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Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
Accessibility Guide.Pdf
Accessibility Guide We want to make everyone's visit as enjoyable as possible and are committed to providing suitable access for all our guests, whatever their individual needs we 1 endeavour to offer the same high quality service. We aim to accurately describe our facilities and services below to give you as much information as possible before booking your visit. Specific accessibility enquiries please contact the owners direct: Stuart 07713211132 Zoe 07980808096 Email: [email protected] Owners can be contacted 24 hours a day. Getting here St Annes Beach Huts, The Island, South Promenade, Lytham St Annes Annes, Lancashire FY8 1LS By car Take the M6 motorway to junction 32 and follow the M55 signposted Blackpool. At the end of the motorway follow signs to South Shore/Lytham St Annes, proceeding past Blackpool Airport. Follow the seafront road all the way heading to Lytham St Annes. Take the 1st right after St Annes Pier onto the Island Cinema seafront car park by the RNLI shop. This is Pay & Display (except for a few spaces marked with red and blue lines immediately in front of the cinema building) By Taxi You can get a taxi with Whiteside Taxis by calling 01253 711611. The taxi company has a wheelchair accessible vehicle. You can get a taxi with Premier Cabs by calling 01253 711111. The taxi company has a wheelchair accessible vehicle. By train Trains run on a hourly basis from Preston Mainline station to St Annes. There is a taxi rank outside St Annes Station, although, if you prefer to walk, the Beach Huts are just 10 – 15 minutes away. -
Pier Pressure: Best Practice in the Rehabilitation of British Seaside Piers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bournemouth University Research Online Pier pressure: Best practice in the rehabilitation of British seaside piers A. Chapman Bournemouth University, Bournemouth, UK ABSTRACT: Victorian seaside piers are icons of British national identity and a fundamental component of seaside resorts. Nevertheless, these important markers of British heritage are under threat: in the early 20th century nearly 100 piers graced the UK coastline, but almost half have now gone. Piers face an uncertain future: 20% of piers are currently deemed ‘at risk’. Seaside piers are vital to coastal communities in terms of resort identity, heritage, employment, community pride, and tourism. Research into the sustainability of these iconic structures is a matter of urgency. This paper examines best practice in pier regeneration projects that are successful and self-sustaining. The paper draws on four case studies of British seaside piers that have recently undergone, or are currently being, regenerated: Weston Super-Mare Grand pier; Hastings pier; Southport pier; and Penarth pier. This study identifies critical success factors in pier regeneration and examines the socio-economic sustainability of seaside piers. 1 INTRODUCTION This paper focuses on British seaside piers. Seaside pleasure piers are an uniquely British phenomena, being developed from the early 19th century onwards as landing jetties for the holidaymakers arriving at the resorts via paddle steamers. As seaside resorts developed, so too did their piers, transforming by the late 19th century into places for middle-class tourists to promenade, and by the 20th century as hubs of popular entertainment: the pleasure pier. -
Pier Pressure © Rory Walsh
Viewpoint Pier pressure © Rory Walsh Time: 15 mins Region: East of England Landscape: coastal Location: Southend Pier, Western Esplanade, Southend-on-Sea, Essex SS1 1EE Grid reference: TQ 88486 84941 Keep an eye out for: Wading birds and the masts of a wrecked Second World War ship, the SS Richard Montgomery 1.3 miles, 2.2 kilometres, 2,158 metres, 7,080 feet – however you measure it, Southend’s pleasure pier is the longest in the world. On hot days walking to the end can feel like making a pilgrimage to the sun. No wonder most of the pier’s 200,000 annual visitors hop aboard one of the special trains. From this proud symbol of Britain’s seaside you can enjoy sweeping views across the Essex Estuary, sample various amusements and send a postcard from the pier’s own letterbox. Why does Southend have the world’s longest pleasure pier? To begin let’s think about where we are. Southend Pier is in Southend-on-Sea. The ‘on-Sea’ part is an important reminder of why piers were built. Today most of us enjoy them from dry land but they were originally for travelling on water. Piers developed for docking boats. Landing at Southend is difficult though. If you are here at low tide, look for small boats stranded on sheets of mud. The water retreats a mile from the seafront. Even at high tide the sea is never deeper than six metres, so large boats can’t dock near the beach. If landing here was so much trouble, why go through the time and expense of building a huge pier? It’s no coincidence that many of Britain’s seaside piers date from the early 19th century. -
'Our Pier': Leisure Activities and Local Communities at the British Seaside
1 2 3 ‘Our Pier’: Leisure activities and local communities at the British 4 5 seaside 6 7 8 Lavinia Brydona*, Olu Jenzenb & Nicholas Nourse c 9 10 11 aSchool of Arts, University of Kent, Canterbury, UK; bSchool of Media, University of 12 13 Brighton, Brighton, UK; cDepartment of Historical Studies, University of Bristol, 14 15 Bristol, UK 16 17 *corresponding author. Email: [email protected] 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 1 1 2 3 4 5 The seaside resort has long held a distinctive position within the history of British 6 leisure. Its peculiar physicality whereby the natural landscape of sea and sand combines 7 8 with distinctive architectural elements, such as pavilions and piers, has accommodated 9 10 many and varied leisure activities across the years. However, to date, the majority of 11 research on British coastal resorts considers these activities solely in connection with 12 13 tourism. Using a combination of contextual archival research, participant observations, 14 semi-structured interviews and oral history narratives, this article attempts a deliberate 15 16 shift in focus where the leisure activities of a young local population are brought to the 17 fore in the history of British seaside entertainment and, in particular, their experiences 18 19 of pleasure piers in the post-war era. The article also explores the potential for the 20 21 concept of the ‘community pier’ in terms of nurturing seaside leisure cultures in the 22 present and future. -
Treasury Committee: Formal Minutes 2017–19
Treasury Committee: Formal Minutes 2017–19 Thursday 14 September 2017 Members present: Nicky Morgan, in the Chair1 Charlie Elphicke John Mann Stephen Hammond Alison McGovern Mr Alister Jack Catherine McKinnell Kit Malthouse 1. Declaration of interests Members declared their interests, in accordance with the Resolution of the House of 13 July 1992 (for details of declarations of interests, see Appendix I). 2. Committee’s working methods Ordered, That the public be admitted during the examination of witnesses unless the Committee orders otherwise. Resolved, That witnesses who submit written evidence to the Committee are authorised to publish it on their own account in accordance with Standing Order No. 135, subject always to the discretion of the Chair or where the Committee orders otherwise. Resolved, That the Committee shall not consider individual cases. 3. Sub-Committee Ordered, That a Sub-Committee be appointed to consider HM Revenue and Customs and other associated bodies of HM Treasury. Ordered, That all the members of the Committee be members of the Sub-Committee. Ordered, That John Mann be Chair of the Sub-Committee. Ordered, That the Chair have leave to report from time to time evidence taken before the Sub- Committee. 4. Future Programme The Committee considered this matter. Resolved, That the Committee inquire into the HMRC Annual Report and Accounts. 1 Resolved, That the Committee inquire into EU Insurance Regulation. 5. Correspondence Ordered, That the following correspondence be reported to the House for publication on the -
Fleetwood Conservation Area Appraisal and Management Plan
Fleetwood Conservation Area Appraisal and Management Plan Fleetwood Conservation Area Appraisal Fleetwood Conservation Area Appraisal Wyre Borough Council Adopted 19th May 2008 Prepared by Paul Butler Associates 31 Blackfriars Road Salford M3 7AQ Wyre Borough Council Copyright Notice All maps and plans in this study report are reproduced from Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty's Stationery Office © Crown Copyright. Unauthorised reproduction may lead to prosecution or civil proceedings. Wyre Borough Council Licence 100018720, 2008. Fleetwood Conservation Area Appraisal Table of contents 1 Introduction ........................................................................................................ 1 1.1 Conservation Areas 1 1.2 Purpose and Objectives of a Conservation Area Appraisal 1 1.3 Fleetwood Conservation Area 4 2 Fleetwood Masterplan Context ......................................................................... 9 3 Community Involvement ................................................................................. 11 3.1 Consultation Comments 11 4 Historical Development ................................................................................... 15 4.1 The New Town of Fleetwood 15 4.2 Burton’s Geometric Plan 17 4.3 The Growth of Fleetwood 18 5 Character Area 1: The Mount ......................................................................... 22 5.1 Summary Definition of Special Interest 22 5.2 Location and Setting 22 5.3 Key Views and Vistas -
College Notes 1970S
Team : R. P. Glancy (capt.), A. Leake, WORDSWO RTH SOCIETY J. Catford, M. Agass, D. M. Brookes, N. Next year is the bicentenary of Wordsworth's College Notes Smith, D. Thackeray. birth, and though it is not the purpose of the Appointments and AUJards W ordsworth Society to propagandise W ords appointed Lecturer in Classics worth, since propaganda would be anti Mr M. T. \'XI. ARNHEIM (Ph.D. 1969) has been pathetic to the nature of his work it was in the University of Natal, South Africa. invited by the College to sugo-est ays of been appointed Chichele Professor TABLE TE NIS CLUB � Mr G. BARRACLOUGH (Fellow 1962) has celebrating this event. Apart fr m the fo rmal � of Modern History at Oxford. Early in the term a meeting was held fo r those recognition of his birth it was generally felt formerly Master of the Rev. J. S. Boys SMITH (B.A. 1922), Fellow and interested in playing Table Tennis on an that as a more lasting gesture a fitting one The elected into an Honorary Fellowship at Darwin College. inter-college level. The response from fresh would be a fu nd to help young Cambridge College, has been 1956) has been appointed Group Research and Develop men was good but only two of the previous poets to publish their work. Mr T. FAwCETT (B.A. & Son, Ltd. yea 's team members came along. It was This term's activities have been limited but ment Officer by Messrs J. Gliksten � appointed Professor and Dean of the deCIded to enter six teams in the e. -
Sculptural Serenity: an Open Air Extravaganza on Blackpool’S Promenade Introduction
SCULPTURAL SERENITY: AN OPEN AIR EXTRAVAGANZA ON BLACKPOOL’S PROMENADE INTRODUCTION When the opportunity to travel comes back into our lives in 2021, outdoor space, and the chance to explore new facets within it, are likely to be highly valued. The so-called ‘staycation’ is predicted to be the number one holiday trend this year and we may, for some time, need to do our own thing, keeping our distance from others, to keep everyone safe. If there is one thing Blackpool – and the rest of our Fylde coastline – has in abundance, it is open space. We are all said to have fallen in love with nature during lockdowns and our fabulous seafront offers every opportunity to explore its call, whether you listen to crashing waves, watch the sand change colour as the tide recedes, or pay attention to the cries of the herring gulls overhead. We reflect the colours of Blackpool within our luxury self- catering holiday apartments, using the ‘Left Coast Colour Palette’ within each one’s individual branding and interior. What we really want to do, of course, is get our visitors outdoors, exploring these for themselves and discovering new facets to Blackpool and its surrounding towns and villages. To help you do that whenever you can, whilst (for now) giving you something new to learn about Blackpool, we have put together our little guide to some stunning things, remarkable, unusual and poignant, which you can see, when you step outside our door. If you want to walk with added purpose, get carried away with your camera whilst trying to take artistic shots, or cycle and take in sea air, this guide will provide something for you to look out for, ponder, debate and discuss with the dog, perhaps, if he or she is also staying with us! We hope it will bring you some added pleasure, at a time when the outdoors and open spaces will have to continue to be our sanctuary. -
How Good a Historian Was Francis Blomefield
Aberystwyth University 'Francis Blomefield as a historian of Norwich Stoker, David Published in: Norfolk Archaeology Publication date: 2005 Citation for published version (APA): Stoker, D. (2005). 'Francis Blomefield as a historian of Norwich. Norfolk Archaeology, 54, 387-405. Document License Unclear General rights Copyright and moral rights for the publications made accessible in the Aberystwyth Research Portal (the Institutional Repository) are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the Aberystwyth Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the Aberystwyth Research Portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. tel: +44 1970 62 2400 email: [email protected] Download date: 24. Sep. 2021 Francis Blomefield as a historian of Norwich David Stoker, M.Phil, Ph.D. This is the second of two papers seeking to examine the credentials of Francis Blomefield as the historian of the county of Norfolk. The first article sought to identify Blomefield’s contribution to the published history and analysed his approach to dealing with the rural areas and market towns of the county. This article will look at Blomefield’s approach to the history of Norwich, and answer the question as to whether Blomefield was a historian, an antiquary or a topographer. -
Fleetwood Seafront Masterplan - a Delivery Framework Produced with Support From: Wyre Borough Council
This document has been Fleetwood Seafront Masterplan - A Delivery Framework produced with support from: Wyre Borough Council June 2009 Regeneration simon fenton partnership Peter B Hunter GH Architect and Development Consultant 71 Charlecote Road Poynton, Stockport Cheshire SK12 1DJ T 01625 411517 Gordon Hood M 07515 397213 Regeneration Consultant E [email protected] Contents 1. Executive Summary ������������������������������������������������������������� 04 4. The Seafront Vision............................................................... 24 4.1 Introduction �������������������������������������������������������������������������� 24 2. Introduction �������������������������������������������������������������������������������� 08 4.2 Fleetwood Seafront Vision ������������������������������������������������ 28 3. Context ����������������������������������������������������������������������������������������� 10 5. Zoning of the Seafront �������������������������������������������������������� 30 3.1 Introduction �������������������������������������������������������������������������� 10 Zone 1: Wyre Wing Picnic Area ����������������������������������������������� 32 3.1.1 Background ������������������������������������������������������������������ 10 Zone 2: Model Boating Lake ���������������������������������������������������� 33 3.1.2 Fleetwood Masterplan ��������������������������������������������������� 12 Zone 3: Marine Lake ������������������������������������������������������������������ 34 3.1.3 Expanding -
1 Pop(-Up)Ular Culture at the Seaside: the British Pleasure Pier As
Pop(-up)ular Culture at the Seaside: The British Pleasure Pier as Screening Space Introduction This chapter explores a set of enquiries situated at the intersections of cinema-as-event, community cinema and the current cultural development of ‘re-purposing’ seaside piers as community spaces. Drawing on empirical explorations of pop-up cinema on seaside piers, it seeks to historicise the relationship between cinematic viewing practices and Victorian seaside piers, as well as to investigate the role of outdoor cinema in the changing landscape of contemporary seaside resort entertainment. The case studies presented here also illustrate the potential of outdoor deck top cinema as an immersive cinema experience when the seascape and the sounds of the natural surroundings blend with the film’s mise-en-scène. In their earliest incarnation piers were practical structures, serving as landing stages for goods and holidaymakers arriving to seaside resorts via boat. While this functionality remained important throughout the nineteenth century, at least until an expanded rail network offered an alterative means of accessing coastal locations, their pleasurable aspects soon became apparent. This led them to evolve in many different directions over the years, with well-documented fluctuating fortunes (see, for example, Fischer and Walton 1987; Gray 2006; Shaw and Williams eds 1997). Today only fifty nine of the original hundred or so British seaside piers remain, and many of those are under threat. Despite this downturn piers remain important to the coastal communities in which they are situated – in terms of serving as a landmark that gives the town a sense of identity (no two piers are the same), in terms of the local economy and in terms of community heritage – aspects which, we argue, are made manifest in their use as twenty-first century screening spaces.