Proceed with Caution - Rebecca Potts

Throughout my childhood, my parents often took me out into nature to go hiking, camping, and just explore. Now when I am in nature, I am reminded of my childhood and reflect on the memories of safety and comfort that I experienced, but through the lens of the person that I am today. As I have learned about and engaged with people in my community, I realized that their experiences and views of being outdoors and in the environments that I grew up feeling comfortable in are much different than mine. These different experiences are based on factors such as family or community, external factors, social location, and their personal experiences. My work is a way for me to reflect on and convey my own experiences as a child as opposed to how I feel today, and also to be an advocate for others who feel unsafe in outdoor environments. I reflect on the complex relationship between people and their surrounding environment in two different media - painting and graphic design. In my paintings, I explore my personal and experiential relationship with the natural environment, as well as how my relationships with family have affected my experiences. I think about what it means to be a woman in nature alone, and how I can sense that with the comfort I feel, there are also feelings of uncertainty and a lurking danger. Through graphic design, I create influential advertising campaigns and posters about inclusion and safety, and visual identities and branding that present a welcoming and inclusive environment. To show the tension between the comfort I feel in nature in relation to danger that exists, I place myself in paintings as a child and as an adult in situations where the feeling of lurking danger is present, or where the figures are vulnerable in some way. The images that I paint feel precarious and unsettling, but comforting at the same time as I often appear happy in nature with my family. The figures in my paintings interact with recurring symbols and elements such as fog, water, or roots. I use elevated, dark colors and gestural mark making to show opposition and emphasize an unsettling mood. A few of my contemporary painting influences include Shannon Cartier Lucy and Teresa Dunn. Shannon Lucy paints unsettling or uncomfortable scenes that can also be intimate or inviting, as a lot of these scenes are in familiar, everyday spaces, and this is a balance that I also strive for in my own work. In Teresa Dunn’s work, I am mainly inspired by her mark making, use of color, and level of resolve that she achieves in different areas of her paintings, as well as the ways that she uses figures. Her mark making is very gestural, and she also brings in a lot of non-local colors in order to create more conflicting scenes. The colors that I use in my graphic design work are warm, natural, and tonal colors that visually communicate feelings of familiarity and comfort. I use bold serif typefaces such as Gastromond and Freehouse that appear adventurous and lighthearted, paired with wide sans serif typefaces such as Avenir and Effra because these typefaces appear approachable, friendly, and dependable. I am influenced by the ways that the designer Jessica Hische creates importance and draws attention through her bold and elegant typography. The flat and minimalistic illustrations and icons that I use in my infographics and advertising designs also make them easily digestible and welcoming for the viewer. In the design of the logo for my national park system, I used a shape that resembles an arrow as well as a minimal illustration of a mountainscape. In this logo and in my illustrations, I am influenced by the designer Chester Don Powell. Specifically, I am inspired by the flat and intricate illustrations and bold typography that Chester Don Powell used in his designs of Works Progress Administration posters for national parks.https://digitalcommons.murraystate.edu/art399/1126/thumbnail.jp

Proceed with Caution: Safety, Peace, and Collective Responsibility

Throughout my childhood, my parents often took me out into nature to go hiking, camping, and just explore. Now when I am in nature, I am reminded of my childhood and reflect on the memories of safety and comfort that I experienced, but through the lens of the person that I am today. As I have learned about and engaged with people in my community, I realized that their experiences and views of being outdoors and in the environments that I grew up feeling comfortable in are much different than mine. These different experiences are based on factors such as family or community, external factors, social location, and their personal experiences. My work is a way for me to reflect on and convey my own experiences as a child as opposed to how I feel today, and also to be an advocate for others who feel unsafe in outdoor environments. I reflect on the complex relationship between people and their surrounding environment in two different media - painting and graphic design. In my paintings, I explore my personal and experiential relationship with the natural environment, as well as how my relationships with family have affected my experiences. I think about what it means to be a woman in nature alone, and how I can sense that with the comfort I feel, there are also feelings of uncertainty and a lurking danger. Through graphic design, I create influential advertising campaigns and posters about inclusion and safety, and visual identities and branding that present a welcoming and inclusive environment. To show the tension between the comfort I feel in nature in relation to danger that exists, I place myself in paintings as a child and as an adult in situations where the feeling of lurking danger is present, or where the figures are vulnerable in some way. The images that I paint feel precarious and unsettling, but comforting at the same time as I often appear happy in nature with my family. The figures in my paintings interact with recurring symbols and elements such as fog, water, or roots. I use elevated, dark colors and gestural mark making to show opposition and emphasize an unsettling mood. The colors that I use in my graphic design work are warm, natural, and tonal colors that visually communicate feelings of familiarity and comfort. I use bold serif typefaces such as Gastromond and Freehouse that appear adventurous and lighthearted, paired with wide sans serif typefaces such as Avenir and Effra because these typefaces appear approachable, friendly, and dependable. The flat and minimalistic illustrations and icons that I use in my infographics and advertising designs also make them easily digestible and welcoming for the viewer

Proceed with Caution

Throughout my childhood, my parents often took me out into nature to go hiking, camping, and just explore. Now when I am in nature, I am reminded of my childhood and reflect on the memories of safety and comfort that I experienced, but through the lens of the person that I am today. As I have learned about and engaged with people in my community, I realized that their experiences and views of being outdoors and in the environments that I grew up feeling comfortable in are much different than mine. These different experiences are based on factors such as family or community, external factors, social location, and their personal experiences. My work is a way for me to reflect on and convey my own experiences as a child as opposed to how I feel today, and also to be an advocate for others who feel unsafe in outdoor environments. I reflect on the complex relationship between people and their surrounding environment in two different media - painting and graphic design. In my paintings, I explore my personal and experiential relationship with the natural environment, as well as how my relationships with family have affected my experiences. I think about what it means to be a woman in nature alone, and how I can sense that with the comfort I feel, there are also feelings of uncertainty and a lurking danger. Through graphic design, I create influential advertising campaigns and posters about inclusion and safety, and visual identities and branding that present a welcoming and inclusive environment. To show the tension between the comfort I feel in nature in relation to danger that exists, I place myself in paintings as a child and as an adult in situations where the feeling of lurking danger is present, or where the figures are vulnerable in some way. The images that I paint feel precarious and unsettling, but comforting at the same time as I often appear happy in nature with my family. The figures in my paintings interact with recurring symbols and elements such as fog, water, or roots. I use elevated, dark colors and gestural mark making to show opposition and emphasize an unsettling mood. A few of my contemporary painting influences include Shannon Cartier Lucy and Teresa Dunn. Shannon Lucy paints unsettling or uncomfortable scenes that can also be intimate or inviting, as a lot of these scenes are in familiar, everyday spaces, and this is a balance that I also strive for in my own work. In Teresa Dunn’s work, I am mainly inspired by her mark making, use of color, and level of resolve that she achieves in different areas of her paintings, as well as the ways that she uses figures. Her mark making is very gestural, and she also brings in a lot of non-local colors in order to create more conflicting scenes. The colors that I use in my graphic design work are warm, natural, and tonal colors that visually communicate feelings of familiarity and comfort. I use bold serif typefaces such as Gastromond and Freehouse that appear adventurous and lighthearted, paired with wide sans serif typefaces such as Avenir and Effra because these typefaces appear approachable, friendly, and dependable. I am influenced by the ways that the designer Jessica Hische creates importance and draws attention through her bold and elegant typography. The flat and minimalistic illustrations and icons that I use in my infographics and advertising designs also make them easily digestible and welcoming for the viewer. In the design of the logo for my national park system, I used a shape that resembles an arrow as well as a minimal illustration of a mountainscape. In this logo and in my illustrations, I am influenced by the designer Chester Don Powell. Specifically, I am inspired by the flat and intricate illustrations and bold typography that Chester Don Powell used in his designs of Works Progress Administration posters for national parks.https://digitalcommons.murraystate.edu/art498/1104/thumbnail.jp

Leading from the front? Increasing Community Participation in a Just Transition to Net Zero in the North-East of Scotland

Acknowledgements We would like to thank our funder the Scottish University Insight Institute for funding and supporting this project. We would also like to thank our project partners NESCAN Hub and Power Circle and the community and civil society groups, local stakeholders and individuals who joined us at our events.Publisher PD

Attention-Based Deep Learning Methods for Predicting Gas Turbine Emissions

This work was supported by the Engineering and Physical Sciences Research Council [EP/W522089/1].Peer reviewedPublisher PD

Tabular Machine Learning Methods for Predicting Gas Turbine Emissions

The work presented here received funding from EPSRC (EP/W522089/1) and Siemens Energy Industrial Turbomachinery Ltd. as part of the iCASE EPSRC PhD studentship “Predictive Emission Monitoring Systems for Gas Turbines”.Peer reviewedPublisher PD

Tabular Machine Learning Methods for Predicting Gas Turbine Emissions

The work presented here received funding from EPSRC (EP/W522089/1) and Siemens Energy Industrial Turbomachinery Ltd. as part of the iCASE EPSRC PhD studentship ”Predictive Emission Monitoring Systems for Gas Turbines”.Preprin

Directional Selection on Tree Seedling Traits Driven by Experimental Drought Differs Between Mesic and Dry Populations

Original ResearchWe evaluated population differences and drought-induced phenotypic selection on four seedling traits of the Australian forest tree Eucalyptus pauciflora using a glasshouse drydown experiment. We compared dry and mesic populations and tested for directional selection on lamina length (reflecting leaf size), leaf shape, the node of ontogenetic transition to the petiolate leaf (reflecting the loss of vegetative juvenility), and lignotuber size (reflecting a recovery trait). On average, the dry population had smaller and broader leaves, greater retention of the juvenile leaf state and larger lignotubers than the mesic population, but the populations did not differ in seedling survival. While there was statistical support for directional selection acting on the focal traits in one or other population, and for differences between populations in selection gradient estimates for two traits, only one trait—lamina length—exhibited a pattern of directional selection consistent with the observed population differences being a result of past adaptation to reduce seedling susceptibility to acute drought. The observed directional selection for lamina length in the mesic population suggests that future increases in drought risk in the wild will shift the mean of the mesic population toward that of the dry population. Further, we provide evidence suggesting an early age trade-off between drought damage and recovery traits, with phenotypes which develop larger lignotubers early being more susceptible to drought death. Such trade-offs could have contributed to the absence of population mean differences in survival, despite marked differentiation in seedling traitsinfo:eu-repo/semantics/publishedVersio

Assessing a Bayesian Approach for Detecting Exotic Hybrids between Plantation and Native Eucalypts

Eucalyptus globulus is grown extensively in plantations outside its native range in Australia. Concerns have been raised that the species may pose a genetic risk to native eucalypt species through hybridisation and introgression. Methods for identifying hybrids are needed to enable assessment and management of this genetic risk. This paper assesses the efficiency of a Bayesian approach for identifying hybrids between the plantation species E. globulus and E. nitens and four at-risk native eucalypts. Range-wide DNA samples of E. camaldulensis, E. cypellocarpa, E. globulus, E. nitens, E. ovata and E. viminalis, and pedigreed and putative hybrids (n = 606), were genotyped with 10 microsatellite loci. Using a two-way simulation analysis (two species in the model at a time), the accuracy of identification was 98% for first and 93% for second generation hybrids. However, the accuracy of identifying simulated backcross hybrids was lower (74%). A six-way analysis (all species in the model together) showed that as the number of species increases the accuracy of hybrid identification decreases. Despite some difficulties identifying backcrosses, the two-way Bayesian modelling approach was highly effective at identifying F1s, which, in the context of E. globulus plantations, are the primary management concern