Prospectus 2015
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Annual Report
Annual Report 2003/2004 The academic year 2003/2004 was marked by continued excellence in research, teaching and outreach, in service of humanity’s intellectual, social and technological needs. President and Provost’s Outreach Statement In accordance with its UCL is committed to founding principles, UCL using its excellence in continued to share the research and teaching highest quality research to enrich society’s art, and teaching with those intellectual, cultural, who could most benefit scientific, economic, from it, regardless of environmental and their background or medical spheres. circumstances. See page 2 See page 8 Research & Teaching Achievements UCL continued to UCL’s academics challenge the boundaries conducted pioneering of knowledge through its work at the forefront programmes of research, of their disciplines while ensuring that the during this year. most promising students See page 12 could benefit from its intense research-led teaching environment. See page 4 The UCL Community Developing UCL UCL’s staff, students, With the help of its alumni and members of supporters, UCL is Council form a community investing in facilities which works closely fit for the finest research together to achieve and teaching in decades the university’s goals. to come. See page 18 See page 24 Contacting UCL Supporting UCL Join the many current UCL pays tribute to and former students and those individuals and staff, friends, businesses, organisations who funding councils and have made substantial agencies, governments, financial contributions foundations, trusts and in support of its research charities that are and teaching. involved with UCL. See page 22 See page 25 Financial Information UCL’s annual income has grown by almost 30 per cent in the last five years. -
The Archives of the Slade School of Fine Art, University College London Information for Researchers
The archives of the Slade School of Fine Art, University College London Information for Researchers OVERVIEW OF THE SLADE ARCHIVE The Slade School of Fine Art is a department in University College London. The archives of the Slade School are housed in three repositories across UCL: • UCL Library Special Collections, Archives & Records department • UCL Art Museum • Slade School of Fine Art A brief overview of the type and range of material held in each collection is found below. To learn more about a specific area of the archive collection, or to make an appointment to view items please contact each department separately. Please note: In all instances, access to the archive material is by appointment only. UCL LIBRARY SPECIAL COLLECTIONS, ARCHIVES & RECORDS DEPARTMENT The Slade archive collection (UCLCA/4/1) centres on the papers created by the school office since the 1940s, but there are records dating back to 1868. The papers consist of early staff and student records, building, curriculum, teaching and research records. The core series are the past 'Office papers' of the School, the bulk of which dates from after 1949. There is only a little material from the World War II period. The pre-1949 series includes Frederick Brown (Slade Professor 1892-1917) papers and Henry Tonks' (Slade Professor 1918-1930) correspondence. The post-1949 material includes lists of students, committee minutes and papers, correspondence with UCL and other bodies, William Coldstream papers (Slade Professor 1949-1975), and papers of Lawrence Gowing (Slade Professor, 1975-1985). There are Slade School committee minutes from 1939 to 1995. -
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J. -
Yarli-Allison-CV-2017-Nov.Pdf
Y A R L I A L L I S O N Born 1988 in Ottawa, ON, Canada, raised in Hong Kong Currently lives in London, UK http://YarliAllison.com // [email protected] // + (44) 07516 182989 EDUCATION 2017 M F A (Sculpture), Slade School of Fine Art, UCL, University of London, United Kingdom 2015 BFA (Sculpture and Installation), OCAD University, Toronto, Canada 2012 BA (Honours) in Visual Arts, HKBU, Hong Kong SELECTED EXHIBITIONS 2018 Jan 9 CACOTOPIA II, Annka Kultys Gallery, London, UK 2017 Authentic Tongues, Bloomsbury Studio Theatre, London, UK 2017 In Search of Our Mothers’ Gardens (Essay by Alice Walker), Copeland Gallery, Peckham, UK 2017 MeMeMeMe, The Crypt Gallery London, UK 2016 Pillow, Swallow, Hollow, Yellow, The ArtWall Space, Athens, Greece 2016 Fade To Purple, Chalton Gallery, Lonrdon, UK 2016 Forwards + backwards, Rua Dom Ca los de Mascarenhas 22, Lisbon, Portugal 2016 Interactive installations, Sommerakademie Venedig, Palazzo Zenobio, Venice, Italy 2016 HOTDESK, Open Art Spaces, London, UK 2016 XXL, Hotel Elephant Studios & Gallery, London, UK 2016 Platform 1, Bloomsbury Theatre, Overseen by Gary Stevens, London, UK 2014 12 Trees - 30 Under 30 for Emerging Artists, The Gardiner Museum, Toronto 2014 Under the Hermitage Vaults, The State Hermitage Museum, St. Petersburg, Russia 2014 Bending the Horizon, OCADU Graduate Gallery, World Pride, Toronto SELECTED AWARDS & RESIDENCIES 2017 Finalist, Ivan Juritz Prize, short script introduced by Deborah Levy, London, UK 2017 Finalist, Hooked exhibition, Science Gallery London, UK 2017 Full Travel Grant, Residency in HKBU academic of visual arts, Hong Kong Yarli Allison http://YarliAllison.com 2016 New Media Art Scholarship, Sommerakademie Venedig, Palazzo Zenobio, Venice, Italy 2015 Yitzhak Danziger Entrance Scholarship, Slade School of Fine Art, London, UK 2015 Distinguished Scholarship, The League Residency at VYT, The Art Students League of New York, U.S. -
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
Undergraduate Prospectus 2021 Entry
Undergraduate 2021 Entry Prospectus Image captions p15 p30–31 p44 p56–57 – The Marmor Homericum, located in the – Bornean orangutan. Courtesy of USO – UCL alumnus, Christopher Nolan. Courtesy – Students collecting beetles to quantify – Students create a bespoke programme South Cloisters of the Wilkins Building, depicts Homer reciting the Iliad to the – Saltburn Mine water treatment scheme. of Kirsten Holst their dispersion on a beach at Atlanterra, incorporating both arts and science and credits accompaniment of a lyre. Courtesy Courtesy of Onya McCausland – Recent graduates celebrating at their Spain with a European mantis, Mantis subjects. Courtesy of Mat Wright religiosa, in the foreground. Courtesy of Mat Wright – Community mappers holding the drone that graduation ceremony. Courtesy of John – There are a number of study spaces of UCL Life Sciences Front cover captured the point clouds and aerial images Moloney Photography on campus, including the JBS Haldane p71 – Students in a UCL laboratory. Study Hub. Courtesy of Mat Wright – UCL Portico. Courtesy of Matt Clayton of their settlements on the peripheral slopes – Students in a Hungarian language class p32–33 Courtesy of Mat Wright of José Carlos Mariátegui in Lima, Peru. – The Arts and Sciences Common Room – one of ten languages taught by the UCL Inside front cover Courtesy of Rita Lambert – Our Student Ambassador team help out in Malet Place. The mural on the wall is p45 School of Slavonic and East European at events like Open Days and Graduation. a commissioned illustration for the UCL St Paul’s River – Aerial photograph showing UCL’s location – Prosthetic hand. Courtesy of UCL Studies. -
2020 Sundance Film Festival: 118 Feature Films Announced
FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro López; Ema, courtesy of Sundance Institute. Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions. -
Conservation Management Plan for the National Theatre Haworth Tompkins
Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment. -
The Seagull(1896)
Summer 1, 2021 GBS Theatre The Seagull (1896) by Anton Chekhov adapted by Joan Oliver Cast (in alphabetical order) Creative Team Simon Medvedenko Director Ian Bouillion Joan Oliver Eugene Dorn Designer Dylan Corbett-Bader Louis Carver Masha Russian Translator and Literary Advisor Florence Dobson Viktorija Rasciauskaite Boris Trigorin Associate Designer Raphel Famotibe Anita Gander Irina Arkadina Lighting Designer Elizabeth Hollingshead Amy Mae Konstantin Associate Lighting Designer Gabriel Howell Ollie Morrill Paulina Sound Designer Megan Langford Dylan Marsh Nina Cellist Aliyah Odoffin Elizabeth Hollingshead Ilia Shamrayev Movement Coach Samuel Tracy Mixalis Aristidou Peter Sorin Voice and Dialect Coach Benjamin Westerby Deborah Garvey Fight Coach Bret Yount Student Production Team Production Manager Radio Mic Runner Scenic Art Assistants Sam Kelly Abraham Walkling-Lea Jordan Deegan-Fleet Roma Farnell Technical Manager Broadcast Lucinda Plummer Jack Hollingsworth Andrea Scott Spiky Saul Stage Manager Sound Crew Props Maker Rosa Watson Alfie Sissons Pip Beattie Daberechi Ukoha-Kalu Deputy Stage Manager Abraham Walkling-Lea Props Assistants Jaimie Wakefield Isabelle Whitehill Aidan O’Sullivan Sylvia Wan Assistant Stage Manager Construction Project Manager Thomas Fielding Jeff Bruce-Hay (RADA Staff) Show Crew Alfie Sissons ASM 2s Assistant Construction Project Daberechi Ukoha-Kalu Aidan O’Sullivan Manager Abraham Walkling-Lea Sylvia Wan Joel Mansi Thomas Isabelle Whitehill Chief Electrician Scenery Builders Special thanks: Sammy Emmins Alice -
Books-Bobsfullhouse-Taster.Pdf
Bob's Full House from Bob on the Box a listing of as many of Bob’s TV appearances as we can find, with programmes in the Monkhouse collection marked and previously lost shows hightlighted. ARCHIVE AND TRANSMISSION FORMAT CODES Code Description 1” 625 line PAL colour 1” videotape. 2” 625 line PAL colour 2” videotape. 40 405 line monochrome 2” videotape. 62 625 line monochrome 2” videotape. B Betacam SP videotape. B1 16mm monochrome film. B3 35mm monochrome film. B-R1 Betacam SP videotape taken from 16mm monochrome telerecording. BS Betacam SP videotape, recorded in stereo. C1 16mm colour film. C1S 16mm colour film – transmitted in stereo sound. C3 35mm colour film. D2 D2 digital videotape. D2S D2 digital videotape – transmitted in stereo. D3 D3 digital videotape. D3S D3 digital colour videotape – transmitted in stereo sound. DB Digital Betacam videotape. DB-1” Digital Betacam videotape taken from 625 line PAL colour 1” videotape. DB-4W Digital Betacam videotape copy of converted 405 to 625 line monochrome videotape. DB-R1 Digital Betacam videotape taken from 16mm monochrome film recording. DB-R3 Digital Betacam videotape taken from 35mm monochrome film recording. DBS Digital Betacam 625 line colour videotape – transmitted in stereo. DBSW Digital Betacam 625 line colour videotape – transmitted in stereo widescreen. DBSWF Digital Betacam 625 line colour videotape which has been filmised – transmitted in stereo widescreen. DV 625 line PAL domestic format videotape including VHS, Betamax and Philips 1500. J Does not exist. Live Live transmission. Live62 Live transmission – recorded onto 625 line monochrome videotape off air. LivePAL Live transmission – recorded onto 625 line PAL colour videotape off air. -
Whither Would You Go?- to Raise Urgent Funds for Refugees
PRESS RELEASE 04-10-2017 IMAGES CAN BE DOWNLOADED HERE www.whitherwouldyougo.com / #whitherwouldyougo / @WhitherWould STARS OF STAGE AND SCREEN UNITE IN GALA EVENT - WHITHER WOULD YOU GO?- TO RAISE URGENT FUNDS FOR REFUGEES On October 22nd at the Harold Pinter Theatre, a host of stars will gather to perform scenes from Shakespeare’s plays in response to modern-day refugee video stories. The evening will be directed by Jamie Lloyd. All profits go to the UN Refugee Agency, UNHCR. A cast including such luminaries as Bertie Carvel, Lee Evans, Martin Freeman, Kobna Holdbrook- Smith, Wunmi Mosaku, James Norton, Jack Whitehall, Olivia Williams & many more will join together to create a one-night-only, never-to-be-repeated gala event in support of the millions of forcibly displaced people around the world. The evening includes a special guest performance by actor Jay Abdo, himself a refugee of his native Syria. Inspired by Shakespeare’s ‘refugee’ speech from ‘The Book of Sir Thomas More’, written as a plea for tolerance during the London riots of May 1517 (500 years ago this year), ‘Whither Would You Go?’ pairs scenes from Shakespeare, read by stars of stage and screen with genuine refugee stories from around the world. Jamie Lloyd says ‘Whither Would You Go? uses the words of William Shakespeare to highlight our shared humanity. When we focus on what we all have in common, we can start a conversation. With more than 65m forcibly displaced people in the world – the highest levels ever recorded - we should be talking and we should be acting. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline.