Podcasts about canterbury college

This week on the Niche Cast we celebrate Tauranga Whai winning the Tauihi basketball league and offer some of our favourite musical jam. Then we discuss the Blackcaps T20I/ODI squads to play Sri Lanka and weave in the New Zealand 11 selections that include Henry Shipley, Ben Lister, Adithya Ashok, Matt Fisher. We touch on the White Ferns ODI series vs Australia before rolling through a win for Wellington Phoenix women and two heavy defeats for Phoenix men/Auckland FC. We finish with NZ Warriors & Bulldogs NRLW signings as well as a quick round up of Kiwi-NRL juniors from St Thomas of Canterbury College.Patreon: https://www.patreon.com/elnichecacheNewsletter twice a week: https://thenichecache.substack.comHook us up with a brew: https://buymeacoffee.com/thenichecacheSay kia ora: thenichecache@gmail.comwww.theniche-cache.com(00:00) Intro(03:31) Tauranga Whai win Tauihi(21:58) Mindfulness(23:14) Musical jam (29:01) Blackcaps/NZ 11 vs Sri Lanka(01:03:41) White Ferns (01:08:06) Wellington Phoenix women/men/Auckland FC(01:34:36) NZ Warriors & Bulldogs NRLW signing(01:43:06) Kiwi-NRL juniors from St Thomas of Canterbury

In this episode of School Improvement Editor Jo Earp is joined by Jake Compton, Director of Academic Culture and a teacher in the Senior School at Canterbury College, which has been working with academics at the UQ Learning Lab since 2020. We'll be talking about some of the projects, how they've evolved over the years, and the challenges along the way. Host: Jo Earp Guest: Jake Compton

Right off the back of a very successful Datta conference and quite frankly I am seriously excited about the future of education, I have the pleasure of spending some time with two sensational educators. Scott Millar and Megan King will spearhead a conference in July called the “Future of Education Summit” and you are just about to hear that they base this future on giving our students access to and the ability to practice and use those 21st-century skills. And one of the staples of their methods is design thinking. Now I do give Scott a bit of a hard time because, well he is just way too young to have the amount of smarts that he is carrying around and you do have to call that out. But seriously, when you realise that the business he is running started as a Business/design project in high school you will see him as a true success arising from our area. I didn't ask him which school he went to and I should have because it sounds like it could be the next place for me. So please enjoy this slightly longer-than-usual conversation about the future of education and the summit which is being held at Canterbury College on the 25th of July 2024.

Designer Harry Pearce from Pentagram joins communications specialist Sue Keogh to talk about the visual identities he's developed for V&A South Kensington, Liberty and Moth drinks – and why brand guidelines are critical in keeping everything beautifully consistent across print, packaging and digital formats. We also take a look at NASA, and how their Graphic Standards Manual shows the brand evolution from a meatball...to a worm. If you walk through the British supermarket Waitrose or a major department store like John Lewis or Liberty London…Or if you visit a world-class gallery like the V&A South Kensington….or pour yourself a cocktail from Moth drinks in its beautifully textured tin...you'll see Harry Pearce's work.He's a graphic designer from celebrated design studio Pentagram, a collective of partners worldwide, formed in 1972, who are behind the brand identities for names you might just recognise – like Channel 4, Pink Floyd Records, Reddit, Natural History Museum, Rolls Royce…it just goes on and on!You'll see beautiful examples on the portfolio pages on their website, along with the brand guidelines that underpin all this striking work and hearing Harry explain how he developed the visual language for Liberty's new line of gender neutral fragrances LBTY.And in this episode you'll find out why brand guidelines exist, why they're important, or what the damage can be if we don't stick to them!We'll also take a look at NASA and how their brand has moved from a meatball...to a worm. And the guidelines that helps everyone get it right!Show notesHarry works alongside so many creative geniuses on these projects, including designer and Pentagram partner Marina Willer, who created the Young V&A identity work. Writers on the overall V&A project were Naresh Ramchandani and Ashley Johnson.Creative Review article on the new V&A Museum branding and visual identityPentagram case study: Liberty LBTYPentagram case study: V&A South KensingtonHarry's bio on PentagramNASA Graphics Standards Manual from 1975NASA Brand CenterNASA Brand Guidelines 2024 About Harry PearceHaving studied at Canterbury College of Art, Harry co-founded and ran Lippa Pearce Design before becoming a Pentagram Partner in 2006.He has devised identities, installations, posters, packaging, books for; Liberty, Thames & Hudson, Guggenheim, Royal Academy of Arts, Phaidon Press, Pink Floyd, Shakespeare's Globe, PEN International, and the UN. Since 1993 he has been an active member of the advisory board for WITNESS.Books; Typographic Conundrums and Eating with the Eyes. Hosted on Acast. See acast.com/privacy for more information.

Monday Morning Prayer 4th March 2024; Readings:  Readings:  Psalm 11, 12; 138; Jeremiah 32. 1-15; Hebrews 10. 5-18. Led by Felicity Scott, Liturgical Assistant at St John the Baptist Anglican Church Bulimba, QLD, Australia. Music by John Keys – Anglican Chant Canticle organ accompaniments. The full prayer transcript is available by going to this episode on the Podcast website. https://dailyprayeranglicanprayerbookforaustralia.podbean.com Welcome to Monday Morning prayer from the Anglican ‘A prayer book for Australia'. We proclaim the Good News of our LORD Jesus Christ: GOD in his infinite mercy, forgives all sins, and through our baptism in the name of our Saviour, Jesus Christ, we are given a rebirth into new life, free from the burden of all sin.   ALLELUIA   Blessed be God, Father, Son and Holy Spirit,  Blessed be God forever.   Let us Pray.       1 God's love has been poured into our hearts, through the Holy Spirit who has been given to us.  Romans 5.5      Glory to God; Father, Son and Holy Spirit:  as in the beginning, so now, and for ever. Amen.       2 The Opening Canticle, A Song of God's Marvellous Acts I will sing a new hymn to my God:  O Lord you are great and marvellous,  you are marvellous in your strength, invincible.  Let the whole creation serve you:  for you spoke and all things came to be;  You sent out your Spirit and it formed them:  no one can resist your voice.  Mountains and seas are stirred to their depths:  rocks melt like wax at your presence;  But to those who revere you:  you still show mercy.  Judith 16.13–15      3 The Opening Prayer The night has passed and the day lies open before us;  let us pray with one heart and mind.       Silence may be kept. As we rejoice in the gift of this new day,  so may the light of your presence, O God,  set our hearts on fire with love for you;  now and for ever.  Amen.      4 The Psalms as appointed. A pause is observed after each. Psalm 5 At the end of the (last) pause there may follow Creator Spirit, Advocate promised by our Lord Jesus: increase our faith and help us to walk in the light of your presence, to the glory of God the Father; through Jesus Christ our Lord.  Amen.      6 One or two Readings from the Bible as appointed.   1st Reading       2nd Reading       The readings may be followed by a period of silence for reflection, a hymn or May your word live in us  and bear much fruit to your glory.   7 The Canticle, A Song of Isaiah ‘Behold, God is my salvation:  I will trust and will not be afraid;  ‘For the Lord God is my strength and my song:  and has become my salvation.'  With joy you will draw water:  from the wells of salvation.  On that day you will say:  ‘Give thanks to the Lord, call upon his name;  ‘Make known his deeds among the nations:  proclaim that his name is exalted.  ‘Sing God's praises, who has triumphed gloriously:  let this be known in all the world.  ‘Shout and sing for joy, you that dwell in Zion:  for great in your midst is the Holy One of Israel.'  Isaiah 12.2–6      8 The Apostles' Creed may be said. I believe in God, the Father almighty,  creator of heaven and earth.  I believe in Jesus Christ, God's only Son, our Lord,  who was conceived by the Holy Spirit,  born of the virgin Mary,  suffered under Pontius Pilate,  was crucified, died, and was buried;  he descended to the dead.  On the third day he rose from the dead;  he ascended into heaven,  and is seated at the right hand of the Father;  from there he will come to judge  the living and the dead.  I believe in the Holy Spirit,  the holy catholic Church,  the communion of saints,  the forgiveness of sins,  the resurrection of the body,  and the life everlasting. Amen.       9 The Prayers Lord have mercy.  Christ have mercy.  Lord have mercy.       10 The Lord's Prayer and the Collect of the Day Our Father in heaven,  hallowed be your name,  your kingdom come,  your will be done,  on earth as in heaven.  Give us today our daily bread.  Forgive us our sins  as we forgive those who sin against us.  Save us from the time of trial  and deliver us from evil.  For the kingdom, the power, and the glory are yours  now and for ever. Amen.    Ash Wednesday Almighty and everlasting God, you hate nothing that you have made, and you forgive the sins of all who are penitent: create and make in us new and contrite hearts, that we, worthily lamenting our sins, and acknowledging our wretchedness, may obtain of you, the God of all mercy, perfect remission and forgiveness; through Jesus Christ our Lord. Amen. Prayer of the Week Third Sunday in Lent Lord God, our Redeemer, who heard the cry of your people and sent your servant Moses to lead them out of slavery: free us from the tyranny of sin and death and, by the leading of your Spirit, bring us to our promised land; through Jesus Christ our Lord. Amen.     11 Intercessions and Thanksgivings may be made according to local custom and need. God, how great your majesty abounds before us. We thank you for all your generosity. May the peace and blessings of our Lord Jesus Christ be abundant across all nations and countries for ever more. God of grace Hear our prayer   Holy God divine and merciful, your blessing on the people is loved by all, for which our gratitude knows no end. Grant, we pray, your saving blessing on all those experiencing times of trouble or strife, that they may receive the guidance of wisdom to lead them to a path of safety. God of grace Hear our prayer   Almighty God, hear our prayer to bring about a change throughout the people, we ask you to relay the wisdom to each man and woman how to co-exist in peace and the will to do so, to continue to respect one another and teach their offspring to do the same. God of Grace. Hear our Prayer   Lord God of all might and mercy, we call on your intervention, the country and people of Ukraine call on your help to set them free from their oppressors and to rebuild their country to live a live free from atrocity. Lord in your mercy; Hear our prayer.   Loving God, we ask your blessing for those listed on the Anglican cycle of prayer: The Diocese of Chubu – The Nippon Sei Ko Kai The Diocese of Bathurst: The Parish of Gayndah: North Gold Coast hospital chaplaincy: Canterbury College, Waterford: All Parishes seeking clergy. All Anglican schools seeking chaplains. All Prison ministry chaplaincy teams All people joining in this prayer offering. God of Grace: Hear our prayer   12 The Morning Collect Eternal God and Father,  by whose power we are created  and by whose love we are redeemed:  guide and strengthen us by your Spirit,  that we may give ourselves to your service,  and live this day in love to one another and to you;  through Jesus Christ our Lord. Amen.      13 The Lord be with you. And also with you.  Let us praise the Lord.  Thanks be to God.    God did not give us a spirit of cowardice  but a spirit of power and of love and of self-discipline.  May we rekindle the gift of God within us.  Amen. see 2 Timothy 1.6–7

Welcome to Episode 14 of the Kaleidoscope series, a conversation space that seeks to uncover the patterns that exist in our current education system and industry to create brighter and more sustainable futures for our students.   Join your hosts Christina Luzi and David Drumond as they unpack the many student perspectives captured at the Future of Education Youth Summit held at Canterbury College earlier this month. Hear from these incredible young people as they seek to create brighter educational and societal futures for themselves and the generations to come.   00:00:00 - The Future of Education Summit 00:02:34 - Safe& inclusive environments, genuine culture 00:04:03 - Reflections 00:07:41 - The skills for life 00:08:21 - Reflections 00:11:36 - Industry belongs in schools 00:13:16 - Reflections 00:18:21 - Learners as individuals with passions 00:20:20 - Reflections 00:25:50 - Critical Thinking 00:26:25 - Will you listen? Will you act? 00:32:21 - Can you help a young Entrepreneur? 00:35:33 - Ashutosh's story   Keen to continue the conversation? Interested in coming on the podcast to share your thoughts? Join our network! Kaleidoscope LinkedIn   Can you help Ashutosh (Future Anything finalist and app designer for non-verbal ASD communication) with mentoring? Contact us directly on LinkedIn and we'll get you in touch with his teachers.    Concept: Christina Luzi | LinkedIn , David Drumond | LinkedIn Production: David Drumond

When the East Kent College (EKC) Group was awarded £500,000 of government funding for the integration of the new 2-year T-Level courses that are taken after the GCSE stage, the astute leadership team at EKC Group invested wisely – buying 25 manual and CNC machines from XYZ Machine Tools.  The T-Level courses have been developed in collaboration with employers and education providers, so the content meets the needs of the industry - preparing students for entry into skilled employment, an apprenticeship or related technical study. Following a tender process that was instigated by EKC Group, it was decided that the best route to preparing young learners for a future in engineering would be training them on machine tools from XYZ. Undertaking everything from teaching, training, maintenance, health and safety compliance and learner engagement, Craig Munn, Deputy Head of Engineering at Canterbury College says: “Our campus has approximately 1500 students and in the engineering department we have 155 students and nine staff. In 2021, we received £500,000 in government funding towards the new T-Level qualification. This has resulted in us buying computerised CNC machines that will get our learners ready for industry. The best way to use this funding was to invest in XYZ machines, so we purchased 25 machines from them. The machines are dotted across the Canterbury, Ashford and Dover campuses of the EKC Group.” “Whilst there are similarities between the machines that create familiarity, they differ in their capabilities. This means the machines are perfectly placed for their intention of preparing students for integration into the industry. This familiarity also enables our learners to seamlessly work across different campuses and use all of the different machines,” adds Craig. Tom Marshallsay, the South East Area Sales Manager for XYZ Machine Tools comments: “The college came to XYZ as they realise we are very well established in the educational sector as well as in industry. The EKC Group compiled a tender where XYZ was put against other machine tool companies. As we engaged with the college more during the process, there was a realisation that there were considerable benefits from working with XYZ.” Looking at the different machine tools and packages supplied by XYZ, Tom continues: “There is a mixture of ProtoTrak and Siemens CNC control systems across the machine tools. This provides integration with industry-standard platforms. From a machine perspective, we have the XYZ 500 LR machining centre and the XYZ CT52 LR turning centre both at Ashford and Dover campuses. Ashford also has an array of manual machine tools. We also have another couple of machines in Canterbury, such as the XYZ RMX 2-OP and the XYZ 1530VS manual lathe.” Alluding to why XYZ won the EKC Group's business, Tom says: “The reason we won the business is largely down to the control systems and the simplicity of the machines. The fact that the machines and the control systems are industry standards means that students can come to the college, become competent and confident with the machines and then go straight to industry and run machines, which is perfect for both college and employers. Many engineers didn't get that opportunity when they were at college, so this is significant for learners in the area. In addition, the service and support that XYZ provides to college staff and how we train the staff to use the control systems is a huge benefit.” The Apprentice Opinion Serving his apprenticeship at the renowned MJ Allen Group and undertaking training at the college, Takudzwa Chauruka says: “I drive from Ashford to Canterbury College to study machining, which I do on the new XYZ CNC machines. The machines are very good as you don't have to excessively concentrate on programming, as the CNC machines are mostly conversational. So, all you have to do is put in the numbers and parameters you want, and the machine will do the rest. What else is really good is offline programming. You can program on a computer remotely and then send the program directly to the machine.” “From the perspective of the manual machines, we get to learn the fundamental basics and with the CNCs, we get to do more complex tasks like rigid tapping, which you mostly cannot do on a manual machine. The CNC machines also help apprentices learn how to make complex parts that may have concave profiles. One of the things I love about the XYZ ProtoTrak is that it has a DXF converter that makes it easier to use when programming. All you have to do is import your drawing, and the machine then does the rest.” “Compared to the machines I use at work, the XYZ machines are much easier to use as they are smaller and easier to work with. In the future, I am hoping that we can have some of these machines at MJ Allen.” Adding to this sentiment, fellow college trainee Liam Harkett, an apprentice at Instro Precision in Sandwich, says: “I am an apprentice machinist using manual lathes, milling machines and CMMs. I have a basic understanding of the XYZ machines and I use them for machining small and relatively simple parts. I'm learning to set datum points, program the machine and also understand how to use conversational programming. By using this, I can tell the machine what to do and it writes the programme for me. I prefer this over the previous method where you would have to input the exact programming instructions into the machine - this makes programming a machine much easier and more efficient. The ProtoTrak control panel is very user-friendly and it is an excellent concept for apprentices to use.” Liam continues: “In my workplace, we have a wide range of CNC mills and lathes and this includes 3, 4 and 5-axis machining centres and a 3-axis live tooling lathe - but none of them are as easy to program and set as the XYZ machines at the college. This is down to the XYZ ProtoTrak and the conversational programming.” Looking at the primary benefits of installing XYZ machines at the different campuses across Kent, Craig Munn from EKC Group concludes: “We have installed these machines to train the next generation of engineering employees and employers. We also need to fill the skills gap that is currently in the market. We chose the XYZ machines because they really work everywhere. They have equipped our apprentices and our full-time learners to be able to get a job in any machine shop out in the industry. XYZ has also provided excellent technical help with the training of our staff, teaching the learners and being on hand with any technical issues we may have.” “The learners were itching to use the machines from the day they were delivered - and the machines haven't failed us, they have been superb machines to use. We are certainly happy that we have chosen XYZ,” concludes Craig.

Samira Abbassy was born in Ahwaz, Iran in 1965 and moved to Lon-don, UK as a child. After graduating from Canterbury College of Art, she began showing in London. She moved to New York in 1998, where she helped to set up the Eliza-beth Foundation for the Arts, and the EFA Studio Center. Her work has been included in shows at the Metropolitan and the British Museum, and is in private and public collections worldwide, including: the Metropolitan Museum, British Museum, the British Government Art Collection, the Grey Art Gallery at NYU, the Burger Collection, the Donald Rubin collection (Rubin Museum, NY), the Farjaam Collection, Dubai, the Los Angeles County Museum and the Afkhami Collection. Her work is currently on view at CANDICE MADEY Gallery. During Abbassy's thirty year career, her work has been the subject of twenty gallery solo shows in London, Dubai and New York. Her fellowships include: Yaddo fellowship in 2006 and 2022, and Sal-tonstall in 2017. She has been awarded two NYFA awards in 2007 and 2018, a Joan Mitchell award in 2010 and a Pollock-Krasner in 2014. Abbassy was also nominated for the Anonymous Was a Woman award in 2018. In 2019 her work was included in the 26th Venice Biennial presented by Heist gallery London. Abbassy has also worked as an educator in many educational institutions in the UK and the USA, some of which are: Hunter college, Penn State and the University of Virginia, where she was the artists in Residence in April 2012. Samira Abbassy Anastasis, 2021 Oil on birch panel 44 x 33 1/2 inches 111.8 x 85.1 cm, photo by Jeanette May. Samira Abbassy Reincarnated Fears, 2016 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May. Samira Abbassy Love & Ammunition II , 2014 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May.

A man has died after being hit by a lorry on the A249 near Sittingbourne. Emergency crews were called to the southbound carriageway at around midnight. We have the latest information released by police. Also in today's podcast, a Kent man has appeared in court charged with murdering a 35-year-old woman in east London. Zara Aleena, who was a trainee lawyer, suffered serious head injuries in Ilford early on Sunday and later died in hospital. Hear a tribute from her family. A record label boss from Chatham who started firing shots from the top of a tower block in Medway has been ordered to stay in hospital under the Mental Health Act. Our reporter at Maidstone Crown Court has the details. There's anger that some new build properties in Kent are being snapped up by investors - then rented out at high rates - forcing local people to move elsewhere. The Perry Court development in Faversham is just one new estate affected and we've found a semi-detached there being offered to rent for £18,000 a month. Property expert Spencer Fortag has been sharing his views. A Herne Bay mum whose son died after taking drugs has told the podcast she wants to change the school curriculum to save lives. Canterbury College student William Horley died four years ago following a reaction to a painkiller that had been bought on the dark web.  And, Joe from Sigma's been chatting to our sister radio station kmfm about why it's taken them so long to release their second album. Hope is finally out, more than six years after they released Life.

Mark was appointed as the Chief Executive of AELP over 3 years ago. He is on the Board of WorldSkills UK as well as a range of government boards such as the ESFA Advisory Board, IfATE Quality Alliance and the DfE’s Apprenticeship Stakeholder Board.Most recently, Mark Dawe was the Chief Executive of OCR, the exam board, for 5 years. He has been a governor of primary schools, secondary and a further education college. Mark has a wealth of experience across a broad spectrum in the education field. Prior to his role at OCR, Mark was Principal of Oaklands FE College (and AELP Board Director) having been Deputy Director, FE Strategy at the Department of Education and Skills and before that as Deputy Director, Adult Basic Skills Strategy Unit after joining the department in 2003. Having read Economics at Cambridge University before qualifying as a chartered accountant at KPMG, Mark joined Canterbury College, becoming Head of Corporate Services in 1994. In 2000, he helped set up eGS, an e-procurement provider to the public sector. He gets his grit and resilience from supporting Plymouth Argyle and Boreham Wood, cycling and four school and university aged children.Host Details:https://www.linkedin.com/in/david-macmillan-3b802845/WhatsApp: 07947 730807https://www.instagram.com/davemacmillanmentor

As we shift into this world of remote learning due to COVID-19, we wanted to bring you some short form episodes focusing on challenges, opportunities and also some success stories. Todays guest is an assistant principal from St Thomas of Canterbury College. Brad Milne has done a tremendous amount of work focusing on curriculum innovation within his school. He has worked to successfully implement TLIF projects, looking at how to better engage students in their junior curriculum. With a staff that is open and willing to embrace change, Brad has observed a lot of small wins and successes through this period of lock down. He shares some of the challenges, opportunities and a few tips for teachers to engage their learners through this challenging time.

As we shift into this world of remote learning due to COVID-19, we wanted to bring you some short form episodes focusing on challenges, opportunities and also some success stories.Todays guest is an assistant principal from St Thomas of Canterbury College. Brad Milne has done a tremendous amount of work focusing on curriculum innovation within his school. He has worked to successfully implement TLIF projects, looking at how to better engage students in their junior curriculum. With a staff that is open and willing to embrace change, Brad has observed a lot of small wins and successes through this period of lock down. He shares some of the challenges, opportunities and a few tips for teachers to engage their learners through this challenging time.

Brad Milne and Hamish Barclay are Assistant Principals at St Thomas of Canterbury College in New Zealand. They are working to evolve learning approaches for their school by focusing on shifting pedagogy and implementing innovative practice. They share their insights with Maddie Scott-Jones on how gamification and inquiry learning can be used to engage and empower, changing what learning can be for students. Both Brad and Hamish have completed Post Grad studies in Applied Practice and Digital Learning.

Working in many fields from painting and architecture, to typeface, furniture and stage design. UK artist Roger Dean is perhaps best known for his album covers for groups such as Yes, Asia, Osibisa and Pink Floyd. More than sixty million copies of Roger's images have been sold around the world, as album covers, posters, cards, calendars and books. His work has been exhibited in many galleries and museums, including the V&A, The Royal Academy and The Royal College of Art. In 2010, the Daelim Contemporary Art Museum in Seoul, Korea, held a major retrospective of his work. Roger studied at Canterbury College of Art and then between 1965-1968 at The Royal College of Art, where he received a first for his Master's Degree and a silver medal, for Work Of Special Distinction. He has since been awarded an Honorary Doctorate by the San Francisco Academy of Art University and an Honorary Fellowship by the Arts Institute of Bournemouth. With his brother Martyn, Roger has formed two publishing companies and also developed architectural prototypes, which have been exhibited at the National Exhibition Centre, Birmingham. Since 2007, he has worked with his daughter Freyja on projects such as the sets and costumes for the 150th anniversary of the Puccini Festival. Not only being referenced in countless films, his work has inspired generations of students who have gone on to become professional designers and artists as well as demonstrating the importance of never going anywhere without a sketchbook and pencil. Roger's work is chronicled in three volumes: ‘Views’ (1975), Magnetic   Storm(1984) and Dragons Dream (2008).

This week, Sarah Simons talks to Tony Payne, head of student experience at Canterbury College (soon to be part of the East Kent College Group), about the NEU superunion's focus on FE, and whether a ‘one union’ approach is in the best interests of the sector. They also discuss the ongoing WorldSkills 2017 competition in Abu Dhabi – and the "massive sacrifice" Team UK competitors must make in order to hone their craft to a world standard – as well as how disruptive romantic relationships between students can be to the learning process. See acast.com/privacy for privacy and opt-out information.

  Welcome to MR, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I’m Mary Hedengren and a big thanks to the Humanities Media Project at the University of Texas for support for this show. Also thanks to Jacob in the booth. Today, All Hallow’s Eve is upon us and it’s been a long time since I attempted some terrible British accents, which means it’s time for the Mere Rhetoric HALLOWEEN SPECIAL [thunder sounds? Screeching cat? What have you.] But first, some background.   When you’re asked to give a description of what rhetoric is, as we did in our very first episode, What is Rhetoric?, you might say something like, “It’s the use of words to persuade someone,” and you would imagine someone in a toga standing around on a rostom shout-talking at people, but that’s not exactly all rhetoric is. Remember Kenneth Burke’s definition of rhetoric: that we can “influence each other's thinking and behavior through the strategic use of symbols.” Even Aristotle says that rhetoric is about discovering the available means of persuasion. Verbal or alphabetic rhetoric is only one of those available means of persuasion. Visual rhetoric is another.   As you might suspect, visual rhetoric focuses on other kinds of symbols than just words. Visual rhetoricians might interrogate the influence on other people of war posters, cartoons, even the layout of airport security. But visual rhetoric isn’t just about the object of study.   Sonja Foss puts it this way:   Visual rhetoric refers not only to the visual object as a communicative artifact but also to a perspective scholars take on visual imagery or visual data. In this meaning of the term, visual rhetoric constitutes a theoretical perspective that involves the analysis of the symbolic or communicative aspects of visual artifacts. It is a critical-analytical tool or a way of approaching and analyzing visual data that highlights the communicative dimensions of images or objects (305-306)   As you might imagine, visual rhetoric opens up a lot of possiblities for scholars. And those scholars will need more theories of how to approach that those artifacts. Foss herself suggests that critics look first at the elements of the object, then   Kostelnick and Roberts create canons of visual rhetoric [what do you think? The cannon sound again?] Really? As I was saying, these canons of visual rehtoric  parallel the classical canons of rhetoric. these canons can be remembered by the British-inspired acronym CACE-TE, but you have to be creative with your spelling the first C stand for Clarity, or ease of understanding for the reader. A stands for arrangement, how the visual elements are laid out; the second C (I told you that you had to be creative in how you spell CACE) is for concision with nothing extraneous; the E is for emphasis. TE is also spelled poorly: T for tone--sarcastic or sincere, loving or rageful and E for ethos--demonstrating good will for the reader. Clarity, Arrangement, Concision, Emphasis Tone, Ethos: Cake and tea. Do you know what else is british? M. R. James ghost stories. And this year’s story demonstrates the dark side of looking too deeply into visual artifacts. And so, without futher aido, M. R. James’ 1904 story, “The Mezzotint.” Some time ago I believe I had the pleasure of telling you the story of an adventure which happened to a friend of mine by the name of Dennistoun, during his pursuit of objects of art for the museum at Cambridge.   He did not publish his experiences very widely upon his return to England; but they could not fail to become known to a good many of his friends, and among others to the gentleman who at that time presided over an art museum at another University. It was to be expected that the story should make a considerable impression on the mind of a man whose vocation lay in lines similar to Dennistoun’s, and that he should be eager to catch at any explanation of the matter which tended to make it seem improbable that he should ever be called upon to deal with so agitating an emergency. It was, indeed, somewhat consoling to him to reflect that he was not expected to acquire ancient MSS. for his institution; that was the business of the Shelburnian Library. The authorities of that institution might, if they pleased, ransack obscure corners of the Continent for such matters. He was glad to be obliged at the moment to confine his attention to enlarging the already unsurpassed collection of English topographical drawings and engravings possessed by his museum. Yet, as it turned out, even a department so homely and familiar as this may have its dark corners, and to one of these Mr Williams was unexpectedly introduced.   Those who have taken even the most limited interest in the acquisition of topographical pictures are aware that there is one London dealer whose aid is indispensable to their researches. Mr J. W. Britnell publishes at short intervals very admirable catalogues of a large and constantly changing stock of engravings, plans, and old sketches of mansions, churches, and towns in England and Wales. These catalogues were, of course, the ABC of his subject to Mr Williams: but as his museum already contained an enormous accumulation of topographical pictures, he was a regular, rather than a copious, buyer; and he rather looked to Mr Britnell to fill up gaps in the rank and file of his collection than to supply him with rarities.   Now, in February of last year there appeared upon Mr Williams’s desk at the museum a catalogue from Mr Britnell’s emporium, and accompanying it was a typewritten communication from the dealer himself. This latter ran as follows:   Dear Sir,   We beg to call your attention to No. 978 in our accompanying catalogue, which we shall be glad to send on approval.   Yours faithfully,   W. Britnell.   To turn to No. 978 in the accompanying catalogue was with Mr. Williams (as he observed to himself) the work of a moment, and in the place indicated he found the following entry:   978.— Unknown. Interesting mezzotint: View of a manor-house, early part of the century. 15 by 10 inches; black frame. £2 2s.   It was not specially exciting, and the price seemed high. However, as Mr Britnell, who knew his business and his customer, seemed to set store by it, Mr Williams wrote a postcard asking for the article to be sent on approval, along with some other engravings and sketches which appeared in the same catalogue. And so he passed without much excitement of anticipation to the ordinary labours of the day.   A parcel of any kind always arrives a day later than you expect it, and that of Mr Britnell proved, as I believe the right phrase goes, no exception to the rule. It was delivered at the museum by the afternoon post of Saturday, after Mr Williams had left his work, and it was accordingly brought round to his rooms in college by the attendant, in order that he might not have to wait over Sunday before looking through it and returning such of the contents as he did not propose to keep. And here he found it when he came in to tea, with a friend.   The only item with which I am concerned was the rather large, black-framed mezzotint of which I have already quoted the short description given in Mr Britnell’s catalogue. Some more details of it will have to be given, though I cannot hope to put before you the look of the picture as clearly as it is present to my own eye. Very nearly the exact duplicate of it may be seen in a good many old inn parlours, or in the passages of undisturbed country mansions at the present moment. It was a rather indifferent mezzotint, and an indifferent mezzotint is, perhaps, the worst form of engraving known. It presented a full-face view of a not very large manor-house of the last century, with three rows of plain sashed windows with rusticated masonry about them, a parapet with balls or vases at the angles, and a small portico in the centre. On either side were trees, and in front a considerable expanse of lawn. The legend A. W. F. sculpsit was engraved on the narrow margin; and there was no further inscription. The whole thing gave the impression that it was the work of an amateur. What in the world Mr Britnell could mean by affixing the price of £2 2s. to such an object was more than Mr Williams could imagine. He turned it over with a good deal of contempt; upon the back was a paper label, the left-hand half of which had been torn off. All that remained were the ends of two lines of writing; the first had the letters — ngley Hall ; the second,— ssex .   It would, perhaps, be just worth while to identify the place represented, which he could easily do with the help of a gazetteer, and then he would send it back to Mr Britnell, with some remarks reflecting upon the judgement of that gentleman.   He lighted the candles, for it was now dark, made the tea, and supplied the friend with whom he had been playing golf (for I believe the authorities of the University I write of indulge in that pursuit by way of relaxation); and tea was taken to the accompaniment of a discussion which golfing persons can imagine for themselves, but which the conscientious writer has no right to inflict upon any non-golfing persons.   The conclusion arrived at was that certain strokes might have been better, and that in certain emergencies neither player had experienced that amount of luck which a human being has a right to expect. It was now that the friend — let us call him Professor Binks — took up the framed engraving and said:   ‘What’s this place, Williams?’   ‘Just what I am going to try to find out,’ said Williams, going to the shelf for a gazetteer. ‘Look at the back. Somethingley Hall, either in Sussex or Essex. Half the name’s gone, you see. You don’t happen to know it, I suppose?’   ‘It’s from that man Britnell, I suppose, isn’t it?’ said Binks. ‘Is it for the museum?’   ‘Well, I think I should buy it if the price was five shillings,’ said Williams; ‘but for some unearthly reason he wants two guineas for it. I can’t conceive why. It’s a wretched engraving, and there aren’t even any figures to give it life.’   ‘It’s not worth two guineas, I should think,’ said Binks; ‘but I don’t think it’s so badly done. The moonlight seems rather good to me; and I should have thought there were figures, or at least a figure, just on the edge in front.’   ‘Let’s look,’ said Williams. ‘Well, it’s true the light is rather cleverly given. Where’s your figure? Oh, yes! Just the head, in the very front of the picture.’   And indeed there was — hardly more than a black blot on the extreme edge of the engraving — the head of a man or woman, a good deal muffled up, the back turned to the spectator, and looking towards the house.   Williams had not noticed it before.   ‘Still,’ he said, ‘though it’s a cleverer thing than I thought, I can’t spend two guineas of museum money on a picture of a place I don’t know.’   Professor Binks had his work to do, and soon went; and very nearly up to Hall time Williams was engaged in a vain attempt to identify the subject of his picture. ‘If the vowel before the ng had only been left, it would have been easy enough,’ he thought; ‘but as it is, the name may be anything from Guestingley to Langley, and there are many more names ending like this than I thought; and this rotten book has no index of terminations.’   Hall in Mr Williams’s college was at seven. It need not be dwelt upon; the less so as he met there colleagues who had been playing golf during the afternoon, and words with which we have no concern were freely bandied across the table — merely golfing words, I would hasten to explain.   I suppose an hour or more to have been spent in what is called common-room after dinner. Later in the evening some few retired to Williams’s rooms, and I have little doubt that whist was played and tobacco smoked. During a lull in these operations Williams picked up the mezzotint from the table without looking at it, and handed it to a person mildly interested in art, telling him where it had come from, and the other particulars which we already know.   The gentleman took it carelessly, looked at it, then said, in a tone of some interest:   ‘It’s really a very good piece of work, Williams; it has quite a feeling of the romantic period. The light is admirably managed, it seems to me, and the figure, though it’s rather too grotesque, is somehow very impressive.’   ‘Yes, isn’t it?’ said Williams, who was just then busy giving whisky and soda to others of the company, and was unable to come across the room to look at the view again.   It was by this time rather late in the evening, and the visitors were on the move. After they went Williams was obliged to write a letter or two and clear up some odd bits of work. At last, some time past midnight, he was disposed to turn in, and he put out his lamp after lighting his bedroom candle. The picture lay face upwards on the table where the last man who looked at it had put it, and it caught his eye as he turned the lamp down. What he saw made him very nearly drop the candle on the floor, and he declares now if he had been left in the dark at that moment he would have had a fit. But, as that did not happen, he was able to put down the light on the table and take a good look at the picture. It was indubitable — rankly impossible, no doubt, but absolutely certain. In the middle of the lawn in front of the unknown house there was a figure where no figure had been at five o’clock that afternoon. It was crawling on all fours towards the house, and it was muffled in a strange black garment with a white cross on the back.   I do not know what is the ideal course to pursue in a situation of this kind, I can only tell you what Mr Williams did. He took the picture by one corner and carried it across the passage to a second set of rooms which he possessed. There he locked it up in a drawer, sported the doors of both sets of rooms, and retired to bed; but first he wrote out and signed an account of the extraordinary change which the picture had undergone since it had come into his possession.   Sleep visited him rather late; but it was consoling to reflect that the behaviour of the picture did not depend upon his own unsupported testimony. Evidently the man who had looked at it the night before had seen something of the same kind as he had, otherwise he might have been tempted to think that something gravely wrong was happening either to his eyes or his mind. This possibility being fortunately precluded, two matters awaited him on the morrow. He must take stock of the picture very carefully, and call in a witness for the purpose, and he must make a determined effort to ascertain what house it was that was represented. He would therefore ask his neighbour Nisbet to breakfast with him, and he would subsequently spend a morning over the gazetteer.   Nisbet was disengaged, and arrived about 9.20. His host was not quite dressed, I am sorry to say, even at this late hour. During breakfast nothing was said about the mezzotint by Williams, save that he had a picture on which he wished for Nisbet’s opinion. But those who are familiar with University life can picture for themselves the wide and delightful range of subjects over which the conversation of two Fellows of Canterbury College is likely to extend during a Sunday morning breakfast. Hardly a topic was left unchallenged, from golf to lawn-tennis. Yet I am bound to say that Williams was rather distraught; for his interest naturally centred in that very strange picture which was now reposing, face downwards, in the drawer in the room opposite.   The morning pipe was at last lighted, and the moment had arrived for which he looked. With very considerable — almost tremulous — excitement he ran across, unlocked the drawer, and, extracting the picture — still face downwards — ran back, and put it into Nisbet’s hands.   ‘Now,’ he said, ‘Nisbet, I want you to tell me exactly what you see in that picture. Describe it, if you don’t mind, rather minutely. I’ll tell you why afterwards.’   ‘Well,’ said Nisbet, ‘I have here a view of a country-house — English, I presume — by moonlight.’   ‘Moonlight? You’re sure of that?’   ‘Certainly. The moon appears to be on the wane, if you wish for details, and there are clouds in the sky.’   ‘All right. Go on. I’ll swear,’ added Williams in an aside, ‘there was no moon when I saw it first.’   ‘Well, there’s not much more to be said,’ Nisbet continued. ‘The house has one — two — three rows of windows, five in each row, except at the bottom, where there’s a porch instead of the middle one, and —’   ‘But what about figures?’ said Williams, with marked interest.   ‘There aren’t any,’ said Nisbet; ‘but —’   ‘What! No figure on the grass in front?’   ‘Not a thing.’   ‘You’ll swear to that?’   ‘Certainly I will. But there’s just one other thing.’   ‘What?’   ‘Why, one of the windows on the ground-floor — left of the door — is open.’   ‘Is it really so? My goodness! he must have got in,’ said Williams, with great excitement; and he hurried to the back of the sofa on which Nisbet was sitting, and, catching the picture from him, verified the matter for himself.   It was quite true. There was no figure, and there was the open window. Williams, after a moment of speechless surprise, went to the writing-table and scribbled for a short time. Then he brought two papers to Nisbet, and asked him first to sign one — it was his own description of the picture, which you have just heard — and then to read the other which was Williams’s statement written the night before.   ‘What can it all mean?’ said Nisbet.   ‘Exactly,’ said Williams. ‘Well, one thing I must do — or three things, now I think of it. I must find out from Garwood’— this was his last night’s visitor —‘what he saw, and then I must get the thing photographed before it goes further, and then I must find out what the place is.’   ‘I can do the photographing myself,’ said Nisbet, ‘and I will. But, you know, it looks very much as if we were assisting at the working out of a tragedy somewhere. The question is, has it happened already, or is it going to come off? You must find out what the place is. Yes,’ he said, looking at the picture again, ‘I expect you’re right: he has got in. And if I don’t mistake, there’ll be the devil to pay in one of the rooms upstairs.’   ‘I’ll tell you what,’ said Williams: ‘I’ll take the picture across to old Green’ (this was the senior Fellow of the College, who had been Bursar for many years). ‘It’s quite likely he’ll know it. We have property in Essex and Sussex, and he must have been over the two counties a lot in his time.’   ‘Quite likely he will,’ said Nisbet; ‘but just let me take my photograph first. But look here, I rather think Green isn’t up today. He wasn’t in Hall last night, and I think I heard him say he was going down for the Sunday.’   ‘That’s true, too,’ said Williams; ‘I know he’s gone to Brighton. Well, if you’ll photograph it now, I’ll go across to Garwood and get his statement, and you keep an eye on it while I’m gone. I’m beginning to think two guineas is not a very exorbitant price for it now.’   In a short time he had returned, and brought Mr Garwood with him. Garwood’s statement was to the effect that the figure, when he had seen it, was clear of the edge of the picture, but had not got far across the lawn. He remembered a white mark on the back of its drapery, but could not have been sure it was a cross. A document to this effect was then drawn up and signed, and Nisbet proceeded to photograph the picture.   ‘Now what do you mean to do?’ he said. ‘Are you going to sit and watch it all day?’   ‘Well, no, I think not,’ said Williams. ‘I rather imagine we’re meant to see the whole thing. You see, between the time I saw it last night and this morning there was time for lots of things to happen, but the creature only got into the house. It could easily have got through its business in the time and gone to its own place again; but the fact of the window being open, I think, must mean that it’s in there now. So I feel quite easy about leaving it. And besides, I have a kind of idea that it wouldn’t change much, if at all, in the daytime. We might go out for a walk this afternoon, and come in to tea, or whenever it gets dark. I shall leave it out on the table here, and sport the door. My skip can get in, but no one else.’   The three agreed that this would be a good plan; and, further, that if they spent the afternoon together they would be less likely to talk about the business to other people; for any rumour of such a transaction as was going on would bring the whole of the Phasmatological Society about their ears.   We may give them a respite until five o’clock.   At or near that hour the three were entering Williams’s staircase. They were at first slightly annoyed to see that the door of his rooms was unsported; but in a moment it was remembered that on Sunday the skips came for orders an hour or so earlier than on weekdays. However, a surprise was awaiting them. The first thing they saw was the picture leaning up against a pile of books on the table, as it had been left, and the next thing was Williams’s skip, seated on a chair opposite, gazing at it with undisguised horror. How was this? Mr Filcher (the name is not my own invention) was a servant of considerable standing, and set the standard of etiquette to all his own college and to several neighbouring ones, and nothing could be more alien to his practice than to be found sitting on his master’s chair, or appearing to take any particular notice of his master’s furniture or pictures. Indeed, he seemed to feel this himself. He started violently when the three men were in the room, and got up with a marked effort. Then he said:   ‘I ask your pardon, sir, for taking such a freedom as to set down.’   ‘Not at all, Robert,’ interposed Mr Williams. ‘I was meaning to ask you some time what you thought of that picture.’   ‘Well, sir, of course I don’t set up my opinion against yours, but it ain’t the pictur I should ‘ang where my little girl could see it, sir.’   ‘Wouldn’t you, Robert? Why not?’   ‘No, sir. Why, the pore child, I recollect once she see a Door Bible, with pictures not ‘alf what that is, and we ‘ad to set up with her three or four nights afterwards, if you’ll believe me; and if she was to ketch a sight of this skelinton here, or whatever it is, carrying off the pore baby, she would be in a taking. You know ‘ow it is with children; ‘ow nervish they git with a little thing and all. But what I should say, it don’t seem a right pictur to be laying about, sir, not where anyone that’s liable to be startled could come on it. Should you be wanting anything this evening, sir? Thank you, sir.’   With these words the excellent man went to continue the round of his masters, and you may be sure the gentlemen whom he left lost no time in gathering round the engraving. There was the house, as before under the waning moon and the drifting clouds. The window that had been open was shut, and the figure was once more on the lawn: but not this time crawling cautiously on hands and knees. Now it was erect and stepping swiftly, with long strides, towards the front of the picture. The moon was behind it, and the black drapery hung down over its face so that only hints of that could be seen, and what was visible made the spectators profoundly thankful that they could see no more than a white dome-like forehead and a few straggling hairs. The head was bent down, and the arms were tightly clasped over an object which could be dimly seen and identified as a child, whether dead or living it was not possible to say. The legs of the appearance alone could be plainly discerned, and they were horribly thin.   From five to seven the three companions sat and watched the picture by turns. But it never changed. They agreed at last that it would be safe to leave it, and that they would return after Hall and await further developments.   When they assembled again, at the earliest possible moment, the engraving was there, but the figure was gone, and the house was quiet under the moonbeams. There was nothing for it but to spend the evening over gazetteers and guide-books. Williams was the lucky one at last, and perhaps he deserved it. At 11.30 p.m. he read from Murray’s Guide to Essex the following lines:   16–1/2 miles, Anningley . The church has been an interesting building of Norman date, but was extensively classicized in the last century. It contains the tomb of the family of Francis, whose mansion, Anningley Hall, a solid Queen Anne house, stands immediately beyond the churchyard in a park of about 80 acres. The family is now extinct, the last heir having disappeared mysteriously in infancy in the year 1802. The father, Mr Arthur Francis, was locally known as a talented amateur engraver in mezzotint. After his son’s disappearance he lived in complete retirement at the Hall, and was found dead in his studio on the third anniversary of the disaster, having just completed an engraving of the house, impressions of which are of considerable rarity.   This looked like business, and, indeed, Mr Green on his return at once identified the house as Anningley Hall.   ‘Is there any kind of explanation of the figure, Green?’ was the question which Williams naturally asked.   ‘I don’t know, I’m sure, Williams. What used to be said in the place when I first knew it, which was before I came up here, was just this: old Francis was always very much down on these poaching fellows, and whenever he got a chance he used to get a man whom he suspected of it turned off the estate, and by degrees he got rid of them all but one. Squires could do a lot of things then that they daren’t think of now. Well, this man that was left was what you find pretty often in that country — the last remains of a very old family. I believe they were Lords of the Manor at one time. I recollect just the same thing in my own parish.’   ‘What, like the man in Tess o’ the Durbervilles ?’ Williams put in.   ‘Yes, I dare say; it’s not a book I could ever read myself. But this fellow could show a row of tombs in the church there that belonged to his ancestors, and all that went to sour him a bit; but Francis, they said, could never get at him — he always kept just on the right side of the law — until one night the keepers found him at it in a wood right at the end of the estate. I could show you the place now; it marches with some land that used to belong to an uncle of mine. And you can imagine there was a row; and this man Gawdy (that was the name, to be sure — Gawdy; I thought I should get it — Gawdy), he was unlucky enough, poor chap! to shoot a keeper. Well, that was what Francis wanted, and grand juries — you know what they would have been then — and poor Gawdy was strung up in double-quick time; and I’ve been shown the place he was buried in, on the north side of the church — you know the way in that part of the world: anyone that’s been hanged or made away with themselves, they bury them that side. And the idea was that some friend of Gawdy’s — not a relation, because he had none, poor devil! he was the last of his line: kind of spes ultima gentis — must have planned to get hold of Francis’s boy and put an end to his line, too. I don’t know — it’s rather an out-of-the-way thing for an Essex poacher to think of — but, you know, I should say now it looks more as if old Gawdy had managed the job himself. Booh! I hate to think of it! have some whisky, Williams!’   The facts were communicated by Williams to Dennistoun, and by him to a mixed company, of which I was one, and the Sadducean Professor of Ophiology another. I am sorry to say that the latter when asked what he thought of it, only remarked: ‘Oh, those Bridgeford people will say anything’— a sentiment which met with the reception it deserved.   I have only to add that the picture is now in the Ashleian Museum; that it has been treated with a view to discovering whether sympathetic ink has been used in it, but without effect; that Mr Britnell knew nothing of it save that he was sure it was uncommon; and that, though carefully watched, it has never been known to change again.    

Andy Bates is a champion of British food and family style cooking. He started his cooking career at the age of 15, as a kitchen hand at the Hooden On The Hill pub in Willesborough. After finishing school, he headed to Canterbury College to study catering, spending part of his third year working in a restaurant in Normandy, France.

In this episode of The TES FE Podcast our very own Sarah Simons is joined by Tony Payne of Canterbury College, just as he came off stage at the AoC Conference after collecting the College’s Beacon Award. Sarah’s second guest is President of the National Union of Students, Toni Pearce who discusses the value of learner voice in helping colleges become relevant and responsive to local communities. See acast.com/privacy for privacy and opt-out information.