An investigation of container train service provision and load factors in Great Britain

The continued growth in the volume of international trade poses considerable economic and sustainability challenges, particularly as transport routes become more congested and concern grows about the role of transport movements in accelerating climate change. Rail freight plays a major role in the inland transport of containers passing through the main British container ports, and potentially could play a more significant role in the future. However, there is little detailed understanding of the nature of this particular rail market, especially in terms its current operating efficiency. This paper examines container train service provision to/from the four main ports, based on analysis of a representative survey of more than 500 container trains between February and August 2007. The extent to which the existing capacity is utilised is presented, and scenarios by which the number of containers carried could be increased without requiring additional train service provision are modelled, to identify the theoretical potential for greater rail volumes. Finally, the paper identifies the challenges involved in achieving higher load factors, emphasising the importance both of wider supply chain considerations and government policy decision-making.

Re-modelling clay: ceramic practice and the museum in Britain (1970-2014)

This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.