Wainwright’s West Yorkshire: affect and landscape in the television drama of Sally Wainwright

Over the past two decades RED Production Company's key presence in British television drama has been grounded in its regional focus on the North of England. It shares this commitment with Sally Wainwright, whose work with and outside of RED is built around a strong affective engagement with its characters’ experiences. These stories offer intimate explorations of family dynamics and female relationships, situated within and interwoven with the spaces and places of West Yorkshire. From her adaptation of Wuthering Heights in Sparkhouse (BBC, 2002) to her 2016 Christmas biopic of the Brontë sisters To Walk Invisible (BBC, 2016), through Last Tango in Halifax (BBC, 2012–16) and Happy Valley (BBC, 2014–) these are distinctly regional narratives whose female-led familial melodrama, psychodrama and romance are embedded within and return to the landscapes of the region, spaces which blend the stolid and torrid. Wide and spectacular aerial shots follow cars that track through the green and brown expanses between the Harrogate and Halifax families of the elderly couple in Last Tango, the beauty of the Calder Valley pens in the stark bleakness that is foundational to Happy Valley, and the Brontë sisters stride across heathered hills and are silhouetted against grey skies in To Walk Invisible. This article explores the visual dynamics of Wainwright's work and her engagement with the landscapes of the region in both her writing and direction, evoking their numerous literary and cultural connotations in her interweaving of West Yorkshire's stark, dynamic beauty with her stories of intimate female affect

Real-time train driver rescheduling by actor-agent techniques

Passenger railway operations are based on an extensive planning process for generating the timetable, the rolling stock circulation, and the crew duties for train drivers and conductors. In particular, crew scheduling is a complex process. After the planning process has been completed, the plans are carried out in the real-time operations. Preferably, the plans are carried out as scheduled. However, in case of delays of trains or large disruptions of the railway system, the timetable, the rolling stock circulation and the crew duties may not be feasible anymore and must be rescheduled. This paper presents a method based on multi-agent techniques to solve the train driver rescheduling problem in case of a large disruption. It assumes that the timetable and the rolling stock have been rescheduled already based on an incident scenario. In the crew rescheduling model, each train driver is represented by a driver-agent. A driver-agent whose duty has become infeasible by the disruption starts a recursive task exchange process with the other driver-agents in order to solve this infeasibility. The task exchange process is supported by a route-analyzer-agent, which determines whether a proposed task exchange is feasible, conditionally feasible, or not feasible. The task exchange process is guided by several cost parameters, and the aim is to find a feasible set of duties at minimal total cost. The train driver rescheduling method was tested on several realistic disruption instances of Netherlands Railways (NS), the main operator of passenger trains in the Netherlands. In general the rescheduling method finds an appropriate set of rescheduled duties in a short amount of time. This research was carried out in close cooperation by NS and the D-CIS Lab

The common field landscape: cultural commemoration and the impact of enclosure, c.1770-1850

The period of parliamentary enclosure in the eighteenth and nineteenth centuries has been viewed by many historians as the critical turning point in the history of the English landscape, its agriculture, and in the lives of those who lived there during this period. Indeed, the historiography of English rural life in the modern period has been dominated by the social and agricultural upheaval and change caused by parliamentary enclosure, dominating the assessments of land ownership and use within a number of related academic fields. Equally, art historians have generally examined paintings of the English landscape and its way of life only in relation to the ideologies of improvement and social change brought about by enclosure. As such, and as the landscape art historian, Michael Rosenthal, has put it, ‘we have tended not to keep an eye on (enclosure’s) antithesis – the common field landscape’. This chapter will readdress this position by exploring how the work of a number of artists and writers, such as William Turner of Oxford and Thomas Miller, continued to deliberately celebrate the common field landscape long after the process of enclosure had virtually wiped it out. It will explore the quite idiosyncratic nature of these visual and literary articulations of the common field landscape, and the deeply felt cultural and psychological motives for producing these in the face of the impact of enclosure