The Administrative and Professional Faculty Experience at VCU

At a time when Virginia Commonwealth University (VCU) is striving to become a premier research institution, Administrative and Professional (A&P) Faculty are essential to the university’s ability to provide and sustain the quality educational programs that are the foundation of the academic enterprise. While essential, A&P Faculty are not always factored into University efforts to the same extent as instructional faculty. Recognizing that A&P Faculty represent a population diverse in educational background, professional focus, role, responsibility, and contribution, Team Our Time conducted a mixed methods study on the experience of A&P Faculty at VCU

Future of additive manufacturing: Overview of 4D and 3D printed smart and advanced materials and their applications

© 2020 Elsevier B.V. 4D printing is an emerging field in additive manufacturing of time responsive programmable materials. The combination of 3D printing technologies with materials that can transform and possess shape memory and self-healing capabilities means the potential to manufacture dynamic structures readily for a myriad of applications. The benefits of using multifunctional materials in 4D printing create opportunities for solutions in demanding environments including outer space, and extreme weather conditions where human intervention is not possible. The current progress of 4D printable smart materials and their stimuli-responsive capabilities are overviewed in this paper, including the discussion of shape-memory materials, metamaterials, and self-healing materials and their responses to thermal, pH, moisture, light, magnetic and electrical exposures. Potential applications of such systems have been explored to include advancements in health monitoring, electrical devices, deployable structures, soft robotics and tuneable metamaterials

Maria Cosway’s Hours: Cosmopolitan and Classical Visual Culture in Thomas Macklin’s Poets Gallery

Thomas Macklin’s Gallery of Poets opened at the Mitre Tavern in Fleet Street in 1788 with the aim to ‘display British Genius’ through ‘Prints Illustrative of the Most Celebrated British Poets’. Early newspaper coverage promised ‘a monument of the powers of the pencil in England, as the Vatican is at Rome’. The incongruous juxtaposition between Fleet Street and the Vatican spells out the cosmopolitan ambition of the literary gallery phenomenon through its real and imagined geographies of display. Through the format of the paper gallery of prints, Macklin’s Poets offered the inventions of British Poets as a repository of painting. This chapter examines how the cosmopolitan idiom of the paper gallery is negotiated in the first number of Macklin’s Poets. This essay examines the extent to which this ambition was achieved in the first Number of Macklin’s Poets which carried an engraving of Maria Cosway’s The Hours, originally a painting with an impressively European iconographic heritage. The painting was first exhibited at the Royal Academy in 1783, and was retroactively associated by Macklin with Thomas Gray’s ‘Ode on the Spring’. The trope of the Hours brought with it a weighty provenance derived from classical marble bas-relief, through the antiquarian pages of Pietro Santi Bartoli and Bernard de Montfaucon to Flaxman’s designs for Wedgwood plaques and vases. Cosway’s name also imported into Gray’s poem her reputation as a cosmopolitan, cultured woman who had completed the Grand Tour and who moved in elite circles including those of the Prince of Wales in London and the Duke of Orleans, Pierre d’Hancarville and Thomas Jefferson in Paris. The iconographies of the painting, the print, and the poem articulate a European cosmopolitan tradition for British Art

La Grande-Bretagne au lendemain de la guerre

Pollard Sydney. La Grande-Bretagne au lendemain de la guerre. In: Revue d’histoire moderne et contemporaine, tome 16 N°1, Janvier-mars 1969. pp. 161-166