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This article explores the challenges surrounding the Scottish media graduate landscape after the COVID-19 pandemic. Contributing factors that impact Scotland-based students and educators include a shift in the jobs market, altering pedagogies during and post-pandemic, and social drivers including fewer students choosing media pathways of study due to the cost-of-living crisis. This study draws on insights from 40 students at five Scottish universities, all of whom graduated in the summer of 2023. The research presents a window into the mindset and expectations of this post-pandemic graduating class while drawing on current and relevant literature. In addition, the paper includes reaction from industry and academic experts in Scotland and questions what can be done to address trends surrounding the stability and sustainability of journalism education. The experts include senior broadcasters, an established media educator who has worked across further education and higher education in Scotland while also being a national news editor, and one of Scotland’s most experienced journalism educators who is the chair of the World Journalism Education Council. This work is predominantly qualitative, drawing on a mixed research approach of expert interviewing and surveys while providing recommendations for journalism educators.

According to Benjamin, with the \"baroque it is common practice ... to pile up fragments ceaselessly, without any strict idea of a goal\" (in Broadfoot 9). Here I want to review some of the findings that informed Barroco Nova, especially because they bear heavily on my preoccupations as an ostensible neo-baroque artist.2 The exhibition Ultrabaroque, organized and circulated by the Museum of Contemporary Art in San Diego, was important for audiences throughout the non-Latin world because of the significant complexity its wide range of contemporary art emphasised. [...]the return of the baroque brings liberation of the repressed and is thus seen as an emancipation from modernity.\" In 2011 he co-curated with Susan Edelstein the exhibition, \"Barroco Nova: Neo-Baroque Moves in Contemporary Art\" (Museum London, Ontario). Since 2007 he has been part of the 'Hispanic/Transatlantic Baroque' project funded by the Canadian grant body SSHRC and has been working with the neo-baroque research team.

We report a case of a Clostridium septicum empyema in an immunocompetent woman following operation for an incarcerated internal hernia. The patient was successfully treated with pleural decortication and an extended course of postoperative antibiotics. This is the first report of such an infection in the medical literature.

In order to ensure sustainable use of their shared marine resources, the nations of the West Caribbean Region must adopt an approach that encompasses both the human and natural dimensions of ecosystems. This volume directly contributes to that vision, bringing together the collective knowledge and experience of scholars and practitioners within the wider Caribbean to assemble a road map towards marine ecosystem based management for the region. The research presented here will be used not only as a training tool for graduate students, but also as comparative example and guide for stakeholders and policy makers in each of the world's sixty-four large marine ecosystems.

Managed moves were introduced by the DfE (1999) in an effort to lower the rising number of permanent exclusions in schools. Abdelnoor (2007) described a managed move as a process whereby a student, typically during a school year, moves from one school to another, or to an alternate education provision, to avoid being permanently excluded. This study follows on from a small scale research project by Trainee Educational Psychologists (Mahon, MacKenzie, Delo, & Foy, 2014), which found that self-determination, as defined by Deci and Ryan (1985), played an important role in students' managed move success. Self-Determination Theory (SDT) identified that when a person's innate needs of autonomy, competence and relatedness were satisfied they experienced intrinsic motivation, which is conducive to optimal learning in an educational setting (Niemiec & Ryan, 2009). The first chapter of this study begins with a literature review of the benefits of intrinsic/autonomous motivation in the classroom. The review confirmed that when a student's needs for autonomy, competence and relatedness were satisfied in a classroom setting they experienced intrinsic or autonomous motivation. The four main benefits of student intrinsic/autonomous motivation in the classroom consistently found in the literature were willingness to engage, task persistence, increased student well-being and academic achievement. The review highlighted a lack of research on SDT and student exclusions and/or transition. The search was unable to find any studies on SDT and managed moves. The second chapter responds to gaps identified by the literature review and used an Interpretative Phenomenological Analysis (IPA) approach to explore the students' experience of self-determination in their managed move. Findings suggest that when students' self-determination needs are met they are more likely to result in a successful managed move, in terms of their increased engagement, both academically and socially in school, resulting in higher academic achievement, positive wellbeing and future aspirations.

The works of contemporary artists Xu Bing, Ed Pien and Gu Xiong are involved in bringing to light some of the factors inherent in social, cultural and linguistic translation. In doing so, each artist is also engaged in the nuanced activity of moving between historical and contemporary aesthetic strategies in order to interrogate the way meaning is produced through materials-based iterations, against a backdrop of public culture. This essay situates the works of Xu Bing, Ed Pien and Gu Xiong in relation to each artist's own respective practice which has spanned more than twenty years. Concentrating specifically on projects where the artists mobilize western-influenced art methodologies and refer to traditional Chinese/Asian art styles, the essay makes canny revelations about the nature of communication, and on linguistic and material translation, in contemporary culture in the globalizing world. (Contains 9 figures and 8 endnotes.)

Drawn Like Money, which was occasioned by a collaborative project entitled Ar t and Cold Cash, is excerpted here to demonstrate my interest in representations of landscape and wildlife through visual rubrics that have come to confer notions of economic value upon pictorial representations. Specific to the Drawn Like Money Series was the idea that nationhood in Canada has in part been forged in relationship to images of the land, including those painted by artists and illustrators whose works were modeled on a British idea of landscape; by the paintings of the Group of Seven; and with regard to other such representations displayed on paper money since the midtwentieth century and earlier.

In this chapter, we briefly review the history of using policy to drive a more circular economy (CE), and discuss the range of measures that may be relevant. After summarising some key references, we explore four case studies of successful CE policy interventions, consider some of the main challenges that may be encountered, and conclude with some observations about the potential for more creative approaches to CE policy in the future. This chapter discusses the role of policy and, in particular, public policy, as generally created by governments in making the economy more circular. It focuses on public policy that is, policy decisions made by public sector and by central governments in particular. Government policy to drive circularity in the economy is a development of resources and waste policy, because its historical antecedents were generally concerned with controlling what happens to products and materials when they become waste. Under the EU Circular Economy Package, EU member states are required by 2025 to introduce extended producer responsibility legislation covering four waste streams: packaging, waste electrical and electronic equipment, end-of-life vehicles, and batteries. The use of policy measures to drive greater circularity is in its relative infancy, and much experience to date has represented a limited evolution beyond existing resources and waste policy. To date, most ‘circular economy’ policy measures have actually represented a very limited evolution of more traditional waste management policies.

The introductory essay highlights a double sense of the word grave, which is brought together in this issue as a means of getting at an aesthetic and a material zeitgeist: the prevalent feeling is that our current cultural moment harbours material and virtual means of artistic and written iteration that are in profound states of transition. The introduction to this issue focuses on intersections between written language and material sign, text and image, and on the links between the histories of specific art medias that speak to notions of passage and a passage beyond. Commenting on the major essays in the issue and their respective engagements with art and text in light of shifting materialities, the introduction also situates a series of \"artist's projects\" in relation to the themes of the project. (Author abstract)

The introductory essay highlights a double sense of the word grave which is brought together in this issue as a means of getting at an aesthetic and a material zeitgeist: the prevalent feeling is that our current cultural moment harbors material and virtual means of artistic and written iteration that are in profound states of transition. The introduction to this issue focuses on intersections between written language and material sign, text and image, and on the links between the histories of specific art medias that speak to notions of passage and a passage-beyond. Commenting on the major essays in the issue and their respective engagements with art and text in light of shifting materialities, the introduction also situates a series of \"artist's projects\" in relation to the themes of the project. Adapted from the source document