The Medway Valley: a Kent landscape transformed

In 1750 the lower Medway Valley, the area between the towns of Maidstone and Rochester, was firmly part of Kent's 'Garden of England'. A century later, this tranquil, agrarian landscape had been transformed into a hive of industry and commerce, through the emergence of papermaking, cement manufacture, brickmaking, brewing, ship and barge building, seed crushing and engineering. The lower Medway Valley became synonymous with the production of Portland cement, stock bricks and the steam engines of Aveling and Porter, yet, by the end of the Second World War, much of this industry was gone. "The Medway Valley: A Kent Landscape Transformed", the first Victoria County History publication in Kent for over 75 years, charts this cyclical story of landscape change. It explores how the quiet, rural landscape of a collection of eight riverside parishes around Rochester was dramatically transformed during industrialization, before returning to its formal rural state. This volume traces the impact of industrial development and decline on the valley and its people. It details changing patterns of work and society, the creation of new settlements and the pivotal role of the river in all aspects of village life reflecting two centuries of change and upheaval.

Modelling high particulate matter and ozone episodes in the Trans-Manche region

There is concern in the Cross-Channel region of Nord-Pas-de-Calais (France) and Kent (Great Britain), regarding the extent of atmospheric pollution detected in the area from emitted gaseous (VOC, NOx, S02)and particulate substances. In particular, the air quality of the Cross-Channel or "Trans-Manche" region is highly affected by the heavily industrial area of Dunkerque, in addition to transportation sources linked to cross-channel traffic in Kent and Calais, posing threats to the environment and human health. In the framework of the cross-border EU Interreg IIIA activity, the joint Anglo-French project, ATTMA, has been commissioned to study Aerosol Transport in the Trans-Manche Atmosphere. Using ground monitoring data from UK and French networks and with the assistance of satellite images the project aims to determine dispersion patterns. and identify sources responsible for the pollutants. The findings of this study will increase awareness and have a bearing on future air quality policy in the region. Public interest is evident by the presence of local authorities on both sides of the English Channel as collaborators. The research is based on pollution transport simulations using (a) Lagrangian Particle Dispersion (LPD) models, (b) an Eulerian Receptor Based model. This paper is concerned with part (a), the LPD Models. Lagrangian Particle Dispersion (LPD) models are often used to numerically simulate the dispersion of a passive tracer in the planetary boundary layer by calculating the Lagrangian trajectories of thousands of notional particles. In this contribution, the project investigated the use of two widely used particle dispersion models: the Hybrid Single Particle Lagrangian Integrated Trajectory (HYSPLIT) model and the model FLEXPART. In both models forward tracking and inverse (or·. receptor-based) modes are possible. Certain distinct pollution episodes have been selected from the monitor database EXPER/PF and from UK monitoring stations, and their likely trajectory predicted using prevailing weather data. Global meteorological datasets were downloaded from the ECMWF MARS archive. Part of the difficulty in identifying pollution sources arises from the fact that much of the pollution outside the monitoring area. For example heightened particulate concentrations are to originate from sand storms in the Sahara, or volcanic activity in Iceland or the Caribbean work identifies such long range influences. The output of the simulations shows that there are notable differences between the formulations of and Hysplit, although both models used the same meteorological data and source input, suggesting that the identification of the primary emissions during air pollution episodes may be rather uncertain.

Rats, floods and flowers: London's Gothicized nature

AUTHOR's OVERVIEW This chapter attempts a definition of London eco-gothic, beginning with an ecocritical reading of the ubiquitous London rat. Following Dracula, popular London gothic has been overrun, from the blunt horror-schlock of James Herbert’s 1970s Rats series to China Miéville’s King Rat. Maud Ellman’s elegant discussion of the modernist rat as a protean figure associated with a ‘panoply of fears and fetishes’, underlines how the rat has always featured in anti-urban discourse: as part of racist representations of immigration; as an expression of fear of disease and poverty; or through a quasi-supernatural anxiety about their indestructible and illimitable nature which makes them a staple feature of post-apocalyptic landscapes. Even so, the London rat is a rather more mundane manifestation of urban eco-gothic than the ‘city wilderness’ metaphors common to representations of New York or Los Angles as identified by eco-critic Andrew White. London’s gothic noses its way out through cracks in the pavements, grows from seeds in suburban gardens or accumulates through the steady drip of rainwater. However, I will suggest, in texts such as Maggie Gee’s The Flood and P. D. James’ Children of Men, London eco-gothic becomes less local and familiar as it responds to global environmental crisis with more dramatic tales of minatorial nature.

Playhouse creatures: the struggle towards virtuosity

The conflation of the actress and the whore is as old as time, and, perhaps unsurprisingly, continues to excite interest from academics, writers and audiences. April de Angelis’ Playhouse Creatures was inspired by Elizabeth Howe’s seminal The First English Actresses (1992), which was the first academic reading of the Restoration actress, since the 1950’s. Howe saw the first English actresses as victims of the Restoration male gaze: sexually displayed and exploited. In this paper Howe’s reading and de Angelis’s realisation will be examined alongside archival research and the help of the cast of this year’s production of Playhouse Creatures in order to discover another story, the development of the actress as virtuoso. [From the Author]

For the record

Discusses her film, For the Record, the making of which was funded by the Arts and Humanities Research Council. The research material used in the making of FOR THE RECORD consists of official records, private diaries, personal testimony, historical expert interviews and archive footage - all related to the Internment period 1956-1960 in Northern Ireland. Through the use of clips from the film and footage that did not make it into the final cut, this talk examines how selected material is used and to what purpose. FOR THE RECORD is a film about a daughter documenting a period in her father's life and centres on PJ McClean's prison diary, secretly written on the inside of envelopes during the first 30 days in his cell. This brings the viewer into the intimate space of personal testimony. This intimacy is also reflected in the interviews between father and daughter. Throughout the film the diaries are illustrated by experimental Super8 and 16mm footage shot by the filmmaker, over a period of 10 years, of home life. The film unravels the complex story of internment; the why, the how and the ‘for what’? Official records obtained from the Public Records Office Northern Ireland (which have been closed to the public for the past fifty years) combine with archive footage of the then Northern Irish Prime Minister, Basil Brookeborough, to give a wider political perspective to this personal testament. FOR THE RECORD deals with memory, memorabilia and the question of testimony in a complex political landscape. [From the Author]