An analysis of traditional and integrated basic skills and the effect on student retention rates at MATC-Milwaukee

Includes bibliographical references

The UK workforce : realising our potential

for Business, a new UK-wide network of employer-led Sector Skills Councils (SSCs), supported and directed by the Sector Skills Development Agency (SSDA). The purpose of Skills for Business is to bring employers more centre stage in articulating their skill needs and delivering skills-based productivity improvements that can enhance UK competitiveness and the effectiveness of public services. The remit of the SSDA includes establishing and progressing the network of SSCs, supporting the SSCs in the development of their own capacity and providing a range of core services. Additionally the SSDA has responsibility for representing sectors not covered by a SSC and co-ordinating action on cross cutting and generic skills issues. Research, and developing a sound evidence base, are central to the SSDA and to Skills for Business as a whole. It is crucial in: analysing productivity and skill needs; identifying priorities for action; and improving the evolving policy and skills agenda. It is vital that the SSDA research team works closely with partners already involved in skills and related research to generally drive up the quality o

Volumetric shape making and pattern cutting

This paper, in light of pedagogical observations, seeks to explore and examine an alternative approach to pattern cutting through volumetric shape making and a practical, process led investigation using Alien body shapes as a teaching resource. The holistic fashion designer explores and engages with both silhouette and pattern cutting, by developing the skills of volumetric shape making. The process of pattern cutting and volumetric shape making is an iterative translation between two dimensions and three dimensions which requires a practical, experimental approach. A sequential series of interactive workshops have been developed using irregular shaped mannequins to facilitate and develop this process, promoting creative outcomes and a deeper understanding of pattern cutting. This hands on improvisational approach without a known outcome allows for design to progress organically. The above process of thinking, “drawing” and pattern cutting in three dimensions can be extremely challenging and alien to fashion students who often have a pattern cutting foundation based on technical drawings and drafting principles mostly in a two dimensional format. The aim is to explore whether a synaptic link created between hand, eye and mind through an algorithm, can assist the holistic fashion designer and enhance creativity. The vehicle of delivery for this investigation is a series of experimental workshops undertaken by all three levels of BA (Hons) Fashion Design students at Sheffield Hallam University. This dynamic working method challenges conventional teaching methods of demonstration, books and handouts and promotes enjoyment of the journey, thus reducing preconceived ideals, allowing more scope for spontaneous outcomes. Student workshops also explore morphology as a challenge to the traditional western convention of body contouring through flat pattern cutting. Morphology is explored through a series of irregular shaped, non-humanoid forms: Alien Bodies. Full-scale Alien Body mannequins are provided as a resource in the workshop on which to apply the method of direct working in three dimensions to generate an initial pattern. Reflection, analysis and discussion of the pattern shape when transformed back to the flat plane, aims to promote comprehension and underpin the holistic designing/pattern cutting approach. “Alien Body - Pushing Pattern Parameters” workshops culminated in an exhibition at the Sheffield Institute of Arts Gallery where a selection of 18 garments and their flat patterns, all created by students during the previous six month period, were displayed. This paper evaluates data captured and draws on anecdotal evidence gathered from students attending these workshops as well as looks at the methodologies used including process led investigation and peer review within the university environment. It forms a cornerstone for further questioning of whether the fashion designer and pattern cutter is the same person

Volumetric shape making and pattern cutting

This paper in light of pedagogical observations seeks to explore and examine an alternative approach to pattern cutting through volumetric shape making and a practical, process led investigation using Alien body shapes as a teaching resource. The holistic fashion designer explores and engages with both silhouette and pattern cutting, by developing the skills of volumetric shape making. The process of pattern-cutting and volumetric shape making is an iterative translation between two dimensions and three dimensions which requires a practical, experimental approach. A sequential series of interactive workshops have been developed using irregular shaped mannequins to facilitate and develop this process, promoting creative outcomes and a deeper understanding of pattern cutting. This hands-on improvisational approach without a known outcome allows for design to progress organically. The above process of thinking, ‘drawing’ and pattern-cutting in three-dimensions can be extremely challenging and alien to fashion students who often have a pattern cutting foundation based on technical drawings and drafting principles mostly in a two dimensional format. The aim is to explore whether a synaptic link created between hand, eye and mind through an algorithm, can assist the holistic fashion designer and enhance creativity. The vehicle of delivery for this investigation is a series of experimental workshops undertaken by all three levels of BA (Hons) Fashion Design students at Sheffield Hallam University. This dynamic working method challenges conventional teaching methods of demonstration, books and handouts and promotes enjoyment of the journey, thus reducing preconceived ideals allowing more scope for spontaneous outcomes. Student workshops also explore morphology as a challenge to the traditional western convention of body contouring through flat pattern cutting. Morphology is explored through a series of irregular shaped, non-humanoid forms - Alien Bodies. Full-scale Alien Body mannequins are provided as a resource in the workshop on which to apply the method of direct working in three dimensions to generate an initial pattern. Reflection, analysis and discussion of the pattern shape when transformed back to the flat plane, aims to promote comprehension and underpin the holistic designing/pattern-cutting approach. ‘Alien Body - Pushing Pattern Parameters’ workshops culminated in an exhibition at the Sheffield Institute of Arts Gallery where a selection of 18 garments and their flat patterns, all created by students during the previous 6 month period, were displayed. This paper evaluates data captured and draws on anecdotal evidence gathered from students attending these workshops as well as looks at the methodologies used including process led investigation and peer review within the university environment. It forms a cornerstone for further questioning of whether the fashion designer and pattern-cutter is the same person.</p

An idea whose time has past: the fair hiring of qualified women as superintendents in suburban schools

Includes bibliographical references

Chromosome number and individuality in the genus Crepis,

P2(10

HDAC inhibitors increase NRF2-signaling in tumour cells and blunt the efficacy of co-adminstered cytotoxic agents

The NRF2 signalling cascade provides a primary response against electrophilic chemicals and oxidative stress. The activation of NRF2-signaling is anticipated to have adverse clinical consequences; NRF2 is activated in a number of cancers and, additionally, its pharmacological activation by one compound can reduce the toxicity or efficiency of a second agent administered concomitantly. In this work, we have analysed systematically the ability of 152 research, pre-clinical or clinically used drugs to induce an NRF2 response using the MCF7-AREc32 NRF2 reporter. Ten percent of the tested drugs induced an NRF2 response. The NRF2 activators were not restricted to classical cytotoxic alkylating agents but also included a number of emerging anticancer drugs, including an IGF1-R inhibitor (NVP-AEW541), a PIM-1 kinase inhibitor (Pim1 inhibitor 2), a PLK1 inhibitor (BI 2536) and most strikingly seven of nine tested HDAC inhibitors. These findings were further confirmed by demonstrating NRF2-dependent induction of endogenous AKR genes, biomarkers of NRF2 activity. The ability of HDAC inhibitors to stimulate NRF2-signalling did not diminish their own potency as antitumour agents. However, when used to pre-treat cells, they did reduce the efficacy of acrolein. Taken together, our data suggest that the ability of drugs to stimulate NRF2 activity is common and should be investigated as part of the drug-development process