Come to the MCR for our first Clareity Evening of the new academic year!
We will be treated to short research presentations from Edward Hinton and Holly Fletcher (abstracts below), in a casual setting with refreshments (wine, pizza, and sweets). Evening begins promptly at 7, bar opens at 8.30.
‘The solution to climate change is right under our feet’, Edward Hinton
Carbon capture and storage (CCS) involves capturing CO2 at a source such as a power station and then transporting, compressing and injecting the gas into the subsurface. In this talk, I will give an overview of the shortcomings of CCS and explain its potential to become a key tool in the fight against climate change in the short to medium term. Monitoring geological carbon stores is critical to demonstrate their integrity. Many of the models used to quantify the progress of CO2 assume that aquifers can be thought of as vertically uniform. Rocks are rarely this simple however; permeability can vary significantly over just a few metres. I will show that even small heterogeneities give rise to different dynamics and hence cannot be neglected.
‘Age, gender and the body in the bronze and pearwood statuettes of 1520s Germany’, Holly Fletcher
Somewhere in southern Germany between 1520 and 1525, an unknown artist completed at least six near-identical statuettes, four in bronze and two in pearwood. Each version shows a naked elderly woman sitting slightly hunched forward, with her arms crossed over her emaciated body and her loose hair flowing down her back. These statues present a mystery to the viewer which extends beyond their unknown creator and place of origin. Firstly, their presentation of an apparently secular naked elderly woman is highly unusual as the female nude was typically associated with the grace and beauty of youth and was reserved for figures such as Eve or Venus. Even more surprisingly, the figures appear to present a sympathetic image of elderly womanhood, thus diverging from contemporary depictions in which old women were shown as repulsive and toothless old hags. It is this unusualness which will form the focus of my approach as I consider why and for whom they may have been created. I will question how the figures may articulate contemporary attitudes towards old age, and the extent to which such views could be reflected in, and moulded by, visual representations.