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Last Tango in Halifax
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Last Tango in Halifax
Genre
Comedy-drama
Written by
Sally Wainwright
Starring
Derek Jacobi
Anne Reid
Sarah Lancashire
Nicola Walker
Composer(s)
Murray Gold
Country of origin
United Kingdom
Original language(s)
English
No. of series
4
No. of episodes
20 (list of episodes)
Production
Executive producer(s)
Nicola Shindler
Location(s)
Yorkshire
Running time
60 minutes
Production company(s)
Red Production Company
Release
Original network
BBC One
Original release
20 November 2012 (2012-11-20) – present
External links
Website
www.bbc.co.uk/programmes/b03h4107
Production
website
www.redproductioncompany.com
Last Tango in Halifax is a British comedy-drama series on BBC One. First broadcast on 20 November 2012, twenty episodes have aired. Screenwriter Sally Wainwright loosely adapted the story of her mother's second marriage.[1] Starring Derek Jacobi and Anne Reid as Alan and Celia, former childhood sweethearts, who are now in their seventies. Reunited via Facebook, they meet, fall in love, and plan to marry. Reid and Jacobi enjoyed having the chance to play out a love story between older people.[2][3][4] Sarah Lancashire and Nicola Walker star as Caroline, Celia's daughter, and Gillian, Alan's daughter, respectively. Other characters are played by Nina Sosanya, Tony Gardner, Ronni Ancona, Dean Andrews, Sacha Dhawan and Josh Bolt.
The United States broadcast television network PBS picked up the first series and began airing it in September 2013. The series has been praised for its depiction of the older generation, strong acting, and believable dialogue. A critic for The Daily Telegraph summarised the series as "a triumph against TV's ageism", and it has been endorsed by an executive member of the charity Age UK. Ahead of the American premiere, a critic for the Los Angeles Times described it as "the best new show of the fall". Last Tango in Halifax accrued four nominations for the 2013 British Academy Television Awards and won the British Academy Television Award for Best Drama Series.
A second series was commissioned, and filming began in summer 2013. It was broadcast on BBC One from 19 November 2013 to 24 December 2013. A third series was commissioned prior to the final episode of the second,[5] aired between 28 December 2014 and 1 February 2015. Immediately following the end of Series Three, the BBC announced that a fourth series had been commissioned. The fourth series consists of only two episodes, described as Christmas Specials.[6] They were broadcast on 19 and 20 December 2016.[7]
Contents
[hide]
1 Overview
2 Production
2.1 Concept and writing
2.2 Characters and casting
2.3 Filming
3 Episodes
4 Broadcast and reception
4.1 Critical reception
4.2 Accolades
5 Possible adaptations
6 Notes
7 References
8 External links
Overview[edit]
Celia Dawson and Alan Buttershaw are both widowed and in their seventies. They were attracted to each other in the 1950s, but never expressed their feelings, and Celia moved away with her parents. In the present day, they are reunited after being persuaded to join Facebook by their respective grandchildren.[8] Alan has loved Celia since he was 16 years old,[9] whilst Celia is described as a woman who is "unfulfilled" and was unhappily married to a man she grew to hate.[9] After their reunion, Alan and Celia discover that they still feel as passionately for each other as they did when they were teenagers. Their story is described as a "testament of the uplifting power of love at any age".[8]
Alan and Celia's romance is depicted alongside the troubles of their own grown-up daughters, and the series' official description says that its portrayal of family is "as dark as it is comic".[8] Alan's daughter Gillian and Celia's daughter Caroline are complete opposites: widowed Gillian runs a farm and works part-time in a supermarket,[9] whilst Oxford-educated[9] Caroline is the headmistress of a successful school.[8] Their parents' engagement affects both daughters' lives. Gillian wonders how she and her son will cope without her father around to help,[10] whilst Caroline, struggling with depression and her feelings for a female colleague, feels that her mother's unconventional romance gives her "permission to finally admit to being who she really is".[11]
Production[edit]
Concept and writing[edit]
The series is based on lead writer Sally Wainwright's personal experiences.[1] She described it as "the most personal thing I've ever written".[12] Her mother, Dorothy, lost contact with a childhood friend, Alec Walker,[1] when she was 15, but they reconnected on the social networking website Friends Reunited 60 years later[12] and within six months were married. Wainwright said the relationship between her mother and Alec "was so beautiful and uplifting that it inspired everyone around them".[13] When she told the story to her colleague Nicola Shindler, Shindler suggested she turn her experience into a television series. Shindler became the series' executive producer and according to Wainwright, the script was sold "instantly".[13]
The character of Celia is based on Dorothy; Wainwright has noted that her mother "became so passionate and emotional" after falling in love again.[13] Some scenes in the series are based on true events. In one episode Celia and Alan are shown laughing at an argument between Caroline and her husband in the next room; Wainwright recalls discovering her mother and stepfather in the same situation after Wainwright had had an argument with her husband Austin.[13] Caroline's discomfort with Celia's discussing her sex life is based on a conversation Wainwright had with her mother. Dorothy's husband died three years into their marriage, but according to Wainwright she was "delighted" to have their relationship dramatised; Wainwright believes Last Tango in Halifax is "a celebration of how fantastic the whole thing was".[13]
Though largely biographical, the series does contain some invented story lines. In real life, Alec and Dorothy's families had a good relationship from the start; in the TV series, Caroline and Gillian initially have a feud.[13] Whilst Jacobi and Reid's storyline is predominantly uplifting, the actions of their onscreen families were intended to provide a contrast. With regard to Alan and Celia's dysfunctional families, Wainwright states that they "bring drama and chaos at every turn" and that the series aims to "get under the skin of these characters".[1]
Through Caroline, the series explores various LGBT themes. A source of contention for Celia is her daughter entering into a same sex relationship and later coming out to her. Anne Reid spoke positively of the storyline, stating that she believes a lot of people of her own generation are homophobic. She felt that her own character "might show them [and] might change them" just as Celia must become more accepting to avoid losing Alan. Jacobi concurred: Alan has "a streak of tolerance in him ... that perhaps Celia doesn't".[14] In series three, the division between Celia and Caroline widens after Celia refuses to attend Caroline's wedding to another woman. Wainwright felt that killing off Caroline's partner Kate would be the most effective way to propel the drama onwards and to develop the emotional lives of the remaining characters going forward. She was conflicted over this decision, having grown attached to the character of Kate, and actress Nina Sosanya, and wrote two versions of the fourth episode; the unaired one would have seen Kate survive.[15]
Characters and casting[edit]
Derek Jacobi, renowned for his theatre work, enjoyed the chance to explore a different type of character.
Discussing the casting of Derek Jacobi and Anne Reid, Wainwright stated: "we went for the best and we got them".[1] The Guardian felt that one of the series' successes was the unlikely casting of a "theatrical knight" (Jacobi) and a "TV Stalwart" (Reid).[16] Wainwright had not anticipated being able to secure an actor of Jacobi's calibre for the role of Alan, stating that she "never imagined getting someone like him in one of my dramas", believing him to be in "a different stratosphere".[13] Upon casting Jacobi, Wainright felt that in addition to looking similar to Alec Walker, Jacobi embodied his personality perfectly, particularly his sense of humour.[13] Jacobi was surprised to be offered the role of Alan; as his reputation centred on parts that were either "posh", "classical" or "costume". He enjoyed having the chance to play someone who is "an ordinary fellow".[17] He also felt the series provided a chance to depict a "love story between two older characters that isn't patronising or stereotyped in any way".[9] Wainwright felt that the two lead actors had a palpable chemistry that reflected her mother's second marriage.[1][13] Reid and Jacobi also influenced the creative process — after Reid discovered Jacobi could jive, they implored Wainright to include a dance scene in an episode.[1][18] Jacobi also inspired a scene in which two of Alan's friends (played by Roy Barraclough and Paul Copley)[19] vie to be his best man.[13] A teenage version of Alan is portrayed in flashback by Nico Mirallegro.[20]
Reid was Wainwright's personal choice for the role of Celia, describing the actress as "so down to earth and compelling to watch".[13] Reid had tired of playing older characters for whom their age was a defining characteristic, stating that she had been sent lots of scripts wherein "where the minute anyone's over 65, they turn into a doddering old idiot".[21] She hoped that Last Tango in Halifax would "give hope to older people",[22] opining that the relationship between Celia and Alan was free from ageism.[21] Reid identified herself with Celia's personality — believing herself to be quite reckless and outgoing [18]— though stated that unlike her character she has no desire to enter another relationship.[22] She enjoyed working with her friend Sarah Lancashire, who previously played her onscreen daughter in Rose and Maloney, and suggested that the two share similar looks.[21] Reid described filming the series as "one of the best times in my career" and stated that she was proud of the work put in.[9] Amelia Young plays a teenage Celia during a flashback sequence in episode six.[20]
Sarah Lancashire portrays Celia's daughter Caroline, whose lesbian relationship forms a prominent subplot. Lancashire opted to focus on the "humanity" of her character instead of her sexuality.
Lancashire discerned that the series was "very special" within reading two pages of the script. Other factors that persuaded her to commit to the series included the casting of Reid and Jacobi, and the series' juxtaposition of a heart-warming story with elements of humour.[9] In terms of her character, Lancashire identified with Caroline being "a working woman trying to keep everything under control".[9] She stated the series' ensemble cast was "the closest I’ve come to being in a theatre company on television" due to how well the actors worked together.[23] The cast had all assumed that Last Tango in Halifax would only run for one series.[23] Filming of the second series clashed with filming of the second series of the BBC One period drama The Paradise, which also starred Sarah Lancashire. This necessitated her having to leave her role in The Paradise halfway through the second series in order to reprise her role as Caroline in Last Tango in Halifax.[24] In an interview in 2013 Lancashire stated that the decision to return to Last Tango in Halifax was the easiest she had made in her working life stating "as an actor you can wait an entire career to be involved in a project like this."[25] The role resulted in her receiving the most fan mail of her career. Lancashire was surprised and humbled by the responses from women stating that Caroline's same sex relationship had personally inspired them.[25] She stated that in her approach to the character she did not focus on Caroline's sexuality, but the "humanity of her".[25] Due to the underrepresentation of gay characters on television, Lancashire felt it particularly important that Caroline's experience would not be portrayed inaccurately.[25] In 2014 Wainwright recalled being "blown away" by Lancashire's performances in the rushes for the series, which partly inspired her to script the series Happy Valley in which Lancashire plays the lead role.[26]
Nicola Walker completes the main cast as Gillian. She admired the character's honesty, bravery and lack of self-pity, and identified strongly with her tendency to speak before thinking things through and her deep love for her father.[9] In 2014 The Daily Telegraph described the role as a "game-changer" in the trajectory of Walker's career.[27] Though ultimately successful in winning the role Walker initially believed that she would not get the part due to a lack of confidence in her northern accent, and the presence of northern actresses in the audition.[27] Her approach to the character saw her delve into Gillian's psychology with Walker particularly interested in the contradiction between Gillian's sexual confidence and her use of sex as a form of self-punishment.[27] She felt the series showed a very adult approach to storytelling, stating that she had "never come across a character like Gillian before" and praising the variety of strong female roles.[28] The Independent noted the significance of the series having three female leads over the age of 40, stating that this, alongside Caroline's lesbian storyline and Gillian's attitude towards sex made the series "quietly subversive" when compared against primetime television as a whole.[28]
In addition to its main characters, Last Tango in Halifax features a regular supporting cast. Nina Sosanya plays Caroline's romantic partner Kate, who she decides to marry over the course of the series. Gerard Gilbert of The Independent describes the relationship between the couple as "one of the most normalised lesbian relationships ever shown on the small screen."[17] Nina Sosanya noted that she enjoyed filming with Sarah Lancashire and that the pair would "giggle a lot like completely juvenile idiots" whilst filming their love scenes.[17] Other characters introduced in the first series include Caroline's husband John (Tony Gardner) and his lover Judith (Ronni Ancona), Gillian's brother-in-law, Robbie (Dean Andrews), and Paul (Sacha Dhawan), a youth with whom Gillian has a sexual relationship. Josh Bolt plays Gillian's son Raff, whilst Edward Ashley and Louis Greatorex play Caroline's teenage sons William and Lawrence.[19][20][29][30][31][32] The second series expanded the families of Alan and Celia. Timothy West appears as Alan's brother Ted whilst Gemma Jones plays Celia's sister Muriel.[33][34] The third series later introduces Rupert Graves as Gary, who is revealed to be Alan's illegitimate son,[35] and Michelle Hurst as Kate's mother Ginika.[17][36]
Filming[edit]
The first series was filmed in Yorkshire and in Altrincham between January and April 2012. Altrincham was used to represent scenes set in Harrogate, such as those set at Caroline's house.[37] The second series began filming in July 2013.[38] Filming took place at Holdsworth House in Halifax in August 2013[39] and also at Hoghton Tower, a fortified manor house in Lancashire, in August 2013. This resulted in the Tower's being closed to the public between 19 and 28 August.[40] In September the University of York supplied ten students from the Department of Theatre, Film and Television to work as extras on the series.[41] Filming for the third series began in Yorkshire and at Peover Hall, near Knutsford, Cheshire in July 2014.[42]
Episodes[edit]
Main article: List of Last Tango in Halifax episodes
Series
Episodes
Originally aired
Series premiere
Series finale
1 6 20 November 2012 19 December 2012
2 6 19 November 2013 24 December 2013
3 6 28 December 2014[43] 1 February 2015
Broadcast and reception[edit]
Consolidated viewing figures
The series premièred to overnight ratings of 6.160 million viewers, 25.6% of the available audience, as the highest rated show at 9 pm on 20 November.[44] The series finale, airing 19 December 2012, also won its time-slot, achieving an overnight series high of 6.290 million viewers, 26.6% of the available audience.[45] Consolidated figures released by the Broadcasters' Audience Research Board (BARB) revealed that the series première achieved a consolidated rating of 7.304 million viewers,[46] whilst the finale had 7.480 million.[46] The overall series average in terms of viewing figures was 7.316 million viewers.[nb 1] The Independent reported that the early consolidated ratings received by the programme made it the highest rated new mid-week television drama of 2012.[47] In September 2013, the series began airing on the American broadcast television network PBS.[48]
Critical reception[edit]
The series has attracted mostly positive reviews, largely focused on the depiction of its two septuagenarian lead characters. Jane Shilling of The Daily Telegraph labelled the series "a triumph against TV's ageism" in an examination of the portrayal of elderly people in the media.[49] Shilling singled out Jacobi and Reid's performances, stating that they provide a "mixture of gravity and levity" that "brings a transcendent quality to their characters' resolute ordinariness". Lucy Harmer, an executive member of the charity Age UK, also praised the series for portraying two "normal, healthy and sane" older characters, citing the depiction of Internet use by the elderly as something ordinary. She compared the treatment of older characters in the series to Hilary Boyd's novel Thursdays in the Park and the film The Best Exotic Marigold Hotel (2012).[50] The Huffington Post's Caroline Frost thought the series was reminiscent of the dialogue and sensibility of the playwright Alan Bennett. She wrote the story was poignant and praised a central theme underlining "how many people make do with their day-to-day business and responsibilities, while still holding on to their private dreams",[51] Andrew Anthony of The Guardian had his "low expectations ... squarely confounded", giving particular praise to the dialogue and the central performances.[16] Jane Simon of the Daily Mirror felt that Last Tango in Halifax experienced a mid-series dip, though she praised what she felt was a triumphant finale. She also praised Wainwright's script and the lead quartet of Jacobi, Reid, Lancashire, and Walker for creating "characters you can believe in even when they're behaving appallingly".[52] The series was reviewed favourably by the American website AfterEllen, which reports on the depiction of gay and bisexual women in the media. Correspondent Jill Guccini stated that she "started off watching this series thinking it was a cute little show about some oldies falling in love", but at the end of the series believed it was "some of the finest television I've seen, anywhere, ever".[53]
Critical reception in the United States was also largely positive following PBS' acquisition of the show. Mary McNamara of the Los Angeles Times labelled the series as "the best new show of the fall" describing it as "a rapturous mix of absurdly fairy-tale-romance and frantic modern complications, set in the picturesque drear of Yorkshire and brought to life by masterfully shaded performances." She opined that Reid and Jacobi "are capable of doing more with a startled look or careful smile ... than most actors can do in seven pages of dialogue".[54] Matthew Gilbert of The Boston Globe acknowledged that the public might not find the series appealing based on its title and premise alone, stating that PBS' description of the programme made it sound "as saccharine and hackneyed as a Geritol commercial". Upon viewing the series however, he praised the added dimensions of the series and wrote that it was "so much more interesting" than the central premise suggested. He also felt that Walker and Lancashire played an important part; "both add[ing] a necessary amount of bitter to the sweet".[55] Mike Hale of The New York Times was more cynical about the series, describing it as a "warm comforter of a series" and "treacle". However he felt that series also distinguished itself from this category of media by its "relatively dry style and careful modulation of tone and volume" in addition to "a crackerjack cast".[56]
Accolades[edit]
The first series of Last Tango in Halifax was nominated for four awards at the 2013 British Academy Television Awards, which took place on 12 May 2013. Actors Derek Jacobi, Anne Reid, and Sarah Lancashire earned respective nominations in the Best Actor, Best Actress, and Best Supporting Actress categories. The series itself was nominated for the British Academy Television Award for Best Drama Series, and ultimately won.[57] Additionally, Wainwright was named best Drama Writer at the 2013 British Academy Television Craft Awards for her writing of the series.[58] The series was nominated for Best Drama Series at the 2013 Broadcasting Press Guild Awards whilst Sally Wainwright was nominated for the writer's award for her contribution to both Last Tango in Halifax and Scott & Bailey.[59] In 2014, Sarah Lancashire and Nicola Walker were both nominated for a British Academy Television Award in the category for "Best Supporting Actress" for their roles in Last Tango in Halifax. Lancashire won the award for her role as Caroline.[60]
Possible adaptations[edit]
In October 2013, it was reported in news outlets that American actress, screenwriter, and producer Diane Keaton had acquired the rights to remake Last Tango in Halifax for American audiences on the subscription cable channel HBO.[61] Sally Wainwright mentioned this development at a Broadcasting Press Guild event and stated that though she did not expect to be closely involved in the remake, she would have an associate producer role.[61] However, the following day Red Production Company released a statement stating that a remake would likely be delayed since the original series was still airing on American channel PBS.[62] In April 2014, it was reported that the series would be remade for French television by BBC Worldwide France and the production company NEWEN.[63]
Notes[edit]
Jump up ^ Calculated by combining the individual viewing figures for each episode, sourced from the Broadcasters' Audience Research Board (7.304 million, 6.779 million, 7.508 million, 7.334 million, 7.492 million, 7.480 million)[46] and dividing by six.
References[edit]
^ Jump up to: a b c d e f g "Interview with writer, Sally Wainwright". BBC Press Office. BBC Online. 13 August 2012. Retrieved 17 April 2013.
Jump up ^ "Last Tango in Halifax: Anne Reid interview". The Telegraph. 19 November 2013. Retrieved 8 January 2015.
Jump up ^ "Anne Reid's slow-burn success: The Our Zoo star on the surgeon's knife, bedding Daniel Craig and having a late-blooming career". The Independent. 6 September 2014. Retrieved 8 January 2015.
Jump up ^ "Last Tango in Halifax on BBC1 tonight with Sarah Lancashire, Derek Jacobi, Anne Reid and Nicola Walker". Scunthorpe Telegraph. 4 January 2015. Retrieved 8 January 2015.
Jump up ^ "BBC One commissions third series of Last Tango In Halifax". BBC Media Centre. 24 December 2013. Retrieved 7 January 2014.
Jump up ^ http://www.bbc.co.uk/programmes/b03h4107/episodes/guide
Jump up ^ Gill, James (2 February 2015). "Last Tango in Halifax series four confirmed". Radio Times. Retrieved 2 February 2015.
^ Jump up to: a b c d "Last Tango In Halifax- Derek Jacobi and Anne Reid lead cast in a new drama series for BBC One". BBC Press Office. BBC Online. 13 August 2012. Retrieved 18 April 2013.
^ Jump up to: a b c d e f g h i "Cast interviews". BBC Press Office. BBC Online. 13 August 2012. Retrieved 17 April 2013.
Jump up ^ "Gillian". BBC. Retrieved 18 April 2013.
Jump up ^ "Caroline". BBC. Retrieved 18 April 2013.
^ Jump up to: a b Williamson, Charlotte (22 December 2013). "My mother's late-life love is charming the nation". The Telegraph. Retrieved 6 March 2014.
^ Jump up to: a b c d e f g h i j k Wainwright, Sally (9 November 2012). "Can you fall in love at 75? Screenwriter Sally Wainwright on how her mother's sweet late-life romance inspired her new drama". Daily Mail. Associated Newspapers. Retrieved 17 April 2013.
Jump up ^ Halterman, J. (9 September 2013). ""Last Tango in Halifax" stars talk about its lesbian component". AfterEllen. Retrieved 19 September 2013.
Jump up ^ Lyell, Carrie (16 January 2015). "Last Tango writer: Why I killed off lesbian character". Diva. Retrieved 20 January 2015.
^ Jump up to: a b Anthony, Andrew (25 November 2012). "Rewind TV: Last Tango in Halifax; Homeland; The Aristocrats: Blenheim Palace; Gadget Man; Supersized Earth – review". The Guardian. Guardian Media Group. Retrieved 17 April 2013.
^ Jump up to: a b c d Gilbert, Gerard (23 December 2014). "Sir Derek Jacobi on 'Last Tango in Halifax' and being just an ordinary fella". The Independent. Independent Media Group. Retrieved 13 January 2015.
^ Jump up to: a b Fiaca, Nick (13 November 2012). "Anne Reid". What's on TV. IPC Media. Retrieved 17 April 2013.
^ Jump up to: a b "Last Tango in Halifax — episode five". BBC Online. Retrieved 17 April 2013.
^ Jump up to: a b c "Last Tango in Halifax — episode six". BBC Online. Retrieved 17 April 2013.
^ Jump up to: a b c Brent, Katy (20 November 2012). "Two to tango". The Sun. News International. Retrieved 17 April 2013.
^ Jump up to: a b Duncan, Andrew (20 November 2012). "Anne Reid: "I hope Last Tango in Halifax gives hope to older people"". Radio Times. Immediate Media Company. Retrieved 17 April 2013.
^ Jump up to: a b Duncan, Andrew (29 April 2014). "Sarah Lancashire on Happy Valley: I'm my own harshest critic". Radio Times. Immediate Media Company. Retrieved 20 May 2014.
Jump up ^ Hastings, Chris (29 September 2013). "It's trouble in Paradise after star Sarah Lancashire quits in the middle of series, blaming clash with other BBC show". Daily Mail. DMG Media. Retrieved 2 October 2013.
^ Jump up to: a b c d Myall, Steve (19 November 2013). "Sarah Lancashire says her latest role has had a much bigger impact than Corrie's Raquel". Irish Daily Mirror. Trinity Mirror. Retrieved 19 August 2014.
Jump up ^ Jones, Hannah (28 May 2014). "Happy Valley: Writer Sally Wainwright on TV's most talked about show". Wales Online. Retrieved 19 August 2014.
^ Jump up to: a b c Rees, Jasper (4 April 2014). "Nicola Walker: 'I've got a feisty face'". The Daily Telegraph. Telegraph Media Group. Retrieved 21 November 2014.
^ Jump up to: a b Mounford, Fiona (4 April 2014). "Nicola Walker interview: 'There's more pressure in feeling rated'". The Independent. Independent Media Group. Retrieved 21 November 2014.
Jump up ^ "Last Tango in Halifax — episode one". BBC Online. Retrieved 17 April 2013.
Jump up ^ "Last Tango in Halifax — episode two". BBC Online. Retrieved 17 April 2013.
Jump up ^ "Last Tango in Halifax — episode three". BBC Online. Retrieved 17 April 2013.
Jump up ^ "Last Tango in Halifax — episode four". BBC Online. Retrieved 17 April 2013.
Jump up ^ "Last Tango In Halifax". BBC online. Retrieved 4 November 2014.
Jump up ^ Ward, Rachel (17 December 2013). "Last Tango in Halifax, series 2, episode five, review". The Daily Telegraph. Telegraph Media Group. Retrieved 4 November 2014.
Jump up ^ Wilson, Benji (29 December 2014). "Rupert Graves: 'If I need cash I'll do anything, I don't really care'". The Daily Telegraph. Telegraph Media Group. Retrieved 13 January 2015.
Jump up ^ "Last Tango in Halifax: Series 3 - Episode 4". Radio Times. Retrieved 13 January 2015.
Jump up ^ Lancashire, Sarah (2 December 2012). "Last Tango in Halifax? Let's try Venice next time, says BBC star Sarah Lancashire". Daily Mail. Associated Newspapers. Retrieved 18 April 2013.
Jump up ^ "Filming starts on Last Tango in Halifax 2". What's on TV. IPC Media. 4 July 2013. Retrieved 17 September 2013.
Jump up ^ McGrouther, Bridget (1 December 2013). "We've Been Tangoed...By the Romance of Yorkshire: Following in the Footsteps of the Stars of Last Tango in Halifax". Daily Mail. Associated Newspapers. Retrieved 17 June 2015.
Jump up ^ "Last Tango at the Tower this Autumn". Lancashire Evening Post. Johnston Press. 17 August 2013. Retrieved 17 September 2013.
Jump up ^ "Last Tango in Halifax". The University of York. 6 September 2013. Retrieved 17 September 2013.
Jump up ^ "Last Tango in Halifax filming gets underway with Sarah Lancashire, Derek Jacobi and Anne Reid". Radio Times. 7 July 2014. Retrieved 12 February 2015.
Jump up ^ "Last Tango in Halifax, Series 3 Episode 1". BBC. Retrieved 7 December 2013.
Jump up ^ Millar, Paul (21 November 2012). "Cheryl Cole's ITV2 show attracts more than 800,000 viewers". Digital Spy. Hearst Corporation. Retrieved 18 April 2013.
Jump up ^ Millar, Paul (20 December 2012). "'Last Tango in Halifax' ends on high note for BBC One". Digital Spy. Hearst Corporation. Retrieved 18 April 2013.
^ Jump up to: a b c "Viewing Data — Top Tens". BARB. Archived from the original on 18 July 2014. Retrieved 6 March 2014.
Jump up ^ Wyatt, Daisy (11 December 2012). "BBC One drama Last Tango in Halifax re-commissioned for second series". The Independent. Independent Print Limited. Retrieved 18 April 2013.
Jump up ^ "PBS Premieres New 6-Part Drama Last Tango In Halifax Tonight". BroadwayWorld.com. 8 September 2013. Retrieved 19 September 2013.
Jump up ^ Shilling, Jane (11 December 2012). "Last Tango in Halifax: a triumph against TV's ageism". The Daily Telegraph. Telegraph Media Group. Retrieved 17 April 2013.
Jump up ^ Bennett, Laura (28 November 2012). "Last Tango in Halifax: an Age UK executive's view". The Guardian. Guardian Media Group. Retrieved 17 April 2013.
Jump up ^ Frost, Caroline (21 November 2012). "TV Review: Last Tango In Halifax — A Love That Blooms Late And Twice As Sweet". The Huffington Post. Retrieved 18 April 2013.
Jump up ^ Simon, Jane (19 December 2012). "Wednesday's must-see TV: Family in a spin in Last Tango In Halifax plus The Town and Snow Babies". Daily Mirror. Trinity Mirror. Retrieved 17 April 2013.
Jump up ^ Guccini, Gill (26 March 2013). ""Last Tango in Halifax" recap: Infected with Lesbian Spores (Ep. 6)". AfterEllen. Archived from the original on 28 June 2013. Retrieved 18 April 2013.
Jump up ^ McNamara, Mary (7 September 2013). "Review: 'Last Tango in Halifax' on PBS is the fall's best new show". Los Angeles Times. Retrieved 19 September 2013.
Jump up ^ Gilbert, Matthew (5 September 2013). "The dimensions of 'Last Tango in Halifax'". The Boston Globe. Retrieved 19 September 2013.
Jump up ^ Hale, Mike (6 September 2013). "After 60 Years, Weak-Kneed and Starry-Eyed". The New York Times. Retrieved 19 September 2013.
Jump up ^ Plunkett, John; Halliday, Josh (12 May 2013). "Last Tango dances off with Bafta prize for 'love story about people over 35'". The Guardian. Guardian Media Group. Retrieved 10 September 2013.
Jump up ^ Plunkett, John (29 April 2013). "Bafta TV craft awards: BBC London Olympics coverage takes two". The Guardian. Guardian Media Group. Retrieved 6 May 2013.
Jump up ^ Torin, Douglas (7 February 2013). "Parade's End leads TV nominations for 39th Broadcasting Press Guild Awards". Broadcasting Press Guild. Retrieved 2 October 2013.
Jump up ^ "Television in 2014". BAFTA. Retrieved 4 January 2015.
^ Jump up to: a b Brown, Maggie (28 October 2013). "Diane Keaton plans US remake of BBC's Last Tango in Halifax". The Guardian. Guardian Media Group. Retrieved 6 May 2014.
Jump up ^ Dowell, Ben (29 October 2013). "Diane Keaton's Last Tango in Halifax US remake delayed". Radio Times. Immediate Media Company. Retrieved 6 May 2014.
Jump up ^ Jeffrey, Morgan (9 April 2014). "Last Tango in Halifax to get remake on French television". Digital Spy. Hearst Magazines UK. Retrieved 6 May 2014.
External links[edit]
Last Tango in Halifax at BBC Programmes
Last Tango in Halifax at British Comedy Guide
Last Tango in Halifax on IMDb
Last Tango in Halifax on PBS
[show]
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BAFTA TV Award for Best Drama Series
Inspector Morse (1992)
Inspector Morse (1993)
Between the Lines (1994)
Cracker (1995)
Cracker (1996)
EastEnders (1997)
Jonathan Creek (1998)
The Cops (1999)
The Cops (2000)
Clocking Off (2001)
Cold Feet (2002)
Spooks (2003)
Buried (2004)
Shameless (2005)
Doctor Who (2006)
The Street (2007)
The Street (2008)
Wallander (2009)
Misfits (2010)
Sherlock (2011)
The Fades (2012)
Last Tango in Halifax (2013)
Broadchurch (2014)
Happy Valley (2015)
Wolf Hall (2016)
Happy Valley (2017)
[hide]
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t
e
Television series created by Sally Wainwright
At Home with the Braithwaites (2000–03)
Sparkhouse (2002)
Jane Hall (2006)
The Amazing Mrs Pritchard (2006)
Bonkers (2007)
Unforgiven (2009)
Scott & Bailey (2011–2016)
Last Tango in Halifax (2012–)
Happy Valley (2014–)
Gentleman Jack (TBA)
Other works
The Canturbury Tales: The Wife of Bath (2003)
ShakespeaRe-Told: The Taming of the Shrew (2005)
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Andy Travis
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Andy Travis
WKRP in Cincinnati character
Bailey Quarters (Jan Smithers) and Andy Travis (Gary Sandy)
Portrayed by
Gary Sandy
Information
Gender
Male
Occupation
program director
Nationality
American
Andy Travis is a fictional character on the television situation comedy WKRP in Cincinnati (1978–82). He was played by Gary Sandy.
Travis was originally intended to be the lead character, the more-or-less normal person who would anchor the series and provide the focus for most of the stories. He is the subject of the theme song, and one critic went so far as to describe Sandy as "Gary Tyler Moore." As the first season went on, WKRP shifted to being more of an ensemble comedy, where any one of the eight regulars could carry an episode. Despite this change, Sandy retained top billing for all four seasons as the straight man to the rest of the cast.
Program director[edit]
In the pilot episode, Andy arrives in Cincinnati to take over as WKRP's program director. He previously worked the same job at a radio station in Santa Fe, New Mexico; but he also ran a station in Albuquerque and Amarillo, Texas (In season 3, Andy mentioned he's originally from Phoenix, Arizona). He is young, handsome and friendly, and though he is viewed with suspicion by the old guard at the low-rated station—station manager Arthur Carlson, sales director Herb Tarlek, and news director Les Nessman—he soon manages to win them over to his side. Mr. Carlson even defends Andy to his domineering mother, the station's owner, when she wants to fire Andy.
Convinced that he's not going to last at WKRP, Andy spends about the first month in his apartment without furniture, in the event he has to suddenly leave town. In a flashback episode, it's revealed that Andy got his overweight landlady drunk to charm her into letting him out of his lease, which he does successfully.
Described by Mr. Carlson as a "cowboy," Andy frequently wears boots and a cowboy hat. He also wears very tight jeans to work, which makes Mr. Carlson uncomfortable. "With denim," Andy explains, "I feel comfortable and relaxed. I feel as though I can work better." He wears his hair in the late '70s "feathered" style, and many of the characters make fun of his ample hair: Bailey Quarters, asking him to take part in a promotion, asks him to imagine "Your hair flowing in the wind -- now, that stuff will flow!" Though he is usually quiet and low-key, describing himself as "an easy-going guy with a natural ability to lead," he can sometimes lose his temper when his employees won't listen to him, which is more often than not. In response to Johnny Fever's refusal to play his playlist of top 40 hits, Andy jokingly threatens to shoot himself. In fact, a common joke in the series is that Andy often has to literally run to the broadcast booth to stop some unacceptable material being broadcast at that moment.
Andy's first act at WKRP is to change the format from "beautiful music" to top 40 rock n' roll. He has, in his own words, "lived and breathed radio ever since I was a little boy," and his ambition is to turn WKRP around and make it a top-rated station. But he is unable to do what it really takes to improve the station: fire Herb and Les. He has come to feel affection for them, and he also knows a real house-cleaning at the station would entail getting rid of the most incompetent employees of all: the Carlson family, who, as owners and managers of the station, he has no authority to dismiss or discipline.
After his first year on the job, when WKRP only rises from 16th to 14th in an 18-station market, and while the rest of the staff is elated, Andy, though outwardly happy, is furious, and considers it a personal failure. After a conversation with his friend, nighttime disc jockey Gordon "Venus Flytrap" Sims, Andy realizes that he cannot leave WKRP, or fire anybody, whether they are detrimental to the station's success or not. He likes the people too much, and has made friends here, something that did not happen at the other stations where he worked. Andy decides to abandon his ambition of becoming a hugely successful program director, or as Venus puts it, "You gave up a chance to be Boy Wonder of American radio to be the head guard of a nut farm."
As the series goes on, Andy turns his attention to fighting against the increasingly bland, corporate world of modern radio. In one episode, he meets Norris Breeze (played by thirtysomething co-star David Clennon), a former colleague of his from New Mexico who is now a successful programming consultant. Breeze is appalled by Andy's decision to let the DJs pick the music they like instead of just playing the same songs over and over, like most radio stations. "Nobody is programming their own music," Breeze says. "We are, and that's the way it's going to stay," Andy replies.
A story arc from the final season of WKRP has Andy working behind the scenes to get Mama Carlson to put more money into the station, so that he can improve the place and give the employees raises. When the staff considers unionizing, he strikes a deal with her: he will keep the union out of the station if she will pay higher salaries and allow him to renovate the station's lobby. The others never find out what Andy did.
Also in the final season, Andy takes Mama Carlson out to dinner and the opera, hoping to get her to invest still more money (this time to buy a new transmitter). He begins to wonder if she expects him to sleep with her in exchange for the money. In the end, it turns out that she only wanted to go out with a personable young man on her arm, though she enjoys allowing him to believe that she has greater expectations.
In the final episode, Andy is given his walking papers when Mrs. Carlson announces her plans to change the station's format from Top 40 to all news, despite the station's most recent finish in sixth place in the Cincinnati radio ratings, with the morning show at number one. She reverses her decision after Johnny, who has learned her ulterior motive of changing the format to doom the station to failure like she wants (in order to keep the station as a tax write-off for her other business ventures), threatens to divulge her motives to her son. Just as Mrs. Carlson tells Arthur that she's reconsidered changing the format, a drunken Andy and Venus burst into her home with the intent of telling her off "Mrs. Carlson...I'm tired of your crud!" Both collapse on her floor.
Between the end of WKRP in Cincinnati in 1982 and the start of The New WKRP in Cincinnati in 1991, he leaves the station. The station's fortunes fall dramatically after his departure, to the point that by the time of The New WKRP in Cincinnati, the station is back in the same position as it was before he arrived. His (apparently) first replacement, Steve DeMarco (an unseen character), is fired for using foul language on air. By the time of the later series, the program director's chair is filled by Donovan Aderhold (played by Mykelti Williamson), who disappears in the penultimate episode when he leaves the station, attempts to return but has his plane disappear. The position is empty in the series finale.
Personal life[edit]
In the first-season episode "Love Returns", Travis is very tempted to leave WKRP. An old flame, now a very successful country and western singer (played by It's a Living star Barrie Youngfellow), shows up and rekindles old feelings. She offers him a job with her entourage, but he reluctantly turns it down. During the remainder of the show's run, Andy occasionally refers to having girlfriends and dates, and even uses Mr. Carlson's office to impress an attractive coat-check girl during a business party, but otherwise he is not actually seen actively pursuing a love interest.
Andy is not immune to the charms of his female co-workers. After Andy is knocked unconscious during a tornado, Jennifer Marlowe begins giving him mouth-to-mouth resuscitation, which a delirious Andy soon attempts to turn into a passionate kiss. Similarly, when reprimanding Bailey Quarters for crafting a fake news story that was subsequently read on-air, he informs her that should it ever happen again, she will be "the best-looking reporter on the unemployment line" (Bailey's response in turn is non-verbal, but does indicate that she is extremely flattered by the compliment). In the episode "Filthy Pictures", Bailey uses Andy's obvious discomfort at being asked to pose in a bathing suit (for a charity photoshoot) to gently mock male chauvinist attitudes, greeting him with "Hey, baby" and calling him "beefcake". Andy does get his own back, however, when Bailey dresses stylishly in purple and pretends to be a former nude pinup model (in order to get nude photos of Jennifer back from a sleazy photographer); when she returns to the station after the successful ruse, Andy greets her by saying, "Hey, baby...purple's my favorite color." He then begins chasing her around the station.
Casting[edit]
Hugh Wilson, the creator and showrunner of WKRP, originally wanted to offer the part of Andy to David Letterman. However, MTM decided to cast Letterman in another show, Mary Tyler Moore's comedy-variety show Mary (which was canceled after only three weeks). Several other actors were considered for the part, but CBS executives decided that Sandy was the best choice.
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Scientific modelling
From Wikipedia, the free encyclopedia
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Example of scientific modelling. A schematic of chemical and transport processes related to atmospheric composition.
Scientific modelling is a scientific activity, the aim of which is to make a particular part or feature of the world easier to understand, define, quantify, visualize, or simulate by referencing it to existing and usually commonly accepted knowledge. It requires selecting and identifying relevant aspects of a situation in the real world and then using different types of models for different aims, such as conceptual models to better understand, operational models to operationalize, mathematical models to quantify, and graphical models to visualize the subject. Modelling is an essential and inseparable part of many scientific disciplines, each of which have their own ideas about specific types of modelling.[1][2]
There is also an increasing attention to scientific modelling[3] in fields such as science education, philosophy of science, systems theory, and knowledge visualization. There is growing collection of methods, techniques and meta-theory about all kinds of specialized scientific modelling.
Contents
[hide]
1 Overview
2 Basics of scientific modelling
2.1 Modelling as a substitute for direct measurement and experimentation
2.2 Simulation
2.3 Structure
2.4 Systems
2.5 Generating a model
2.6 Evaluating a model
2.7 Visualization
2.8 Space mapping
3 Types of scientific modelling
4 Applications
4.1 Modelling and simulation
4.2 Model-based learning in education
5 See also
6 References
7 Further reading
8 External links
Overview[edit]
A scientific model seeks to represent empirical objects, phenomena, and physical processes in a logical and objective way. All models are in simulacra, that is, simplified reflections of reality that, despite being approximations, can be extremely useful.[4] Building and disputing models is fundamental to the scientific enterprise. Complete and true representation may be impossible, but scientific debate often concerns which is the better model for a given task, e.g., which is the more accurate climate model for seasonal forecasting.[5]
Attempts to formalize the principles of the empirical sciences use an interpretation to model reality, in the same way logicians axiomatize the principles of logic. The aim of these attempts is to construct a formal system that will not produce theoretical consequences that are contrary to what is found in reality. Predictions or other statements drawn from such a formal system mirror or map the real world only insofar as these scientific models are true.[6][7]
For the scientist, a model is also a way in which the human thought processes can be amplified.[8] For instance, models that are rendered in software allow scientists to leverage computational power to simulate, visualize, manipulate and gain intuition about the entity, phenomenon, or process being represented. Such computer models are in silico. Other types of scientific models are in vivo (living models, such as laboratory rats) and in vitro (in glassware, such as tissue culture).[9]
Basics of scientific modelling[edit]
Modelling as a substitute for direct measurement and experimentation[edit]
Models are typically used when it is either impossible or impractical to create experimental conditions in which scientists can directly measure outcomes. Direct measurement of outcomes under controlled conditions (see Scientific method) will always be more reliable than modelled estimates of outcomes.
Within modelling and simulation, a model is a task-driven, purposeful simplification and abstraction of a perception of reality, shaped by physical, legal, and cognitive constraints.[10] It is task-driven, because a model is captured with a certain question or task in mind. Simplifications leave all the known and observed entities and their relation out that are not important for the task. Abstraction aggregates information that is important, but not needed in the same detail as the object of interest. Both activities, simplification and abstraction, are done purposefully. However, they are done based on a perception of reality. This perception is already a model in itself, as it comes with a physical constraint. There are also constraints on what we are able to legally observe with our current tools and methods, and cognitive constraints which limit what we are able to explain with our current theories. This model comprises the concepts, their behavior, and their relations in formal form and is often referred to as a conceptual model. In order to execute the model, it needs to be implemented as a computer simulation. This requires more choices, such as numerical approximations or the use of heuristics.[11] Despite all these epistemological and computational constraints, simulation has been recognized as the third pillar of scientific methods: theory building, simulation, and experimentation.[12]
Simulation[edit]
A simulation is the implementation of a model. A steady state simulation provides information about the system at a specific instant in time (usually at equilibrium, if such a state exists). A dynamic simulation provides information over time. A simulation brings a model to life and shows how a particular object or phenomenon will behave. Such a simulation can be useful for testing, analysis, or training in those cases where real-world systems or concepts can be represented by models.[13]
Structure[edit]
Structure is a fundamental and sometimes intangible notion covering the recognition, observation, nature, and stability of patterns and relationships of entities. From a child's verbal description of a snowflake, to the detailed scientific analysis of the properties of magnetic fields, the concept of structure is an essential foundation of nearly every mode of inquiry and discovery in science, philosophy, and art.[14]
Systems[edit]
A system is a set of interacting or interdependent entities, real or abstract, forming an integrated whole. In general, a system is a construct or collection of different elements that together can produce results not obtainable by the elements alone.[15] The concept of an 'integrated whole' can also be stated in terms of a system embodying a set of relationships which are differentiated from relationships of the set to other elements, and from relationships between an element of the set and elements not a part of the relational regime. There are two types of system models: 1) discrete in which the variables change instantaneously at separate points in time and, 2) continuous where the state variables change continuously with respect to time.[16]
Generating a model[edit]
Modelling is the process of generating a model as a conceptual representation of some phenomenon. Typically a model will deal with only some aspects of the phenomenon in question, and two models of the same phenomenon may be essentially different—that is to say, that the differences between them comprise more than just a simple renaming of components.
Such differences may be due to differing requirements of the model's end users, or to conceptual or aesthetic differences among the modellers and to contingent decisions made during the modelling process. Considerations that may influence the structure of a model might be the modeller's preference for a reduced ontology, preferences regarding statistical models versus deterministic models, discrete versus continuous time, etc. In any case, users of a model need to understand the assumptions made that are pertinent to its validity for a given use.
Building a model requires abstraction. Assumptions are used in modelling in order to specify the domain of application of the model. For example, the special theory of relativity assumes an inertial frame of reference. This assumption was contextualized and further explained by the general theory of relativity. A model makes accurate predictions when its assumptions are valid, and might well not make accurate predictions when its assumptions do not hold. Such assumptions are often the point with which older theories are succeeded by new ones (the general theory of relativity works in non-inertial reference frames as well).
The term "assumption" is actually broader than its standard use, etymologically speaking. The Oxford English Dictionary (OED) and online Wiktionary indicate its Latin source as assumere ("accept, to take to oneself, adopt, usurp"), which is a conjunction of ad- ("to, towards, at") and sumere (to take). The root survives, with shifted meanings, in the Italian sumere and Spanish sumir. In the OED, "assume" has the senses of (i) “investing oneself with (an attribute), ” (ii) “to undertake” (especially in Law), (iii) “to take to oneself in appearance only, to pretend to possess,” and (iv) “to suppose a thing to be.” Thus, "assumption" connotes other associations than the contemporary standard sense of “that which is assumed or taken for granted; a supposition, postulate,” and deserves a broader analysis in the philosophy of science.[citation needed]
Evaluating a model[edit]
See also: Models of scientific inquiry § Choice of a theory
A model is evaluated first and foremost by its consistency to empirical data; any model inconsistent with reproducible observations must be modified or rejected. One way to modify the model is by restricting the domain over which it is credited with having high validity. A case in point is Newtonian physics, which is highly useful except for the very small, the very fast, and the very massive phenomena of the universe. However, a fit to empirical data alone is not sufficient for a model to be accepted as valid. Other factors important in evaluating a model include:[citation needed]
Ability to explain past observations
Ability to predict future observations
Cost of use, especially in combination with other models
Refutability, enabling estimation of the degree of confidence in the model
Simplicity, or even aesthetic appeal
People may attempt to quantify the evaluation of a model using a utility function.
Visualization[edit]
Visualization is any technique for creating images, diagrams, or animations to communicate a message. Visualization through visual imagery has been an effective way to communicate both abstract and concrete ideas since the dawn of man. Examples from history include cave paintings, Egyptian hieroglyphs, Greek geometry, and Leonardo da Vinci's revolutionary methods of technical drawing for engineering and scientific purposes.
Space mapping[edit]
Space mapping refers to a methodology that employs a "quasi-global" modeling formulation to link companion "coarse" (ideal or low-fidelity) with "fine" (practical or high-fidelity) models of different complexities. In engineering optimization, space mapping aligns (maps) a very fast coarse model with its related expensive-to-compute fine model so as to avoid direct expensive optimization of the fine model. The alignment process iteratively refines a "mapped" coarse model (surrogate model).
Types of scientific modelling[edit]
Analogical modelling
Assembly modelling
Catastrophe modelling
Choice Modelling
Climate model
Continuous modelling
Data modelling
Discrete modeling
Document modelling
Economic model
Ecosystem model
Empirical modelling
Enterprise modelling
Futures studies
Geologic modelling
Goal Modelling
Homology modelling
Hydrogeology
Hydrography
Hydrologic modelling
Idealized modelling
Informative Modelling
Macroscale modelling
Mathematical modelling
Metabolic network modelling
Microscale modelling
Modeling biological systems
Modelling in Epidemiology
Molecular modelling
Multiscale modelling
NLP modelling
Phenomenological modelling
Predictive intake modelling
Predictive modelling
Scale modeling
Simulation
Software modelling
Solid modelling
Space mapping
Statistics
Stochastic modelling (insurance)
Surrogate model
System architecture
System dynamics
Systems modelling
Water quality modelling
Applications[edit]
Modelling and simulation[edit]
One application of scientific modelling is the field of modelling and simulation, generally referred to as "M&S". M&S has a spectrum of applications which range from concept development and analysis, through experimentation, measurement and verification, to disposal analysis. Projects and programs may use hundreds of different simulations, simulators and model analysis tools.
Example of the integrated use of Modelling and Simulation in Defence life cycle management. The modelling and simulation in this image is represented in the center of the image with the three containers.[13]
The figure shows how Modelling and Simulation is used as a central part of an integrated program in a Defence capability development process.[13]
Model-based learning in education[edit]
Model–based learning in education, particularly in relation to learning science involves students creating models for scientific concepts in order to:[17]
Gain insight of the scientific idea(s)
Acquire deeper understanding of the subject through visualization of the model
Improve student engagement in the course
Different types of model based learning techniques include:[17]
Physical macrocosms
Representational systems
Syntactic models
Emergent models
Model–making in education is an iterative exercise with students refining, developing and evaluating their models over time. This shifts learning from the rigidity and monotony of traditional curriculum to an exercise of students' creativity and curiosity. This approach utilizes the constructive strategy of social collaboration and learning scaffold theory. Model based learning includes cognitive reasoning skills where existing models can be improved upon by construction of newer models using the old models as a basis.[18]
"Model–based learning entails determining target models and a learning pathway that provide realistic chances of understanding." [19] Model making can also incorporate blended learning strategies by using web based tools and simulators, thereby allowing students to:
Familiarize themselves with on-line or digital resources
Create different models with various virtual materials at little or no cost
Practice model making activity any time and any place
Refine existing models
"A well-designed simulation simplifies a real world system while heightening awareness of the complexity of the system. Students can participate in the simplified system and learn how the real system operates without spending days, weeks or years it would take to undergo this experience in the real world." [20]
The teacher's role in the overall teaching and learning process is primarily that of a facilitator and arranger of the learning experience. He or she would assign the students, a model making activity for a particular concept and provide relevant information or support for the activity. For virtual model making activities, the teacher can also provide information on the usage of the digital tool and render troubleshooting support in case of glitches while using the same. The teacher can also arrange the group discussion activity between the students and provide the platform necessary for students to share their observations and knowledge extracted from the model making activity.
Model–based learning evaluation could include the use of rubrics that assess the ingenuity and creativity of the student in the model construction and also the overall classroom participation of the student vis-a-vis the knowledge constructed through the activity.
It is important, however, to give due consideration to the following for successful model–based learning to occur:
Use of the right tool at the right time for a particular concept
Provision within the educational setup for model–making activity: e.g., computer room with internet facility or software installed to access simulator or digital tool
See also[edit]
Heuristic
Grey box completion and validation
Scientific visualization
Simulation
Statistical model
Systems engineering
Toy model
References[edit]
Jump up ^ Cartwright, Nancy. 1983. How the Laws of Physics Lie. Oxford University Press
Jump up ^ Hacking, Ian. 1983. Representing and Intervening. Introductory Topics in the Philosophy of Natural Science. Cambridge University Press
Jump up ^ Frigg and Hartmann (2009) state: "Philosophers are acknowledging the importance of models with increasing attention and are probing the assorted roles that models play in scientific practice". Source: Frigg, Roman and Hartmann, Stephan, "Models in Science", The Stanford Encyclopedia of Philosophy (Summer 2009 Edition), Edward N. Zalta (ed.), (source)
Jump up ^ Box, George E.P. & Draper, N.R. (1987). [Empirical Model-Building and Response Surfaces.] Wiley. p. 424
Jump up ^ Hagedorn, R. et al. (2005) http://www.ecmwf.int/staff/paco_doblas/abstr/tellus05_1.pdf Tellus 57A:219–33
Jump up ^ Leo Apostel (1961). "Formal study of models". In: The Concept and the Role of the Model in Mathematics and Natural and Social. Edited by Hans Freudenthal. Springer. pp. 8–9 (Source)],
Jump up ^ Ritchey, T. (2012) Outline for a Morphology of Modelling Methods: Contribution to a General Theory of Modelling
Jump up ^ C. West Churchman, The Systems Approach, New York: Dell publishing, 1968, p. 61
Jump up ^ Griffiths, E. C. (2010) What is a model?
Jump up ^ Tolk, A. (2015). Learning something right from models that are wrong – Epistemology of Simulation. In Yilmaz, L. (Ed.) Concepts and Methodologies in Modeling and Simulation. Springer–Verlag. pp. 87–106
Jump up ^ Oberkampf, W. L., DeLand, S. M., Rutherford, B. M., Diegert, K. V., & Alvin, K. F. (2002). Error and uncertainty in modeling and simulation. Reliability Engineering & System Safety 75(3): 333–57.
Jump up ^ Ihrig, M. (2012). A New Research Architecture For The Simulation Era. In European Council on Modelling and Simulation. pp. 715–20).
^ Jump up to: a b c Systems Engineering Fundamentals. Defense Acquisition University Press, 2003.
Jump up ^ Pullan, Wendy (2000). Structure. Cambridge: Cambridge University Press. ISBN 0-521-78258-9.
Jump up ^ Fishwick PA. (1995). Simulation Model Design and Execution: Building Digital Worlds. Upper Saddle River, NJ: Prentice Hall.
Jump up ^ Sokolowski, J.A., Banks, C.M.(2009). Principles of Modelling and Simulation. Hoboken, NJ: John Wiley and Sons.
^ Jump up to: a b Lehrer, Richard; Schauble, Leona (2006). The Cambridge Handbook of Learning Sciences. Cambridge, UK: Cambridge University Press. p. 371. ISBN 978-0-521-84554-0.
Jump up ^ Nersessian, Nancy J (2002). The Cognitive Basis of Science. Cambridge, UK: Cambridge University Press. p. 133. ISBN 0-521-01177-9.
Jump up ^ Clement, JJ; Rea-Ramirez, Mary Anne (2008). Model Based Learning and Instruction in Science (2 ed.). Springer Science & Business Media. p. 45. ISBN 978-1-4020-6493-7.
Jump up ^ Blumschein, Patrick; Hung, Woei; Jonassen, David; Strobel, Johannes (2009). Model-Based Approaches to Learning (PDF). Netherlands: Sense Publishers. ISBN 978-90-8790-711-2.
Further reading[edit]
Nowadays there are some 40 magazines about scientific modelling which offer all kinds of international forums. Since the 1960s there is a strong growing number of books and magazines about specific forms of scientific modelling. There is also a lot of discussion about scientific modelling in the philosophy-of-science literature. A selection:
Rainer Hegselmann, Ulrich Müller and Klaus Troitzsch (eds.) (1996). Modelling and Simulation in the Social Sciences from the Philosophy of Science Point of View. Theory and Decision Library. Dordrecht: Kluwer.
Paul Humphreys (2004). Extending Ourselves: Computational Science, Empiricism, and Scientific Method. Oxford: Oxford University Press.
Johannes Lenhard, Günter Küppers and Terry Shinn (Eds.) (2006) "Simulation: Pragmatic Constructions of Reality", Springer Berlin.
Tom Ritchey (2012). "Outline for a Morphology of Modelling Methods: Contribution to a General Theory of Modelling". In: Acta Morphologica Generalis, Vol 1. No 1. pp. 1–20.
Fritz Rohrlich (1990). "Computer Simulations in the Physical Sciences". In: Proceedings of the Philosophy of Science Association, Vol. 2, edited by Arthur Fine et al., 507-518. East Lansing: The Philosophy of Science Association.
Rainer Schnell (1990). "Computersimulation und Theoriebildung in den Sozialwissenschaften". In: Kölner Zeitschrift für Soziologie und Sozialpsychologie 1, 109-128.
Sergio Sismondo and Snait Gissis (eds.) (1999). Modeling and Simulation. Special Issue of Science in Context 12.
Eric Winsberg (2001). "Simulations, Models and Theories: Complex Physical Systems and their Representations". In: Philosophy of Science 68 (Proceedings): 442-454.
Eric Winsberg (2003). "Simulated Experiments: Methodology for a Virtual World". In: Philosophy of Science 70: 105–125.
Eric Winsberg (2010) Science in the Age of Computer Simulation Chicago: University of Chicago Press
Tomáš Helikar, Jim A Rogers (2009). "ChemChains: a platform for simulation and analysis of biochemical networks aimed to laboratory scientists". BioMed Central.
External links[edit]
Wikimedia Commons has media related to Scientific modeling.
Wikiquote has quotations related to: Scientific modelling
Models. Entry in the Internet Encyclopedia of Philosophy
Models in Science. Entry in the Stanford Encyclopedia of Philosophy
The World as a Process: Simulations in the Natural and Social Sciences, in: R. Hegselmann et al. (eds.), Modelling and Simulation in the Social Sciences from the Philosophy of Science Point of View, Theory and Decision Library. Dordrecht: Kluwer 1996, 77-100.
Research in simulation and modelling of various physical systems
Modelling Water Quality Information Center, U.S. Department of Agriculture
Ecotoxicology & Models
A Morphology of Modelling Methods. Acta Morphologica Generalis, Vol 1. No 1. pp. 1–20.
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