Annual Review of Policing 2016/17

Total Page:16

File Type:pdf, Size:1020Kb

Annual Review of Policing 2016/17 Annual Review Of Policing 2016/17 Improving policing for Scotland’s communities SCOTTISHSCOTTISH POLICE POLICE AUTHORITY AUTHORITY -– ANNUAL ANNUAL REVIEW OF POLICINGPOLICING 2016/17 2016/17 Contents Introduction .................................................................................. Page 4 Chair’s Foreword ........................................................................... Page 6 Chief Constable’s Comments ........................................................ Page 8 1. Executive Summary ...................................................................... Page 9 2. SPA Contribution to Policing ........................................................ Page 12 2.1 SPA Corporate Delivery in 2016/17 ...................................... Page 16 2.2 The Role of the Responsible Employer ................................. Page 17 2.3 Developing Our Scrutiny and Assurance .............................. Page 19 2.4 SPA Community Accountability ........................................... Page 21 3. SPA Forensic Services ................................................................... Page 27 4. Policing Delivery ........................................................................... Page 34 4.1 Public Confidence – A Key Measure for Policing ................. Page 36 4.2 Violence, Disorder and Antisocial Behaviour ....................... Page 39 4.3 Prevent First ......................................................................... Page 41 4.4 Reducing Offending .............................................................. Page 44 4.5 Case Studies ......................................................................... Page 48 4.6 Hate Crime and Community Cohesion................................. Page 50 4.7 Domestic Abuse .................................................................... Page 54 4.8 Serious Organised Crime ..................................................... Page 58 4.9 Counter Terrorism ................................................................ Page 67 4.10 Policing Major Events ............................................................ Page 70 4.11 Protecting People at Risk of Harm ....................................... Page 74 4.12 Road Safety and Road Crime ................................................ Page 81 4.13 Domestic Housebreaking ..................................................... Page 85 4.14 Corporate Delivery ............................................................... Page 89 4.15 Organisational Learning ....................................................... Page 94 5. Policing 2026 – The Future ........................................................... Page 101 2 SCOTTISH POLICE AUTHORITY – ANNUAL REVIEW OF POLICING 2016/17 Annual Review of Policing 2016-17 This Annual Review of Policing 2016/17 is available to members of the public electronically from the SPA website at: www.spa.police.uk A Gaelic language version will be made available following this publication. Laid before the Scottish Parliament by the Scottish Police Authority in pursuance of Section 39 of the Police and Fire Reform (Scotland) Act 2012 (19 June 2017) (SPA/2017/01) 3 SCOTTISH POLICE AUTHORITY – ANNUAL REVIEW OF POLICING 2016/17 Introduction Since the establishment of the Police Service Police Scotland also recognised the need of Scotland (Police Scotland) and the Scottish for a refreshed approach to performance Police Authority (SPA) at the beginning management and work was undertaken, in of 2013/14, the first three years of Police collaboration with the SPA, to develop an Scotland resulted in the consolidation of approach that focuses on delivering positive many of the benefits of reform, through outcomes for people and communities, the amalgamation of legacy structures and rather than emphasising outputs. The aim is a consistent focus on delivering a quality to increase public confidence in policing and policing service to Scotland’s communities. promote a positive performance culture that In the context of the longer term reform empowers officers and staff to make better journey, 2016/17 was a transitional year decisions. In 2016/17 there was a gradual that provided an opportunity for both the shift to this approach, which was evident SPA and Police Scotland to take stock and from improving quarterly public performance consider the next steps to full realisation reporting and this will be consolidated in of the benefits of the single service, the next few years in support of Policing within existing and anticipated financial 2026. Important areas for improvement constraints. It became evident that whilst the going forward include: demonstrating amalgamation associated with operational evidence of policing impact within multi- policing delivery was strong throughout the agency contexts; evidencing improvements first four years, with new national systems arising from partnership working for public and structures having been developed safety and wellbeing and public perceptions to support improved local and national/ and confidence; and the development of specialist policing, the amalgamation of stronger case study evidence and evaluations corporate support services functions and with respect to pilots and initiatives. associated national ICT systems was less advanced. In addition, a considerable amount of work was undertaken to address the findings from Throughout 2016/17, the SPA and Police the Employee Opinion Survey undertaken Scotland worked in collaboration to develop in October 2015. An interim, staff ‘Pulse’ a 10 year Strategy for Policing in Scotland Survey was undertaken in late 2016 to (Policing 2026). This would address both measure progress. The survey highlighted operational and corporate priorities as part a number of areas where additional focus is of a broader ‘whole organisation’ approach. required and where areas for improvement Policing 2026 aligns to the new strategic remain to be resolved. This work police priorities set by Scottish Government demonstrates the SPA and Police Scotland’s in the autumn of 2016, which provide new commitment to promoting staff wellbeing expectations of how future policing will be and enabling a positive organisational culture delivered in Scotland. that supports effective and efficient service delivery - a strategic objective of Policing 2026. Realistically, it is likely to take two or three years before there is significant evidence of improvement of staff responses as a result of implementation of Policing 2026 objectives. 4 SCOTTISH POLICE AUTHORITY – ANNUAL REVIEW OF POLICING 2016/17 The aim of this fourth Annual Review of Policing is to present an accurate picture of policing performance during 2016/17, with an assessment of Police Scotland’s performance as well as that of the SPA’s performance in carrying out its functions. Evidence relating to both operational and organisational delivery and an assessment of how far policing is delivering the aims of Police Reform as well as the benefits is included. 2016/17 was the final year of operation for Police Scotland under the SPA Strategic Police Plan. A richer performance story was able to be told, due in part to the developing Police Scotland qualitative evidence-base, building a local, national and corporate picture of ongoing engagement, collaboration and delivery of improvements in support of policing priorities. Where relevant this review also presents evidence and comment from key policing stakeholders and scrutiny partners – for example Her Majesty’s Inspectorate of Constabulary in Scotland (HMICS), the Scottish Institute of Policing Research (SIPR) and Local Authorities, as this is valuable external evidence that helps to validate the SPA’s overall assessment of policing performance across the year. 5 SCOTTISH POLICE AUTHORITY – ANNUAL REVIEW OF POLICING 2016/17 Chair’s Foreword This Annual Review of Policing marks the fourth year of the single police service in Scotland. With the structure no longer new, there is a body of past evidence available and it is therefore with greater confidence that the SPA can assess that in 2016-17 Police Scotland met its annual objectives and continued to deliver a service to a high quality and consistency. Whether the service in its entirety has improved in the last 12 months is more challenging to assess because of two factors. First, the considerable emerging challenges, threats, complexities and ambiguities in the environment in which Police Scotland operates. Second, the increasing realisation that the framework within which we assess policing performance is incomplete, and in particular does not allow us to fully capture the vital and often life-changing role our staff ANdreW FlaNAGAN, play in addressing vulnerability in our society. SPA Chair What existing performance demonstrates is that crime is reducing across most A strong continuing performance in solving categories, with the majority of crimes being crimes should not mask the expanding detected. Rises in some types of violent and territory across which the service requires sexual crimes are priorities, and are being to tackle offending. The concept of the blue addressed with initiative and vigour. More line protecting the law abiding from the needs to be done to encourage victims law breaking now stretches far beyond the of crimes to report all incidents to the streets to the private spaces of our homes police, with domestic and historical sexual and the often darker recesses of the online offending two areas where greater recording world. That requires new strategies,
Recommended publications
  • Victoria Morton the Modern Institute, Aird's Lane 08
    Victoria Morton The Modern Institute, Aird’s Lane 08 November 2014 – 17 January 2015 Victoria Morton’s practice has encompassed painting, sculptural assemblages, found objects, photography, and sound. Her recent paintings vary in scale, opacity, colour and spatiality, each distinctly painted composition has been developed with a degree of intricacy and intuition. Influenced by musical composition, colour perception, and everyday life, alongside personal narratives, historical and cultural references, Morton’s works explore a continuously unfolding visual, spatial and psychological experience. Within her paintings she re-evaluates the complexity of visual representation and physical experience through a combination of layering, fragmentation and movement. Each painting works through the mental exercise of creating, disrupting, reforming and extending compositions. This technique builds a sense of time into her work. Morton’s exhibition at Aird's Lane focuses entirely on painting. Presenting a cycle of five large-scale oil paintings which specifically respond to the space in terms of their size and installation, offering a site for reflection. Each painting forms a narrative with the next. These works softly draw upon issues of health, the science of optics and light, and the idea of ‘free will’, as well as notions of representation. With washes of colour and variation in tone, line and brush stroke, individual paintings present a range of different attitudes and intensities within the framework of the installation. Luminous thin layers of paint draw you in, while concentrated, spontaneous compositions require you to step back. Morton’s areas of interest are explored through the filter of her daily life and rely on both photography and impulse.
    [Show full text]
  • M a R T I N B O Y
    M A R T I N B O Y C E 1967 Born in Hamilton, Scotland Currently lives and works in Glasgow, Scotland Education 1995-1997 MFA, Glasgow School of Art 1996 California Institute for the Arts 1986-1990 BA Environmental Art, Glasgow School of Art Solo Exhibitions (* denotes catalogue) 2019 ‘A Thousand Future Blossoms’ Permanent Installation, 37, rue Sainte-Croix-de- la-Bretonnerie, Eataly Paris Marais, Paris An Inn For Phantoms Of The Outside And In, Mount Stuart, Isle of Bute, Scotland 2018 Esther Schipper Gallery, Berlin Martin Boyce: Hanging Gardes, A4 Art Museum, Chengdu, China * Remembered Skies, Tate Britain, London (site-specific permanent installation) 2017 All the Gravity, All the Air, Swiss Re, Zürich (public art commission) Light Years, The Modern Institute, Glasgow Beyond the Sea, Against the Sun, TELUS Garden, Vancouver (public art commission) Sleeping Chimneys. Dead Stars.,Tanya Bonakdar Gallery, New York Spotlight: Do Words Have Voices, 2011, Tate Britain, London 2016 Spook School, CAPRI, Düsseldorf, Germany Gasträume 2016, Zürich 2015 Martin Boyce, Museum für Gegenwartskunst Basel, Switzerland * Martin Boyce: When Now is Night, RISD Museum, Providence Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language, Galerie Eva Presenhuber, Zürich 2014 Stellar Remnants, Johnen Galerie, Berlin Galerie Eva Presenhuber, Zürich Billboard for Edinburgh: Martin Boyce, Ingleby Gallery, Edinburgh, Scotland 2013 Martin Boyce: It’s Over and Over, Tanya Bonakdar Gallery, New York All Over / Again
    [Show full text]
  • 220719 Media Release 2019 Female Artist Acquistions FINAL
    Media Release 25 July 2019 From Claire Francis Phone: 0141 287 5548/ 07393 287295 Email: [email protected] GLASGOW MUSEUMS TACKLES GENDER EQUALITY IN CONTEMPORARY ART COLLECTION WITH NEW ACQUISITIONS BY LOCAL AND INTERNATIONAL FEMALE ARTISTS Glasgow Museums is delighted to announce 14 recent acquisitions for the city’s fine art collection which include sculpture, video, painting and works on paper by artists Sara Barker, Kate Charlesworth, Michelle Hannah, Sharon Hayes, Winnie Herbstein, Mandy McIntosh and the Feegie Needlers, Carol Rhodes, Kate V Robertson, Anne Robinson, Siân Robinson Davies and Camara Taylor. Acquired as part of a significant strand of Glasgow Museums collecting approach, developed in 2015 to address gender inequality, these works make an unequivocal statement about the value and quality of work by contemporary women and non-binary artists. The new acquisitions increase the number of works by women in the Glasgow Museums’ fine art collection, which already includes internationally renowned artists Karla Black, Christine Borland Anne Collier, Jacqueline Donachie, Jenny Holzer, Barbara Kruger, Victoria Morton, Charlotte Prodger and Hito Steyerl. These recent acquisitions have been made possible through the support of a number of grant funders and organisations supporting the development of public collections. Of particular importance is acquisition of the capsule collection of work by Carol Rhodes (1959 -2018) which includes the painting Land Levels and Rises. Although Rhodes was one of the most respected and admired painters in Scotland, her work was until now not represented in the civic collection of Glasgow, the city where she lived and worked. The acquisition of this painting, and a subsequent generous gift of a framed drawing and three prints, acknowledge her contribution to visual art in the city and her standing as a key British painter of the late 20th and early 21st century.
    [Show full text]
  • Queens Park Music Club
    Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop.
    [Show full text]
  • Graeme Todd – Resume
    Graeme Todd – Resume BORN: 1962 Born in Glasgow RESIDENCE: Dunbar, East Lothian, U.K. EDUCATION: John Florent Stone scholar, Edinburgh College of Art, 1989-1990 Duncan of Jordanstone College of Art, Dundee, 1979-1985 SOLO EXHIBITIONS: 2018 Street Hermit, Summerhall, Edinburgh Graeme Todd, Laure Genillard Gallery, London Street Hermit, Galleria Alessandra Bonomo, Rome 2015 The View from Now Here, Eagle Gallery, London 2013 New Works, Galleria Allesandra Bonomo, Rome 2012 New Works, Guestroom, Brussels 2010 Blank Frank, Mummery + Schnelle, London 2009 Other Side Of The Sky, Gallerie Brigitte Weiss, Zurich Laure Gennilard Presents Graeme Todd, Guest Room, Brussels 2007 K.W.A.N.G, Galerie Brigitte Weiss, Zurich 2006 Galerie S65, Cologne Galleria Alessandra Bonomo, Rome 2005 Hanshin Loop, Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich The Seeing Field, Edinburgh Printmakers Gallery 2004 Osaka Contemporary Art Centre, Osaka Angles Gallery, Santa Monica 2003 Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich 2002 Galleria Alessandra Bonomo, Rome Kunsthaus, Glarus Galleria Bonomo, Bari 2001 Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich 2000 Gallery Side 2, Tokyo Landscapes, Galleria Bonomo, Rome Mount Hiddenabbys, Fruitmarket Gallery, Edinburgh and Leeds Metropolitan University Gallery, Leeds 1998 Andrew Mummery Gallery, London 1997 From Not Island Made Island, the changing room, Stirling 1994 Collective Gallery, Edinburgh 1993 Bower, Pier Arts Centre, Stromness 1989 Seagate Gallery, Dundee SELECED GROUP
    [Show full text]
  • Download Press Release
    Sadie Coles HQ Victoria Morton Sadie Coles HQ, 1 Davies Street Pedal Point February 2021 Victoria Morton’s solo exhibition, Pedal Point, comprises a new body of work on canvas in which she distils her multi- layered and analytic approach to painting. Referencing the musical notion of the ‘pedal point’ – a sustained note, during which the harmony and dissonance above it evolve – these recent compositions synthesise rational structure with intuitive expression. Across large and small-scale formats, the canvasses extend the conscious explorations central to Morton’s physical, performative process, counterbalanced with psychological expression. Through this approach, pictorial planes are mapped and contoured through aggregates of freely formed pools of colour, interwoven with linear structures and accumulations of near-pointillist brushstrokes. Shifting between the fluid and the concrete, these abstracted landscapes teem with kinetic tension and desire, simultaneously conjuring, and eluding, literal interpretation. In places Morton engages a loosely defined schemata, examining notions of organic form through the material process of painting itself. Developing techniques that evolved in connection with a recent commission by The Stem Cell Institute in Cambridge, the artist allows pools of oil paint to naturally amass, swell and evaporate across the canvas surface, creating a suspended image parallel to that of a developing photograph. The emergent cellular formations evolve as cosmic landscapes, in which space dilates, shifts, recedes and contracts. Elsewhere improvised ‘automatic’ markings, inspired by musical notations, are reconfigured by networks of diagrammatic or clustered brushstrokes, interpolating the abstract scenery with a spatial rationale of dance-like movement. Morton consciously references a painting lineage that extends from American action painting, biomorphic abstraction, Russian Constructivism and the geometric De Stijl aesthetic of Mondrian.
    [Show full text]
  • Simon Starling
    SIMON STARLING Born: 1967, Epsom, United Kingdom Lives and Works in Copenhagen, Denmark EDUCATION 1990-92 MFA Glasgow School of Art 1987-90 BA (Hons) Nottingham Polytechnic 1986-87 Maidstone College of Art AWARDS 2005 The Turner Prize, Tate Britain, London * 2004 Nominee for The Hugo Boss Prize, Solomon R. Guggenheim Museum, New York, NY* 1999 Blinky Palermo Prize, Galerie Für Zeitgenossiche Kunst, Leipzig Henry Moore Sculpture Fellowship, Duncan and Jordanstone College of Art, Dundee Paul Hamlyn Foundation Award for Artists, London SOLO EXHIBITIONS (*publication/catalogue) 2019 Le Plateau, Paris, France (forthcoming) The Modern Institute, Glasgow (forthcoming) 2017 The Liminal Trio plays the Golden Door, Casey Kaplan, New York, NY 2016 Simon Starling: Collected Works, Rennie Collection at Wing Sang, Vancouver At Twilight, Japan Society, New York, NY* At Twilight, The Common Guild, Glasgow* The Grand Tour, Nottingham Contemporary, Nottingham Backlit, Nottingham Zum Brunnen, LOK, Kunstmuseum St. Gallen, St. Gallen Red, Green, Blue, Loom Music, Galleria Franco Noero, Turin 2015 Nine Feet Later, The Modern Institute, Glasgow El Eco, In collaboration with Pilar Pellicer and Yasuo Miichi, Museo Experimental El Eco, Mexico City Bowls, Plates, Casa Luis Barragan, Mexico City Simon Starling: Metamorphology, Musée d’art contemporain de Montréal, Montréal, Quebec* Simon Starling: Pictures for an Exhibition, Musée d’art contemporain de Montréal, Montréal, Quebec* 2014 Simon Starling: Metamorphology, Museum of Contemporary Art, Chicago, IL* Simon
    [Show full text]
  • University of Warwick Art Collection Annual Report 2016-17
    University of Warwick Art Collection Annual Report 2016-17 Mission Art is intrinsic to the University of Warwick - to its physical, social and academic environment. The original purpose of the Art Collection was the display of works of art in the public spaces of the University. The Art Collection is not displayed in a museum or gallery; the majority of items are on display across the University campus and its other sites. They function as open texts, offering a variety of readings to successive generations of students, staff and visitors. It demonstrates the University’s support of contemporary culture and, in particular, of young professionals working at the leading edge of their field. The education and interpretation programmes that support the collection are open to everyone and contribute to lifelong learning as well as to the work of departments on campus and schools and colleges across the region. Aim To manage and develop the University of Warwick Art Collection to create a significant resource of contemporary art for the campus and for the region. Objectives 1. To contribute to the creation of a distinctive and stimulating campus environment through the development of displays, interpretation and opportunities for meaningful engagement with works of art. 2. To sustain an exceptional teaching, learning and research experience for campus departments, schools and colleges, visitors and audiences through the development of opportunities to interrogate, experience and work with art objects and with artists. 3. In collaboration with academic departments, to develop commissions for new buildings and for the campus that embrace learning and research. 4.
    [Show full text]
  • Victoria Morton ‘Treat Fever with Fever’ the Modern Institute, Osborne Street 26 January – 09 March 2019 Preview Friday 25 January, 7-9Pm
    Victoria Morton ‘Treat Fever with Fever’ The Modern Institute, Osborne Street 26 January – 09 March 2019 Preview Friday 25 January, 7-9pm The physicality radiating from Victoria Morton’s luscious, almost hallucinogenic surfaces is inescapable - from precise applications of paint in her forthright smaller works, to bruised, evaporated zones of overlapping colour in her large canvases - her stern examination of material and commitment to process is unwavering. Gestural, animated drawings offer indications of form, only to be consumed by the drip and soak of pigment and turpentine – a corporeal tension between opposing methods of application that transmit the palpable psychological situation driving her performative painting. Unconcerned with painterly cues of perspective and traditional figuration, Morton allows her actions to circulate, assemblages of colour and line tracing shape and space, building surfaces that vibrate with narrative potential and direct energy. Distilled and composed, the canvases are designed to unfold over time, expanding the space and structure of the painting into the mind of the viewer. In her latest exhibition ‘Treat Fever with Fever’ at The Modern Institute’s Osborne Street gallery space, we encounter new paintings that expand upon Morton’s enduring investigations of nature, biology, desire, and loss, alongside meditations on musical composition, deep colour perception and memory – stimuli that enable her to articulate and understand the complex personal narratives of lived experience. Depicting the space and experiences of the body in a non-singular manner. Living and working between Italy and Scotland, Morton’s practice unifies the distinct influences of these two locations. Many of these works that began in Morton’s Italian studio emit the intensity of summer, yet – displaced, reworked and combined over a Glaswegian winter - Morton creates a tangible temporal shift that permits space for reflection and alters the conditions of realism.
    [Show full text]
  • Tate Report 2002–2004
    TATE REPORT 2002–2004 Tate Report 2002–2004 Introduction 1 Collection 6 Galleries & Online 227 Exhibitions 245 Learning 291 Business & Funding 295 Publishing & Research 309 People 359 TATE REPORT 2002–2004 1 Introduction Trustees’ Foreword 2 Director’s Introduction 4 TATE REPORT 2002–2004 2 Trustees’ Foreword • Following the opening of Tate Modern and Tate Britain in 2000, Tate has consolidated and built on this unique achieve- ment, presenting the Collection and exhibitions to large and new audiences. As well as adjusting to unprecedented change, we continue to develop and innovate, as a group of four gal- leries linked together within a single organisation. • One exciting area of growth has been Tate Online – tate.org.uk. Now the UK’s most popular art website, it has won two BAFTAs for online content and for innovation over the last two years. In a move that reflects this development, the full Tate Biennial Report is this year published online at tate.org.uk/tatereport. This printed publication presents a summary of a remarkable two years. • A highlight of the last biennium was the launch of the new Tate Boat in May 2003. Shuttling visitors along the Thames between Tate Britain and Tate Modern, it is a reminder of how important connections have been in defining Tate’s success. • Tate is a British institution with an international outlook, and two appointments from Europe – of Vicente Todolí as Director of Tate Modern in April 2003 and of Jan Debbaut as Director of Collection in September 2003 – are enabling us to develop our links abroad, bringing fresh perspectives to our programme.
    [Show full text]
  • Press Release — Victoria Morton — Ba BA Ba 2008
    Sadie Coles HQ VICTORIA MORTON 02 July - 30 August 2008 ba BA ba 25 Heddon Street London W1 For her third solo show at Sadie Coles HQ, Victoria Morton exhibits a group of new paintings based on her ongoing investigation into the popular art of painting and its ability to perform as a psychological object. In her paintings, which she considers sites for contemplation and adrenalin-driven repetition, Morton says that: “Everything comes from the body. Directly.” Her work simultaneously displays strength and vulnerability, alternately comic and serious, something discernable in her quoted influences and titles. She considers painting a way of registering daily experience in bouts of intense concentration. More specifically these new paintings reflect on the interrelationships between emotion, physicality, need, nourishment and separation. During the making of this new work Morton cites influences as diverse as Bonnie „Prince‟ Billy‟s album „The Letting Go‟, and the experience of visiting the Salimbeni brothers‟ frescos in Chiesa di San Giovanni in Urbino, as well as a collection of intimate personal photographs. Folkloric storytelling and snapshot-love moments are compositionally restructured and used as a point and counterpoint on which to hang her own personal narrative. The situation the paintings make, and their broken down images, convey a series of interdependent physical and cognitive relationships. What look like disjointed letters become “figures” occupying the pictorial space and so paintings become characters enacting a psychological drama. With titles such as 'Oh Shit!' and 'ba BA ba' and combined with Morton's vivid pallet, these pictures are heady and high-spirited. All-absorbing, painting does not stop at the edge of the canvas; it moves over the frame, demands another panel to be added and occasionally is resolved free- standing or on the floor.
    [Show full text]
  • Eighth Annual Report
    Scottish Institute for Policing Research Annual Report 2014 Cover picture © Scottish Police Authority. Scene Examiners meticulously search the crime scene, recording and recovering forensic evidence. (See page 14) DISCLAIMER: The views in this Report are those of the Author(s), and are not necessarily those of the SIPR Governing Body, Advisory, or Executive Committees © Scottish Institute for Policing Research, April 2015 2 The Scottish Institute for Policing Research A 60 Second Briefing The Scottish Institute for Policing Research (SIPR) is a strategic collaboration between 12 of Scotland’s universities1 and the Scottish police service supported by investment from Police Scotland, the Scottish Police Authority, the Scottish Funding Council and the participating universities. Our key aims are: To undertake high quality, independent, and relevant research; To support knowledge exchange between researchers and practitioners and improve the research evidence base for policing policy and practice; To expand and develop the research capacity in Scotland’s universities and the police service; To promote the development of national and international links with researcher, practitioner and policy communities. We are an interdisciplinary Institute which brings together researchers from the social sciences, natural sciences and humanities around three broad thematic areas: Police-Community Relations; Evidence & Investigation; and Education & Leadership; We promote a collaborative approach to research that involves academics and practitioners working together in the creation, sharing and application of knowledge about policing; Our activities are coordinated by an Executive Committee comprising academic researchers and chief police officers, and we are accountable to a Board of Governance which includes the Principals of the participating universities and Her Majesty’s Inspector of Constabulary for Scotland.
    [Show full text]