Rhetoric and Realities of London 2012 Olympic Education and Participation ‘Legacies’: Voices from the Core and Periphery

A legacy emphasis was one of the fundamental pillars of the London 2012 Olympic Games. The notion of an Olympic legacy was predicated on assumptions that the event’s value would not purely derive from the sporting spectacle, but rather, from the ‘success’ of enduring effects met out in London and across the country. For physical education students and practitioners, Olympic legacy agendas translated into persistent pressure to increase inspiration, engagement, participation and performance in the subject, sport and physical activity. Responding to this context, and cogniscent of significant disciplinary scholarship, this paper reports initial data from the first phase of a longitudinal study involving Key Stage Three (students aged 11-13) cohorts in two comparable United Kingdom schools: the first an inner-city (core) London school adjacent to the Olympic Park in Stratford, East London (n=150); the second, a (peripheral) school in the Midlands (n=198). The research involved the use of themed questionnaires focusing on self-reported attitudes toward the Olympic Games, and, experiences of physical education, sport and physical activity. Students from both schools demonstrated a wide variety of attitudes toward physical education and sport; yet, minor variances emerged regarding extreme enthusiasm levels. Both cohorts also expressed considerably mixed feelings toward the impending Olympic Games. Strong and variable responses were also reported regarding inspiration levels, ticketing acquisition and engagement levels. Consequently, this investigation can be read within the broader context of legacy debates, and, aligns well with physical educationalists’ on-going discomfort regarding legacy imperatives being enforced upon the discipline and its practitioners. Our work reiterates a shared disciplinary scepticism that while an Olympic Games may temporarily affect young peoples’ affectations for sport (and maybe physical education and physical activity), it may not provide the best, or most appropriate, mechanism for sustained attitudinal and/or social changes en masse.

Are the Birch Trees in Southern England a Source of Betula Pollen for North London?

Birch pollen is highly allergenic. Knowledge of daily variations, atmospheric transport and source areas of birch pollen is important for exposure studies and for warnings to the public, especially for large cities such as London. Our results show that broad-leaved forests with high birch tree densities are located to the south and west of London. Bi-hourly Betula pollen concentrations for all the days included in the study, and for all available days with high birch pollen counts (daily average birch pollen counts >80 grains/m3), show that, on average, there is a peak between 1400 hours and 1600 hours. Back-trajectory analysis showed that, on days with high birch pollen counts (n=60), 80% of air masses arriving at the time of peak diurnal birch pollen count approached North London from the south in a 180 degree arc from due east to due west. Detailed investigations of three Betula pollen episodes, with distinctly different diurnal patterns compared to the mean daily cycle, were used to illustrate how night-time maxima (2200–0400 hours) in Betula pollen counts could be the result of transport from distant sources or long transport times caused by slow moving air masses. We conclude that the Betula pollen recorded in North London could originate from sources found to the west and south of the city and not just trees within London itself. Possible sources outside the city include Continental Europe and the Betula trees within the broad-leaved forests of Southern England.

Innovation in the Local Context – A Case Study of BYD in China

In this paper we have used the case of BYD to examine firm innovation in the China context. From a historical perspective, with its strategic diversification from battery to mobile phone manufacturing to automobile manufacturing, we find that BYD has been innovative in its production method, vertical integration strategy, and design of product for local customers. The effective understanding and leveraging of local contextual factors including supply of labor (especially low cost-highly skilled labor), growing middle class, and local industry environments have played important roles for BYD’s innovation in China.

God and War: the Church of England and Armed Conflict in the Twentieth Century

Despite narratives of secularization, it appears that the British public persistently pay attention to clerical opinion and continually resort to popular expressions of religious faith, not least in time of war. From the throngs of men who gathered to hear the Bishop of London preach recruiting sermons during the First World War, to the attention paid to Archbishop Williams' words of conscience on Iraq, clerical rhetoric remains resonant. For the countless numbers who attended National Days of Prayer during the Second World War, and for the many who continue to find the Remembrance Day service a meaningful ritual, civil religious events provide a source of meaningful ceremony and a focus of national unity. War and religion have been linked throughout the twentieth century and this book explores these links: taking the perspective of the 'home front' rather than the battlefield. Exploring the views and accounts of Anglican clerics on the issue of warfare and international conflict across the century, the authors explore the church's stance on the causes, morality and conduct of warfare; issues of pacifism, obliteration bombing, nuclear possession and deterrence, retribution, forgiveness and reconciliation, and the spiritual opportunities presented by conflict. This book offers invaluable insights into how far the Church influenced public appraisal of war whilst illuminating the changing role of the Church across the twentieth century.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?