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Hotspotting: the conservation strategy to save our wildlife?

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Alex (Year 11) investigates whether the strategy of hotspot conservation is beneficial to reducing mass extinction rates, or if this strategy is not all it claims to be.

Back in 2007, Professor Norman Myers was named the Time Magazine Hero of the Environment for his work in conservation with relation to biodiversity hotspots. He first came up with his concept of hotspot conservation in 1988, when he expressed his fears that ‘the number of species threatened with extinction far outstrips available conservation resources’. The main idea was that he would identify hotspots for biodiversity around the world, concentrating conservation efforts there and saving the most species possible in this way.

Myers’ fears are even more relevant now than 30 years ago. According to scientific estimates, dozens of species are becoming extinct daily leading to the worst epidemic of extinction since the death of the dinosaurs, 65 million years ago. And this is not as naturally occurring as a giant meteor colliding with the Earth – 99% of the IUCN Red List of Threatened Species are at risk from human activities such as ocean pollution and loss of habitat due to deforestation amongst other things. It is therefore crucial that we act now to adopt a range of conservation strategies to give our ecosystems a chance at survival for future generations.

To become accepted as a hotspot, a region must meet two criteria: firstly it must contain a minimum of 1,500 endemic (native or restricted to a certain area) plant species, and secondly it must have lost at least 70% of its original vegetation. Following these rules, 35 areas around the world ranging from the Tropical Andes in South America to more than 7,100 islands in the Philippines and all of New Zealand and Madagascar, were identified as hotspots. These areas cover only 2.3% of Earth’s total land surface but contain more than 50% of the world’s endemic plant species and 43% of endemic terrestrial bird, mammal, reptile and amphibian species, making them crucial to the world’s biodiversity.

This concept has been hailed as a work of genius by conservationists and has consequently been adopted by many conservation agencies such as Conservation International – who believe that success in conserving these areas and their endemic species will have ‘an enormous impact in securing our global biodiversity’.

The principal barrier to all conservation efforts is funding, as buying territories and caring for them costs a lot of money, which is primarily raised from businesses, governments and individual donors. Most of this funding is raised through campaigns focused on charismatic megafauna such as the penguin or the snow leopard. These types of campaigns motivate people as they feel a closer connection to these animals and they seem to really be making a difference in conserving these species. When conservation is done on a larger, regional level, there is less of the gratification that comes along with donating money as there is less control, felt by the donors, over the work done for conservation. Through the identification of 35 specific areas to concentrate funds towards, this reconnects the public, as well as larger companies and local governmental bodies, to the projects, thereby encouraging more donations. It is for this reason that hotspot conservation has received £740 million, the largest amount ever assigned to a single conservation strategy.

Although the 35 areas identified are relatively widespread and well-funded for their conservation efforts, this strategy has been criticised for its neglect of other crucial ecosystems. First of all, there are no hotspots in northern Europe and many other areas around the world, neglecting many species of both flora and fauna. Also, as the criteria for classification as a hotspot are with reference to endemic plant species, many species of fauna are neglected, from insects to large and endangered species such as elephants, rhinos, bears, and wolves. Furthermore, areas referred to as ‘coldspots’ are ignored. This could lead to the collapse of entire ecosystems following the extinction of key species.

Another major issue with this strategy is that terrestrial environments only make up around 29.2% of the earth’s surface area. The other 70.8% is covered in very diverse (but also very threatened) oceans and seas. Marine environments are overlooked by hotspot conservationists as they rarely have 1500 endemic plant species, as deep oceans with very little light are not the ideal environmental environment for plant growth, and species floating on the top are rarely confined to one specific area, making them not endemic.

So, if even the more successful strategies for conservation are so flawed, is there any hope for the future? I think that yes, there is. Although there is no way to save all the species on earth, identifying crucially important areas to concentrate our efforts on is essential to modern conservation efforts. Hotspot conservation is definitely improving the ecological situation in these 35 areas and so those efforts should be continued, but that doesn’t mean that all conservation efforts should be focussed only on these hotspots. Hotspot conservation should be part of the overall strategy for reduction of mass extinction rates, but it is not the fix-all solution that some claim it is.

Follow @Geography_WHS & @EnviroRep_WHS on Twitter.

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Can we hope for junk-free Space?

Leslie in Year 11 discusses the increasing threat of junk in space orbit and therefore the significance of and urgency in removal of such junk, and whether a new experiment, led by the Surrey Space Centre, will provide a potential solution to the crowded orbit.

Since the turn of the 20th century, the rising interest in outer space has resulted in an uncountable amount of space debris. This under-reported phenomenon, also known as space junk or space waste, is the cluttering of the universe with man-made objects, and it has potentially dangerous consequences. But why should it capture people’s attention globally?

Hundreds and thousands of unused satellites from all over the world and fragments of spacecraft (including rocket stages and paint flakes) are in the same orbit, together with the functioning spacecraft. This is because many pieces of unwanted space debris take a long time, even decades, to deorbit and fall back into earth. Clearly, due to rising global interest in space exploration, the chances of collision are growing ever greater.

A report from the U.S. National Research Council in 2011 warned NASA that the ‘amount of orbiting space debris was at a critical level…enough currently in orbit to continually collide and create even more debris, raising the risk of spacecraft failures’. More than half a decade has passed since, and the removal of space debris definitely seems urgent.

A key solution to this issue is the removal of space waste from the atmosphere; this is important as even tiny particles of less than 1cm can have dramatic effects due to the high speed at which they travel and the risk of collisions. Perhaps surprisingly, these particles are a major threat to space walking astronauts and humans aboard spacecraft. Whilst it is important to acknowledge that collisions are unlikely due to space being unimaginably huge, the possible consequences could be dramatic, rendering it absolutely essential to diminish the growing threat posed by space debris.

To demonstrate this point, less than two years ago Sentinel-1A suffered an impact, where an object slammed into one of the solar panels and caused a dent of nearly half meter across. Had the main spacecraft been hit, it would have resulted in serious damage. Holger Krag, Head of ESA’s Space Debris Office at ESOC (European Space Operations Centre), stated, ‘We appear to have survived this unexpected collision with minimal impact on this particular satellite. We may not be so fortuitous next time.’

The leading astrophysics agencies’ announcements have emphasized the critical quantities of space debris and although space travel has always had risks, the rising amounts of space junk puts existing spacecraft under a continuous threat, especially as millions of small particles are untraceable. Encouraging further experiments focusing on the removal of them is necessary, as it is urgently important to come up with a solution and this is putting many space agencies under pressure to find the best solution to this ongoing problem.

The solution may be closer to home than we think! Not too far away from Wimbledon, the ongoing mission RemoveDebris at Surrey Space Centre aims to capture and destroy space debris in low cost initiatives, which will hopefully reduce the risk of future collisions. The experiment, planned to be launched this year, consists of four ways to capture space debris. If these methods turn out to be successful, it will be a step towards a safer orbit for the future. It includes: a net experiment, a VBN (Vision based navigation) experiment, a harpoon and deployable target experiment and a DragSail. The RemoveDebris will carry its own junk and measure the success of their methods in space.

The initial experiment involves capturing the debris by firing a net. When the CubeSat (which is released by RemoveDebris to try to capture the objects), is at a distance of 7m, the net will fire and hit the target. The large surface area enables the CubeSat to deorbit at an accelerated rate, which will hopefully remove the debris from space.

Airbus, an international aerospace company, is involved in a harpoon target experiment and many scientists believe that this could in fact provide the solution to space junk. In the RemoveDebris experiment, a small miniature harpoon is planned to be on board. A DragSail, also on board, is to quicken the de-orbit of the satellite when deployed and to speed up the rate of burning in the Earth’s atmosphere, explained by Surrey Space Centre.

The success of this experiment in removing space debris will lessen the risk of collision. It will create a safer environment for functioning satellites and any space vehicles, especially those with humans aboard. This is an absolutely necessary precaution to take before taking further steps in space exploration, and the success of this experiment will provide a new, innovative way to increase safety in outer space.

Despite this experiment providing hope for a better solution to the problem of space debris, how long it will take to make the orbit safe again is questionable and yet to be answered. Nevertheless, the many experiments being undertaken to help tackle this pressing problem provide some consolation. Although it seems like we are extremely far away from junk-free space, it might not be an impossibility.

Follow @Physics_at_WHS on Twitter.

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Using images to inspire and engage our future scientists.

Alex Farrer, one of our Scientists in Residence, looks at ways images can be used both inside and outside the classroom.

The Wellcome Trust is a global charitable foundation that supports scientists and researchers to work on challenges such as the development of Ebola vaccines and training health workers in ways to reduce the risk of infection when working on the front line. What you might not realise about the Wellcome Trust is that they also invest over £5million each year in education research, professional development opportunities and resources and activities for teachers and students. A key part of their science education priority area is primary science and they have a commitment to improving the teaching of science in primary schools through compiling research and evidence for decision making, campaigning for policy change and making recommendations for teachers and governors. Their aim is to transform primary science through increasing teaching time, sharing expertise and high quality resources, and supporting professional development opportunities such as the National STEM Learning Centre.

One of the excellent resources that the Wellcome Trust provides is Explorify, a free digital resource, developed with help from teachers and partners such as BBC Learning and the Institution of Engineering and Technology that is “focused on inquiry and curiosity, designed to appeal to children but also ignite or reinvigorate teachers’ passion for science”.

The resource can be found here https://explorify.wellcome.ac.uk

It consists of fun and simple science activities that utilise teaching and learning techniques that give pupils and teachers rich opportunities to question, think, talk and explore STEAM subjects inside and outside the classroom. Confidence and passion is harnessed as links are made and pupils and teachers can see that STEAM knowledge and skills connect us all. They say that a picture is worth a thousand words and Explorify uses images to great effect with videos, photographs and close ups, as well as hands on activities and what if discussion questions.

Explorify is an excellent tool to use in science lessons, especially in primary settings, but many outstanding lessons use different images in a variety of ways to promote talking and thinking in all subject areas, with all age groups. When images are used higher order questioning can be developed and there are also many opportunities to

  • use subject specific vocabulary
  • explain and justify
  • work together
  • ask questions
  • think about different possible answers
  • identify misconceptions
  • look for connections
  • generate further lesson ideas
  • model thinking
  • listen to each other

Common examples of questions to ask when using images might include

  • odd one outs
  • true/falses
  • similarities and differences
  • sequencing
  • what happened next…

All of which involve reflection and asking pupils to justify their answers and persuade others using evidence and examples.

Some less usual examples for you to ponder on include the following:

What is this?

 

 

Come up with a question that can only be answered yes or no to help work out what it is. Once 8 questions have been answered it is time to decide your answer using the evidence you have gathered. Which question was most useful in finding out the answer?

 

 

 

What is this?

 

 

Be specific! Are you sure of your answer? Come up with a 5 convincing bullet points to persuade everyone you are correct. Do you change your mind when you hear the ideas of others?

 

 

 

This is the answer:

 

 

What is the question? What do you already know about what is happening here?

 

 

 

 

Scientific words?

 

 

Which 5 keys words would you choose inspired by this image? Have you chosen the same words as others have? Where was this photograph taken?

 

 

 

 

What should the title be for this lesson?

 

 

Return at the end of the lesson to your title. Was it the correct title? Do you now need to alter it?

 

 

 

 

Are polar bears good swimmers?

 

 

Are polar bears good enough swimmers for 2018? What time of year was this photograph taken?

As well as in lessons images and questions can be used around the school to promote talking and thinking with all members of the school community.

 

 

How many metres per minute does a fly move?

 

 

Is it possible to check your estimate?

 

 

 

 

For more details and examples please see a copy of the presentation entitled Using images to inspire and engage our future scientists that I delivered at the Primary Science Teaching Trust Conference in Belfast.

https://pstt.org.uk/what-we-do/international-primary-science-conference

We are now working on exciting new resource for PSTT utilising images to inspire and engage pupils in conjunction with schools in SW London and with Paul Tyler @glazgow and schools in Scotland. If you have any inspiring images and questions please do send them in!

We look forward to continuing to inspire and engage the scientists of the future as our STEAM journey at Wimbledon High continues.

Follow us on @STEAM_WHS    

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Mountains and Metaphor

wimbledon logo

Dr John Parsons, Director of Sixth, shares a recent assembly to the Senior School with us.

‘Then forward to th’unconquered peaks above’

The School Song – Kitty Ramsay (The Duchess of Athol)

A freezing cold 4am start in the Atlas Mountains sees our tired little group tackle the last 1000 meters or so of Africa’s second highest peak, Mount Toubkal. As pitch black gives way to pink dawn we climb on, and rubble and dust soon become ice and rock. At the 4167-metre-high summit the air is thin, but the view and sense of achievement is as extraordinary as the sky is now rich blue. Looking south standing on a flat rock I am confronted with Africa sprawling hazy to the horizon, so I hold aloft an imaginary Simba and sing ‘The Circle of Life’, loudly. I blame the altitude.

*

I’m a mountain fan – wild, uncompromising, inaccessible, difficult (that’s mountains, not me). Mountains are part of our collective experience and our consciousness, both geographically and metaphorically. They represent the impossible made possible and the unconquerable conquered.  Our mythology is peppered with cameos from mountains; the ancient Greek gods live on Mount Olympus; the same gods punish Sisyphus by forcing him to push a boulder to the top of a mountain for eternity; and the gods gather on Mount Ida to watch the Trojan War. In the Hindu faith, Shiva lives at the top of a mountain, and in Islam Mohamed receives his first revelation on Mount Hira (not to mention examples from Buddhism and Jainism). In the Judeo-Christian tradition mountains again loom large; Noah’s ark comes to rest on the top of a mountain; Moses receives the Ten Commandments on Mount Sinai; we see Christ giving his sermon at higher climbs, and we first see him revealed as the son of God on the top of Mount Tabor before his final hours play out on the Mount of Olives. In Inca mythology, mountain tops are portals to the gods, and the ancient Taranaki people native to New Zealand anthropomorphised their mountains. There is a sense in all of this that the remoteness of mountain tops brought ancient peoples as close to their god(s) as was possible. Mountains have long been places of revelation and transformation.

For the Romantics, mountains were endlessly fascinating. Byron, Shelley, Wordsworth and Ruskin et al developed language and ideas which soon became identified as seeking ‘the sublime.’ Perhaps this was by way of a reaction against the nuts and bolts, dirt, detail, grime and grease of the Industrial Revolution. Shelly’s beautiful line ‘far far above piercing the infinite sky’ certainly gives us a context of vast topographical scale, with the peaks (high above us mere humans beings) themselves dwarfed by the expanse of the heavens. For Shelly, as for the other Romantics, thinking about and visiting mountains allowed for ideas and encounters on an epic scale. Mary Shelley offers us perhaps the most vivid mountains in all romantic literature in her novel Frankenstein. Given the nineteenth-century’s literary love affair with mountain imagery, it is perhaps no surprise that our very own Kitty Ramsey (author of our school song) saw Wimbledon High girls throwing off corsets and crinolines and hiking up those ‘unconquered peaks’ of their own futures. Tolkien’s Middle Earth is full of peaks to climb over, go around or even go through, and, to my mind, even Jay Gatsby climbing the stairs to survey the extravagance of his party below in ‘The Great Gatsby’ or King Kong scaling the needle-like radio mast of the Empire State ‘far far above piercing the infinite sky’ (Hollywood starlet in hand) shows a (largely male-centric) mountain mythology looming large comfortably into the twentieth century.

 

Mountains as Metaphor

We talk of having a mountain of work to do and are idiomatically warned not to make mountains out of mole hills. One of the first ever self-help books by one aptly named Samuel Smiles (1859) feeds off the mountain frenzy appearing in the poems and writings of the time. Smiles writes, ‘it is not ease but effort – not facility but difficulty that makes men… sweet indeed are the uses of adversity… they reveal to us our powers… without difficulty we would be worth less… the road to success is steep to climb.’ According to Smiles, those who took on and surmounted difficulties ended up bettering themselves. This was not advice for lazy people. It speaks of its time; that by sheer effort men (and he was clearly talking in terms of gender here, not species) could rise above social class and make something of themselves. By hard work anything was possible – a sort of Victorian version of Marvin Gaye’s Ain’t No Mountain High Enough. Inadvertently, of course, Smiles and others like him put ideas in women’s heads in the decades that followed; that with perseverance and hard graft women, too, could climb or even move mountains. In Rogers and Hammerstein’s 1959 musical The Sound of Music, the Mother Superior exhorts Maria to ‘Climb every mountain.’ That Maria and her new family physically do just that at the end of the show is beside the point. She is talking in far deeper terms; you will meet difficulties, so scale them and do not give in. There is clearly a parallel in all of this with, for example, the recent work of Angela Duckworth on ‘Grit’ and Carol Dweck’s research into ‘Growth Mindset’; success is borne of effort.

 

Rising to the Challenge

Climbing mountains is hard work, requiring focus and engagement. Mountaineers often talk in terms of being unaware that time has passed as they climb. Arguably, it is in this state when we move closest to achieving our goals and when we are at our maximum effectiveness. For Soviet psychologist Lev Vygotsky (1896-1934) this was the ‘zone of proximal development’, and for Hungarian psychologist Mihaly Csikszentmihalyi (born in the year of Vygotsky’s death), this was defined as ‘flow’. ‘Flow’ (see right) as described by Csikszentmihalyi is certainly an attractive and accessible theory, seeking to identify the ‘sweet spot’ (my words, not Csikszentmihalyi’s) when the task at hand is just challenging enough (y) to be achievable given the skill level of a person (x). If a task is too challenging for our level of skill, we become anxious; if it is not challenging enough we are most likely to become bored or disengaged.

It is, writes Csikszentmihalyi, at this intersection of challenge and skill where our most active and deep learning experiences occur, but also where the activity is most enjoyable. Indeed, his studies detail consistent occurrences of participants being unaware of time passing when they are ‘in flow,’ perhaps proving the old saying ‘time flies when you’re having fun.’ Recent research from Philip Gable and Brian Pool at the University of Alabama sets out to explore this idea further, and their conclusion offers a twist; according to Gable and Pool, time flies when we have goal-oriented fun. Gable concludes that ‘although we tend to believe that time flies when we’re having a good time, these studies indicate what it is about the enjoyable time that causes it to go by more quickly. It seems to be the goal pursuit or achievement-directed action we’re engaged in that matters. Just being content or satisfied may not make time fly but being excited or actively pursuing a desired object can’ (Psychological Science, August 2012).

As I climbed a seemingly endless 47-degree gradient of the final ascent of Italy’s majestic Gran Paradiso mountain last summer (I know it was 47 degrees because I got my iPhone out to measure it – shortly before it shut down from the cold), I was utterly unaware of how long I had been walking. Twenty minutes, two hours – longer? Genuinely, I had lost all concept of time. I was neither anxious nor bored, and the task at hand (or rather under foot) was on the edge of being just a little too challenging for my skill set. And I was having the time of my life. Of course, we can experience the same at work, in the classroom and in the exam hall.

 

Falling and Failing

Doing anything hard requires a conscious effort to move out of a comfort zone and risk failing. American psychologist Angela Duckworth terms the specific quality at play in such situations ‘grit,’ and defines this as ‘passion and perseverance for long-term goals’ (2016).

The idea of getting better at something by simply plodding along relentlessly until it is mastered takes in Csikszentmihalyi’s idea of ‘flow’, but, crucially, Duckworth’s thinking seems to chime with Gable & Pool in her assertion that we need a goal in the first place – a summit. To find Csikszentmihalyi’s flow we must inevitably make mistakes and reflect on them. In his seminal book The Reflective Practitioner (1983), Donald Schon (1930-1997) breaks down what might in fact happen in that reflective moment – the failure occurring in the ‘experience’ part of his diagram, below.

To summarise Schon’s argument; the reflective practitioner in any given task can recognise confusing or unique (positive or negative) events that happen during practice. The ineffective practitioner, says Schon, is confined to repetitive and routine practice, neglecting opportunities to think about what she/he is doing. However, Duckworth’s important point about remaining optimistic and cheerful when we need to be reflective is also worth remembering here. Schon would no doubt have championed Captain Jack Sparrow’s mantra; the problem is not the problem. The problem is your attitude about the problem.

Our young people – as all emerging adult generations have done – must forget all about things being ‘insurmountable’, and respond to difficulty and failure with resilience, cheerfulness and a real quality of toughness. Failure is, after all, inherent in doing difficult things, from Maths tests to mountains.

 

Concluding Thoughts

As educators we seek to give young people opportunities for ‘flow’ moments in their academic learning, recognising the importance of that state in cementing deep learning. But this will inevitably be risky from time to time. Mountains expect us to take risks if we are to conquer them, but also to take care. They ask us slowly but consistently to put one foot in front of the other as we gain height. Despite meticulous planning, there will always unexpected obstacles on the way up, and we must acknowledge (and expect) these and respond calmly and decisively, and ask someone who knows more about climbing mountains we do to help. We must all pause from time to time to look back and see just how far we’ve come. We can’t and mustn’t spend the whole time looking at our feet – eyes on the detail – just as we can’t always be focused on the summit. Rather, we should always remember to take a moment to look back and take in the view.

 

Dr John Parsons, March 2018 (based on a 2016 assembly).

 

Photo sources:

http://static.messynessychic.com/wp-content/uploads/2018/02/hotos-chamonix.jpg

https://i.pinimg.com/736x/ab/41/c4/ab41c48b0c4fa4c723e12dbf903b5be2.jpg

http://3.bp.blogspot.com/-Jx5V3fibnV8/VFQqN25jGuI/AAAAAAAAAHk/Rm9_AS9NMJg/s1600/kolb%2Breflective-practice.gif

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Artificial Intelligence and the future of work

By Isabelle Zeidler, Year 7.

What is AI, and how will it change our future?

Firstly, so that AI works, there are three key requirements: data, hardware and algorithms. An example of data are the words in a dictionary saved on a computer. You need this because otherwise Google Translate won’t work. Hardware is necessary so that the computer is able to store data. Lastly, algorithms are what many of us know as programming; the function so that we can do something with our data.

The history of AI is longer than we imagine; we have used AI since 1950. Machine Learning (ML) is a kind of AI. We have used ML since 1980. The most modern kind of ML, AI is Deep Learning (DL). Many of us do not know about this, but a lot of us know the companies that use it. One of the most advanced companies in DL are Google and IBM Watson. So why is DL so amazing? ML has some kind of coding of rules given by programmers. DL learns these rules by observation. This is similar to what happens when babies learn to speak – they rely on observing others.

There are four amazing skills which AI can do:

  • computer vision
  • natural language processing
  • complex independent navigation
  • machine learning

Not all AI use all of these abilities. Some examples of computer vision would include the new passport control at the airport. Another example which is very popular is face recognition in an iPhone X or Surface Pro. The second skill is natural language processing. This is the ability to understand language. A relevant example is Alexa. In the future, some call centres will also use AI’s ability to understand language (it has already started). For example, when you call a bank, a robot will be able to answer even complex inquiries, not just tell you the account balance. Complex independent navigation examples are modern technology ideas like drones and planes.

Do you think that AI may soon even be better than humans?

Well, it is happening already. When focusing on image recognition and accuracy, some scientists compared machines with humans. Human’s accuracy is at 97%. But AI’s accuracy has changed dramatically. Eight years ago, machines were 65% accurate. In 2016, machines were equal to humans, both 97%. Today, in 2018, machines are even better than humans. This is why AI is very likely to change our world, positively and negatively. Some positive examples are that AI powered machines can understand many languages, can speak many different accents, are never tired or grumpy and may be cheaper.

In 1997, IBM Watson made the start to a big step in AI. For the first time, a machine won against a human in chess. A programmer programmed all the moves, and the robot didn’t need AI, let alone ML and DL. 19 years later, another exciting game was played. In an even more complex game than chess, the Japanese game ‘Go’, a robot won against world champion Lee Sedol. In the game ‘Go’, however, Google faced a big problem. Go has too many possible moves to programme. So, Google programmers used AI: they programmed the rules and objective of the game and based on that AI won. Later, AlphaGo lost against AlphaGo0. Both robots used AI but AlphaGo0 was even more advanced. AlphaGo0 learnt the rules by observing AlphaGo.

Will AI powered machines replace workers?

How much time could be saved by using AI in the future? McKinsey compared which skills that humans have will be easiest to replace in the future. The skills which would be easy to replace include predictable physical work (building cars is already being replaced) and collecting and processing data (because this is what robots do all the time, such as calculator). On the other hand, the four activities which would not be easily replaced are management, expertise (applying judgement), interface (interacting with people) and unpredictable physical work (e.g. caretakers). The research group discovered that less than 10% of jobs can be fully automated, but more than 50% of work activities can be automated.

What will the future look like?

The following jobs will be in high demand: care providers, educators, managers, professionals and creatives. So, if you were interested in being doctors, teachers, scientists, engineers, programmers or artists, you are less likely to be replaced by robots. AI will also take away jobs, however such as customer interaction and office support. Waiters and IT helpdesks will not be so promising careers anymore (robots will fix robots!).

There are three main reasons why these jobs will be automated: save costs, provide better customer services and offer entirely new skills. The main reason is better services. Saving costs also plays a big role, e.g. for building cars.  And oil and gas islands will be taken over by robots because it is less dangerous for robots, who can go to most places.

In conclusion, AI is already taking over some elements of jobs. As the technology progresses, however, many more jobs may be automated.

The safest jobs are the ones with social skills.

(source: report by Susan Lund from McKinsey: https://www.mckinsey.com/~/media/McKinsey/Global%20Themes/Future%20of%20Organizations/What%20the%20future%20of%20work%20will%20mean%20for%20jobs%20skills%20and%20wages/MGI-Jobs-Lost-Jobs-Gained-Report-December-6-2017.ashx )

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‘Designing our Tomorrow’ a Journey with Year 7

Marcia Phillip, Head of Design and Technology, discusses some of the projects relating to changes to the D&T curriculum.

“We stand on the brink of a technological revolution that will fundamentally alter the way we live, work, and relate to one another. In its scale, scope, and complexity, the transformation will be unlike anything humankind has experienced before. We do not yet know just how it will unfold, but one thing is clear: the response to it must be integrated and comprehensive, involving all stakeholders of the global polity, from the public and private sectors to academia and civil society.”

14 Jan 2016 Klaus Schwab Founder and Executive Chairman, World Economic Forum Geneva

A new approach in delivering a 21st Century D&T Curriculum

The aim at WHS is to equip students with the new skill set that they will require for the predicted ‘Fourth Industrial revolution 2020’ and to meet the shortage in UK Engineers, especially with women. We needed to change the approach to how Design and Technology is taught in response to a changing world.

As part of my research I came across a project called ‘Designing Our Tomorrow’ (DOT) which was being developed by the University of Cambridge and linked perfectly to where I wanted to take D&T. I made contact and the initial results have already had a significant impact on the students’ learning and experience in Year 7 with WHS now playing a major part of the University’s research. We introduced these projects to our sister schools on 26th June at the annual GDST D&T Conference held at WHS, in the hope that GDST will take the lead in changing how D&T is delivered in schools.

The ‘DOT’ Box ‘Unpacking Asthma’ is the first project trialled at WHS. The Institute of Materials, Minerals and Mining ran the competition on behalf of the University of Cambridge via their Schools StarPack Awards, where our Year 7 students walked away with the top prizes, despite the project being aimed at Year 9 and Year 10 students. We had a range of textiles and card outcomes which were innovation and responded well to the brief.

About DOT

Designing Our Tomorrow is an initiative from the University of Cambridge that brings together expertise from the Faculty of Education and the Department of Engineering in order to research and develop resources for teaching STEM and secondary level D&T as part of the mainstream curriculum. It puts authentic challenges and engineering practice at the heart of the learning experience.

Unpacking Asthma Project

Sponsored by Peter Brett Associates LLP, and developed by The University of Cambridge in conjunction with the NHS and Asthma UK. Peter Brett Associates LLP (PBA) are an award winning development and infrastructure consultancy consisting of 700 engineers, planners, scientists, and economists delivering major development and infrastructure projects.

www.peterbrett.com

The Brief

The DOT Challenge is a new award that focuses on solving a real world problem. This year’s challenge focuses on the problems with treating asthma with children who are under 6 years old. Solutions that best address this problem received the StarPack Award and their ideas were taken forward for implementation within the NHS, giving students the experience of seeing how ideas are developed and realised in Industry.

Working with Designers

On Thursday 8th June 2017, five of the WHS Award winners had an initial interview by Bill Nicholl, a Cambridge University researcher and Lecturer in Design and Technology Education who has been working on the research and public engagement so that the whole process could be tracked and accurately portrayed in their research paper. The girls were then giving an opportunity to work with international packaging design company D S Smith at their Derby branch on Tuesday 13th June 2017.

The students had an amazing day. There were 10 trainee teachers also present who were looking at how they could implement this in their teaching as well as a parent who has a child who suffers from asthma and wanted to share his traumatic experience and how a child friendly solutions could make a difference to many parents and young child.

The day started with introductions and our girls presenting their concepts to all who were present. They then worked 1 on 1 with a designer, discussing their ideas and further developing them based on the new constraints given by NHS. They all made several iterations before it was time to leave. The day ended with the girls presenting the improved concepts with their designer. However, this was not the end of the story only the beginning, all 12 girls who were entered were shortlisted and achieved an award which they received on 28th June at a special celebration ceremony held in London at the IOM3 offices. The five selected students had another day out on 30th June to present the ideas at the British Paediatric Respiratory Conference.

Presenting at the NHS British Paediatric Respiratory Conference

This was another valuable opportunity where the girls stood and presented their concepts. They responded extremely well to the questions from various delegates who were very impressed with their ideas. After their presentation a number of delegates had further conversations about how the ideas developed and took closer looks at the latest iterations developed in conjunction with DS Smith. A number of delegates were keen to see it progress and one in particular, Sara Nelson RGN from Healthy London Partnership based at the Evelina Hospital at St Thomas, was very interested in running a pilot at her clinic with the textiles monkey bag design created by Sascha. A great day was had by all.

Collaboration

Sascha was asked by Cambridge University to develop her design further over the summer holidays ready for 15th September HLP Asthma Campaign launch. She had adapting her design to made in card to make it more cost effective as the NHS as we know has a tight budget. Her ideas were then forwarded to DS Smith who work on the next iteration.

On the 15th September, our 5 students were asked to work once again with designers from DS Smith in a collaboration with some students from Grieg City academy, who had also entered the competition. This was a partnership of our 5 girls who, were now in Y8, and seven Y10 students from Greig City. The new challenge was to work alongside designers and educational experts to improve the winning monkey card mask design, generate concepts for the supplementary information to go with the mask, to launch the prototype idea and integrate with the Healthy London Partnership Asthma campaign. Students also had to consider making aspects such as the inhalers more inclusive by consider the issues associated with ageing, as one of the stakeholders in this brief was Grandma.

This was an amazing experiencing seeing our students taking leading roles, in the teams they were allocated to, and engaging with a real world context applying their problem solving skills which will make a real difference to young people’s lives. Working alongside industry and educational professionals allowed the girls to experience all aspects of a design process and broaden their horizons through the effects of their efforts in genuine practice.

Evelina Children’s Hospital visit

Sascha, with her winning design, was invited to present her concept to the NHS Lead for Paediatric Respiratory conditions, Richard Iles, and Sara Nelson, ‘Ask About Asthma’ Programme Lead at Evelina Children’s hospital, St Thomas, London on Wednesday 20th September. It was a very exciting opportunity where Sascha was able to discuss her idea with clinicians, had a photo shoot and presented it to a young patient to trial. We were able to see developments of the spacer by industrial companies which were more efficient and could work extremely well with Sascha’s design.

We await the results of the trial period and the next steps. The journey does not stop here for Sascha…

The future

The Asthma competition will run again this year, as Cambridge University and the NHS would like a number of possible solutions that would appeal to different children’s requirements who have asthma. We will be running it with our Year 9 students so watch this space…

The DOT team are in the process of developing other DOT boxes. I have hosted another training session with a project that focuses on Inclusive Design and our ageing population, in the hope that our ‘Designers of Tomorrow’ can empathise and develop commonly used products which cater for the majority of our population without special adaptions.

 

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How far can fashion trends be considered to be dictated by the social and political climate?

Alice Lavelle (Y13) looks into how fashion taste can be shaped by different trends in social and political thinking.

In this February’s Vogue there was an article written by Ellie Pithers ascribing the sudden popularity of the jagged hemline among both designers and consumers, to the current uncertain political climate, post Brexit and post Trump. Pithers claimed, with support from the Preen designer Thea Bregazzi, that the sudden interest in the more bohemian, asymmetrical hem was a representation of people’s confusion and uncertainty following both Britain leaving the EU and Trump being elected president. Pithers further highlighted how this trend of rollercoaster hemlines can be linked to the fluctuating value of the pound, and more generally the uncertain economic climate, citing the climbing hemlines of the prosperous twenties and sixties, and ankle grazing skirts of the poorer thirties as her evidence. How far this can be considered true, or rather an overzealous journalist reading too far into an otherwise trivial catwalk trend is of course debatable.

However I would argue that this link between fashion and politics is not only accurate in today’s changing social climate, but one that can be seen throughout history – and, when considering this idea, one name immediately springs to mind – Jackie Kennedy. The first lady was a style icon within the United States throughout her husband’s presidency, with the clothes and styles she wore immediately being copied by designers up and down the country. However, what the women of the time who looked to the first lady as means of inspiration were not aware of, was that her beautifully designed gowns and brightly coloured skirt suits were in fact designed in response to the changing US political policies. Following the McCarthyist era of the 1950s, the Unites States was pushing to reinvent itself as progressive, self-believing nation, and Jackie’s traditional, yet simultaneously cosmopolitan ensembles, with a hint of European influence at the hands of Hollywood designer Oleg Cassini, were essentially a well-crafted response to the country’s growing global presence.

Looking further back at iconic moments in the history of fashion it becomes more and more evident that the garments which have shaped the way we dress today were in fact themselves shaped by the political climate they were created within. Take Christian Dior’s ‘New Look’, the long skirted, cinched waisted silhouette that reinvented feminine dress, created in 1947 in response to the more liberal society emerging following the second world war. Or Paco Rabanne’s metal disc dress of 1966 – favouring experimentation over practicality, this design embodied the hopes of the emerging European society.

In terms of designers creating garments as a response to the social climate, you have Rudy Gernreich’s topless dress in the early 70’s, showing the still persistent objectification of the female form, rapidly followed by Bill Gibb’s eclectic, romantic collection in 1972 that paved the way for the ‘hippie movement’ within design, and the debut of Diane Von Furstenberg’s iconic wrap dress in 1973 – a garment that became synonymous with female empowerment within the workplace, a statement of society’s changing attitude towards women. The speed with which these popular styles changed and evolved is just a further representation of how the fashion industry responded to the changes of attitudes towards women in the workplace for example, again showing how intrinsically linked both fashion and political trends are.

And this concept, as explained by Pithers, is relevant today beyond the sudden popularity of rollercoaster hemlines. The spring shows in September all indicated that the previous androgynous styles of autumn/winter were out, and feminine florals and chiffon were back, this time with an edge of female empowerment. Models walked the dior catwalk in white t shirts emblazoned with the slogan ‘We should all be feminists’ taken from the title of an essay written by the Nigerian born Chimamanda Adichie – a bold statement from the newly appointed, first female head of the iconic fashion house, Maria Grazia Chiuri. This surge of feminism across the spring/summer shows again was more than just a trivial fashion trend, it was an embodiment of the rising power of women in the workplace, and within politics – with Hillary at that time still being the potential president of the US.

And it is these trends, the jagged hemlines and cinched waists that eventually get filtered down through the high-street stores and into our wardrobes – meaning the clothes that we wear, either to make a statement or purely because they are comfortable, are essentially just a physical representation of our current uncertainty towards our political climate in a post Brexit post Trump universe.

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Cross gender casting in Shakespeare’s plays: Does it solve the problem of gender inequality?

Cecelia (Year 12) investigates the modern and historical practice of cross gender casting in Shakespeare’s plays.

From Tamsin Grieg’s Malvolia to Maxine Peake’s Hamlet, cross gendered casting is becoming increasingly popular in British theatre, never more so than in Shakespeare’s plays. New adaptations wanting to put a spin on the 400-year-old productions now look to casting female actresses in the typically male roles of Lear, Macbeth and Othello. Whilst this allows the play to be seen through a different feminine perspective and offers a completely new interpretation of the character, cross gendered casting gives women the opportunities to embody some of theatre’s most complex and popular roles.

However, this seemingly ‘modern’ twist on Shakespeare’s work is not as revolutionary as we may think. When Shakespeare wrote the majority of his work, women were not allowed to perform on stage and so his female characters were always played by young boys or men. As much as gender blind casting can provide a wider range of roles for female actresses, is it always effective and when should the line be drawn?

It is no wonder that Shakespeare’s work is constantly being revisited and adapted, his original text is so complex and diverse that something new can be gleaned from it with every new actor. Hamlet is the most frequently adapted Shakespearian play and has one of the longest histories of women playing the title role. The character of Hamlet is uncertain, passive and lacks resolve – qualities that are typically seen as feminine. Hamlet’s effeminate side has led to the character often being portrayed by women, with some believing that they can inhabit the role with more ease as they are able to fully connect with the feminine side to his personality.

Some of the most famous Victorian Hamlets were women, Sarah Bernhardt and Alice Marriot’s Hamlets were highly regarded by most critics with the part said to have benefitted from their “injection of femininity” (Catherine Belsey). Despite this, some critics argued that it was impossible for an actress to truly comprehend and identify with the thoughts and emotions of a man – a line of argument that is still present today. With this in mind some productions choose to play the character of Hamlet as a woman as demonstrated in Asta Nielsen’s portrayal of Princess Hamlet in the 1920 silent film. Nielsen played Hamlet as a woman masquerading as a man, possessing all the masculine skills and lacking only the instinct to kill. But regardless of the past success of actresses playing the Dane, there is still a public reluctance to accept this change; a 2014 YouGov poll found that 48% of Britons were not happy with the idea of a female Hamlet.

Many argue that by changing the gender of the actor, the gender of the character is effectively altered as well; as such, must the text itself be adjusted and if so, to what extent?

Whilst Vanessa Redgrave played the male role of Prospero, Helen Mirren’s Prospera was a female rewrite of the original. For most of Julie Taymor’s film version of The Tempest, the change to Prospera worked but because her daughter, Miranda, stayed female, the relationship between the magician and the child became complicated. The dynamics between a father and a daughter are vastly different to that of a mother and a daughter, and the Tempest is inherently a complex dissection of the fraught bond between a father and his daughter. The removal of this crucial theme dramatically altered the message of the entire piece and as such did not sit well with many audience members.

Whilst cross gender casting did occur in the 18th and 19th century, it has gained huge popularity in the last 20 years. As gender is beginning to be seen less as a biological definition and more as a social construct, the idea of a woman playing a man or vice versa has become far more acceptable. Our intrinsic understanding of male and female characteristics have changed, along with the ways in which we wish to see them portrayed on stage.

Of course, the opportunity for great female actresses to play great Shakespearian roles is positive. As well as giving women the chance to play classic and multifaceted roles, it allows for directors to create something new out of a play that has been around for hundreds of years.

Despite this, as we move forward, the dramatic community must place more of an emphasis on the creation of original female roles which share the same complexity and breadth of emotion as that of their male counterparts. Juliet Stevenson summarised the debate neatly with her statement on the red carpet that she “want[s] great parts for women, not women playing great parts for men”.

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