // DEVELOPING THE INDUSTRY – EDUCATION AND KNOWLEDGE SHARING //31// 10 // DEVELOPING THE INDUSTRY – QUALITY ORGANISATION AND DELIVERY //33// 11 // DEVELOPING SCOTLAND – INFRASTRUCTURE AND SERVICES //35// 12 // DEVELOPING SCOTLAND – REPUTATION //39// 13 // DEVELOPING SCOTLAND – VISITOR ECONOMY //43// 14 // COMMUNICATION //45// 15 // REPORTING AND REVIEW //47// ii// SCOTLAND THE PERFECT STAGE SCOTLAND THE PERFECT STAGE //iii THE KELPIES, FALKIRK BY ANDY SCOTT VISION FOR SCOTLAND SCOTLAND’S REPUTATION AS THE PERFECT STAGE FOR EVENTS IS RECOGNISED NATIONALLY AND INTERNATIONALLY. MISSION TO DELIVER THIS VISION TO DEVELOP, THROUGH A ONE SCOTLAND APPROACH, A STRONG AND DYNAMIC EVENTS INDUSTRY PRODUCING A PORTFOLIO OF EVENTS AND FESTIVALS THAT DELIVERS SUSTAINABLE IMPACT AND INTERNATIONAL PROFILE FOR SCOTLAND. 01// SCOTLAND THE PERFECT STAGE SCOTLAND THE PERFECT STAGE //02 // MINISTERIAL FOREWORD // THE ROYAL NATIONAL MÒD © GRAHAM HOOD Following the successful delivery of these and The revised Scotland the Perfect Stage aims many other events and the appointment of a new to provide the strategic focus for all involved in First Minister, the One Scotland Programme for any aspect of planning, securing, supporting and Government was published, setting out the key delivering events of all sizes in Scotland for the priorities of creating more, better paid jobs in a next decade. -
Events, Festivals & Cultural Tourism
Events, Festivals & Cultural Tourism in Scotland opportunities 10for growth EVENTS, FESTIVALS & CultuRAL TOURISM... Contents Scotland’s events, festivals, culture and heritage are huge 1 Introduction 04 selling points and something we should be rightly proud of. The very best of our heritage and culture is currently being celebrated in the ‘Winning Years’, leading up to 2014 when Scotland will host 2 Overview of events, festivals mega events including The Ryder Cup and Glasgow Commonwealth and cultural tourism in Scotland 08 Games, as well as the second Year of Homecoming. “ 3 Who are our ‘culture’ visitors? 20 Such a global stage presents a fantastic opportunity to showcase Innovation in product and service development, and in business processes, is key the very best of Scotland to the rest of the world. We can only do to the future competitiveness of the Scottish tourism industry. In this fast-moving this successfully, however, if the whole industry comes together consumer marketplace, Scotland needs to continually make the most of its distinctive 4 Getting involved with to turn our cultural strengths into an appealing range of visitor strengths and keep up with growing competition. The more you know about your existing opportunities 28 experiences which are promoted to this global audience in an customers, the better you can cater for them, the more satisfied they will be and the imaginative and creative way. more money they are likely to spend with you. 5 Working together: tourism businesses, The new strategy for Scottish tourism outlines ways we can Gathering and using good market intelligence to drive innovation is a quick, easy, cultural providers and event organisers 34 achieve this, and it is therefore incumbent on destinations, cheap and effective way to improve your business. -
Dalziel + Scullion – CV
Curriculum Vitae Dalziel + Scullion Studio Dundee, Scotland + 44 (0) 1382 774630 www.dalzielscullion.com Matthew Dalziel [email protected] 1957 Born in Irvine, Scotland Education 1981-85 BA(HONS) Fine Art Duncan of Jordanstone College of Art and Design, Dundee 1985-87 HND in Documentary Photography, Gwent College of Higher Education, Newport, Wales 1987-88 Postgraduate Diploma in Sculpture and Fine Art Photography, Glasgow School of Art Louise Scullion [email protected] 1966 Born in Helensburgh, Scotland Education 1984-88 BA (1st CLASS HONS) Environmental Art, Glasgow School of Art Solo Exhibitions + Projects 2016 TUMADH is TURAS, for Scot:Lands, part of Edinburgh’s Hogmanay Festival, Venue St Pauls Church Edinburgh. A live performance of Dalziel + Scullion’s multi-media art installation, Tumadh is Turas: Immersion & Journey, in a "hauntingly atmospheric" venue with a live soundtrack from Aidan O’Rourke, Graeme Stephen and John Blease. 2015 Rain, Permanent building / pavilion with sound installation. Kaust, Thuwai Saudia Arabia. Nomadic Boulders, Permanent large scale sculptural work. John O’Groats Scotland, UK. The Voice of Nature,Video / film works. Robert Burns Birthplace Museum. Alloway, Ayr, Scotland, UK. 2014 Immersion, Solo Festival exhibition, Dovecot Studios, Edinburgh as part of Generation, 25 Years of Scottish Art Tumadh, Solo exhibition, An Lanntair Gallery, Stornoway, Outer Hebrides, as part of Generation, 25 Years of Scottish Art Rosnes Bench, permanent artwork for Dumfries & Galloway Forest 2013 Imprint, permanent artwork for Warwick University Allotments, permanent works commissioned by Vale Of Leven Health Centre 2012 Wolf, solo exhibition at Timespan Helmsdale 2011 Gold Leaf, permanent large-scale sculpture. Pooley Country Park, Warwickshire. -
No Longer and Not Yet
1 Title: No Longer and Not Yet Author: Edward Hollis Architecture_media_politics_society. vol. 3, no.2. September 2013 Photograph: Edward Hollis The forest of Kilmahew, around twenty miles west of Glasgow, conceals an architectural cautionary tale. In the 1960’s, the landscape was radically transformed by a building. St Peter’s seminary was built to house around a hundred catholic novices. Its plan and section, the work of the architects Gillespie Kidd and Coia, were a rigorous statement of the modernist maxim that form follows function. But within a ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 3, no.2. July 2013 1 2 decade, there were not enough priests to fill it; and St Peter’s became a form without a function. That was 1987, and since then it has resisted numerous attempts to provide it with a new one: designed as closely as it was to a specific programme, the building remains empty, and derelict. It is no longer what it used to be, and not yet what it can be. The caution is simple: design a building programmatically, and you’ll end up with a ruin. This author has been involved since the Venice Biennale of 2010 with a new proposal for St Peter’s led by the Glasgow arts collective NVA (Nacionale Vitae Activa). We have no images of what it will look like, or when it will be ready. St Peter’s isn’t going to be restored any time soon. Instead, we propose to leave the building perpetually incomplete – both ruin and building site. It’s a model of what all buildings should be: they are, in environmental terms, expensive. -
Is It Just the Music? Towards an Understanding of Festival-Goers and Their Experience at UK Music Festivals
Is it just the Music? Towards an Understanding of Festival-goers and their Experience at UK Music Festivals by Alyssa Eve Brown PGCert, BA (Hons), FHEA A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2019 i STUDENT DECLARATION FORM Concurrent registration for two or more academic awards I declare that while registered for the research degree, I was with the University’s specific permission, an enrolled student for the following awards: Post Graduate Certificate in Business and Management Research Methods Post Graduate Certificate in Teaching and Learning in Higher Education Material submitted for another award I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work Signature of Candidate ______________________________________________________ Type of Award PhD__________________________________________________ School Lancashire School of Business and Enterprise ii Abstract Festivals are an adventure of the emotional and physical senses and can create unforgettable, exciting and thrilling memories of unfamiliar and unique experiences. With music festivals in particular, there is an additional emphasis on the chance to experience live music by often idolised musicians within a temporary community of shared musical interests. However, whilst a music festival may attract visitors through advertising an attractive and appealing line-up of popular acts, this far from guarantees a happy customer. There are many other elements that contribute to and impact upon the experience of the festival-goer (Morgan, 2008: 83). If these elements are managed well, this can result in benefits for both the consumer, through positive emotional and cognitive experiences, and for the organisation through repeat custom, recommendations and increased sales. -
Into the Zone
chapter 1 Into the Zone By the time I first got to Burning Man in 1996— which turned out to be a pivotal year for the event— it had already changed dramatically from its humble beginnings a decade before. On summer solstice eve in 1986, a man named Larry Harvey and his friend Jerry James decided, for no premeditated reason, to host an impromptu gathering on San Fran- cisco’s Baker Beach, where they constructed a primitive wooden effigy and burned it. Having invited just a handful of friends to join them, they were delighted to discover that as they set flame to the eight- foot- high sculpture, the spectacle attracted onlookers from up and down the beach. As Harvey tells the often-repeated tale, someone began to strum a gui- tar, others began to dance and interact with the figure, and a spontaneous feeling of community and connectedness came upon those gathered— friends and strangers alike (see DVD, chap. 1). Flushed with the unan- ticipated success of the gathering, Harvey and James soon decided to hold it again the next year; with each subsequent iteration, both the crowd and the sculpture grew substantially. Numerous legends have accumulated around the birth of the festival and— as is often the case with largely oral traditions—the elements of the narrative have shifted with each retelling, as some aspects have been emphasized and others lost in the dust. For his part, Harvey insists that he had no consciously preconceived ideas about the meaning of the Burning Man, let alone about starting a global movement. -
New Music It Has Worked out Well
44 ............... Sunday, December 3, 2017 1SM MUSIC KASABIAN guitarist Serge Pizzorno loves I dream of his rock ‘n’ roll lifestyle — but admits he wouldn’t mind moving out of the spotlight to live on a remote Scot- tish island. escaping The musician, right, fancies pulling a Paul McCartney, who bought hideaway Home Farm on Mull of Kintyre to escape the hec- tic world of showbiz. Serge says: “I wouldn’t rule crazy life out moving to Scotland. “Now and again I have these romantic ideas of escaping like McCartney did — buy a farm- house there in the middle of nowhere. in showbiz “I’d get a little studio and disap- pear for a bit. It sounds great.” Serge also talks of his pride at pal Noel Fielding’s hosting skills on the newest series of The Great British Bake-Off, above. GBBO co-host Noel previously revealed it was Serge who con- vinced him to take the gig. The show, which crowned winner Sophie Faldo last month, proved a huge hit after moving from BBC2 to Channel 4. And Serge thinks a lot of that is thanks to his comedian mate. He says: “I am sure people assumed he was going to turn up like he was in the Wicker Man, Morris danc- ing and everything, but when you know him he is really the sweetest guy and really intelligent. “And I knew he would get on with people and reckons one of the best gigs But Serge, who has stuntman would jump 20 cars — music”. But Serge insists the for- be a support for the con- ever was at the maiden Italian heritage, adds: is probably Martin Compston,. -
The Jams' and the KLF's Invocation of Mu
CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY