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·  To develop a passion and understanding of the world of Business and Finance

·  To provide students with the skills and knowledge required to flourish in a globally dynamic environment

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Elements of Crime: Unseen extracts

In the first part of Paper 2 in Year 13, students will have to analyse a short unseen extract for elements of crime writing. The focus will be on the significance of these different elements. These elements can include:

the type of the crime text itself, whether it is detective fiction, a post-modern novel, a revenge

tragedy, an account of a life lost to crime

the settings that are created as backdrops for criminal action and for the pursuit of the perpetrators

of crime: both places and times will be significant here

the nature of the crimes and the criminals, the criminals’ motives and actions

the inclusion of violence, murder, theft, betrayal

the detection of the criminal and the investigation that leads to his or her capture or punishment

how far there is a moral purpose and restoration of order

guilt and remorse, confession and the desire for forgiveness

the creation of the criminal and their nemesis, the typical detective hero

the sense that there will be a resolution and the criminal will be punished

the victims of crime and the inclusion of suffering

the central motifs of love, money, danger and death

punishment, justice, retribution, injustice, accusation, the legal system, criminal trials and courtroom

dramas, imprisonment, death

the structural patterning of the text as it moves through a series of crises to some sense of order

the specific focus on plotting

the way that language is used in the world that is created; there may be use of a criminal register,

legal register, police register

the way that crime writing is used to comment on society, particularly the representation of society at

particular historical periods

ultimately, how crime stories affect audiences and readers, creating suspense, repugnance,

excitement and relief.

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Once all of the pre-production planning and preparation is complete, students will film and create sound assets. They will then use Premier Pro to edit their final films for submissions. They work as a team to plan and film but all edit individual films to be graded and end the year with an exciting practical production. They will then evaluate and produce a director's commentary on the final edit which evaluates their production and produce the final Unit 4 - assignment D and the BTEC course is complete!

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This topic is about the energy needed to initiate chemical reactions.

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·  To develop a passion and understanding of the world of Business and Finance

·  To provide students with the skills and knowledge to develop financial confidence to become (and remain) financially literate and financially stable

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We start A2 Physics looking at circular motion and simple harmonic motion. Find out how rollercoasters work and how cars can go as fast as they can around bends.

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Miss Hay

Chapter 1: Algebraic Methods

1.2 Algebraic Fractions

1.3/1.4 Partial Fractions

1.5 Algebraic Division

Chapter 8: Parametric Equations

Chapter 9: Differentiation

9.1 Differentiating sinx & cosx

9.2 Differentiating exponentials & logarithms

9.3 The chain rule

9.4 The produce rule

9.5 The quotient rule

Mr Baldaro

Chapter 5: Radians

Chapter 6: Trigonometric Functions

Chapter 2: Functions & Graphs

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Isomerism and carbonyl compounds (Teacher 2) - Term 1 & 2 

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Isomerism and carbonyl compounds (Teacher 2) - Term 1 & 2 

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This is the second major organic topic you do in your Chemistry A-Level. It builds on your knowledge from year 12 but expands further, learning new compounds.

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Example of a piece created during personal investigation. 

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In students personal investigation students now start to create from all their previous work/ contextual study. This gets students ready for their final exam. During this time all criteria of AO1, AO2, AO3 and AO4 are brought together. Students have creative freedom to make pieces, studies and photo shoots under their chosen title.

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The Personal Investigation is worth 60% of the examination and consists of two integrated constituent parts:

1- A major in-depth critical, practical and theoretical investigative project/portfolio and outcome/s based on themes and subject matter that have personal significance;

2- An extended written element of 1000 words minimum, which may contain images and texts and must clearly relate to practical and theoretical work using an appropriate working vocabulary and specialist terminology.

•Both the practical/theoretical work and the written element will be assessed together using the assessment objectives. Learners will be required to select, evaluate and present their work for assessment.

•The Personal Investigation will be determined by the learner and teacher, assessed by the teacher and externally moderated.

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Your exam paper, which is worth 40% of your overall A Level 3D Design grade, will be released on the 1st of February in Year 13 and will conclude with a 15 hour exam in May (which will be spread out over three days). You will be given a brief which will tell you the topic you have been given and need to research for the remainder of the year. To do this you will need to explore a wide variety of work produced by different artists and understand the differences in their methods, approaches, purposes and intentions, for examples, ethical, cultural, aesthetic and moral. In your exam you will need to present/ create your own style of work which links back to the brief you have been given.

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Single- unit 14- Physiological disorders, investigations, treatment and care (coursework unit)

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Single- unit 14- Physiological disorders, investigations, treatment and care (coursework unit)

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In this unit you will research and learn about the causes and effects of physiological disorders. The physiological disorders are your own choices. you would also have to investigate a diagnosis of your physiological disorders, you would have to work out a treatment plan to help with the treatment of your disorders.

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This unit will give you an understanding of the aims of public health policy. You will explore how patterns of health and ill health of the population are monitored and how this leads to the development of public health policy. You will consider factors affecting health locally and nationally.
You will consider different methods of promoting and protecting public health. You will develop an appreciation of the barriers to be overcome with promoting public health and ways of making people aware of public health issues. You will gain a greater understanding of how healthcare professionals and government agencies use public health initiatives to encourage individuals to change their behaviour in relation to their health.

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Single- Unit 2- Working in health and social care (exam unit)

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Single- Unit 2- Working in health and social care (exam unit)

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In this unit you will learn about the roles and responsibilities of people who work in the health and social care sector, the roles of organizations in health and social care, and working with people with specific needs in the health and social care sector. Once all of the learning is complete you will be doing revision up until your exam.

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The first topic you will cover in year 13 is exercise physiology (topic 4). You will gain understanding on the effects of diet and nutrition on performance, including the different types of vitamins and fats. This will lead into learning how to prepare for performance including the benefits of warming up and cooling down, all to help prevent injury.

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Topic 5 is all about biomechanical movement. You will cover newtons 3 laws of linear motion as well as angular motion and projectile motion, all explaining the ways in which we move.

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Topic 6 is a big topic all about sports psychology. Here you will enrich your understanding on the effect of different personalities, anxiety levels, arousal levels, aggression levels and motivation levels on sporting performance. You will also study the stress management techniques in order to control these factors and the importance of leadership, goal setting and group dynamics.

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The final topic you will study ranges from the characteristics and functions of physical activity, to the laws in sport including ethics, violence and drug use. You will also recover the impact of commercialisation and the 'golden triangle' as studied during GCSE PE.

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The first topic you will cover in year 13 is photosynthesis and respiration. During this topic, you will gain a deeper understanding of the process of photosynthesis, including the role of different enzymes and coenzymes within the process. You will additionally develop your knowledge on the stages of respiration that include the Krebs cycle and oxidative phosphorylation.

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This topic looks further into energy, while also investigating the nitrogen cycle. You are able to gain to deeper understanding of ecosystems and the definitions that are included in this topic.

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Responses, Receptors, Neurones and Synapses

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Responses, Receptors, Neurones and Synapses

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This topic provides you with an understanding of synapses and synaptic transmission. It covers the movement of neurotransmitters, how the body responds to its environment and an in depth overview of neurones and their role within the body.

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During this topic, you will develop on your understanding of the structure of muscles and their function within the body. Homeostasis covers the chemical reactions in the body and the reactions that take place in order to keep the body functioning.

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During this topic, you will investigate genes and their inheritance within the human race. It covers the probability that you will pass on specific genes to offspring, particularly focusing on definitions such as polygenic, homozygous, heterozygous, recessive and dominant in relation to alleles.

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This topic follows on from the previous topic on ecosystems, while developing on your understanding of populations and evolution. You will learn about reproductive  isolation which leads on from geographical isolation and, as a result, introduces new species.

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Stem Cells, Mutations, Gene Regulation and Cancer

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Stem Cells, Mutations, Gene Regulation and Cancer

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The focus changes in this topic to genetic mutations and cancer, where you will cover specific types of mutations, like deletion and substitution, as well as the consequences of them in the sequence of genes. Stem cells are also a main focus for this topic, which can differentiate into specialised cells in the body. You will also investigate the ethics of stem cells and look into the debate of using embryonic stem cells over one’s taken from bone marrow.

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Rate Equations and KP (Teacher 1 ) -Term 1 & 2

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Rate Equations and KP (Teacher 1 ) -Term 1 & 2

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It includes order of reaction of reactants, overall order of reaction and forming rate equations. Also includes a practical regarding rate of reactions.

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It includes bonding and structure of benzene the electrophilic substitution mechanism and how the electrophile is prepared.

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Acids, bases and buffers (Teacher 1)- Term 2 & 3

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Acids, bases and buffers (Teacher 1)- Term 2 & 3

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It includes Bronsted-Lowry definitions of acids and bases, pH calculations,  how Kw is derived and how to calculate pH of water and strong bases.

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It includes definitions, naming, preparation of amines, base properties and aromatic amines.

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Electrode potentials and cells (Teacher 1) - Term 3

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Electrode potentials and cells (Teacher 1) - Term 3

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It includes apparatus needed to measure electrode potentials, standard hydrogen electrode, calculating EMF and standard conditions.

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It includes the theory behind it, the use of TMS and deuterated solvents and how to interpret carbon-13 spectra.

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Properties, uses and reactions of transition metals.

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Properties, uses and reactions of period 3 elements.

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Half Term 1: Introduction to business, Business objectives and strategy, Change 

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Half Term 1: Introduction to business, Business objectives and strategy, Change 

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The first topic of year 13 business is introduction to business which recaps from year 12 and goes into greater detail on topics like franchises and franchisees, as well as learning about business size, and how these differ internationally. Business objectives is also revisited in half term one, and covers subsections like corporate social responsibility, mission statements and contingency planning; students will then apply their knowledge to real business scenarios. The final half term topic change includes learning the difference between internal and external causes of change, change management, and how these can affect business activity.

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Half Term 2: Business objectives and strategy, Accounting and finance, financial accounting 

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Half Term 2: Business objectives and strategy, Accounting and finance, financial accounting 

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In half term 2 students will continue the large topic of business objectives and strategies by learning about models of strategic choice, opportunity cost, forecasting and decision trees. Accounting and finance includes reviewing year 12 content and students developing their learning by learning accounting concepts, contribution, and revisiting break even analysis and cash flow forecasting. Financial accounting links in with finance and includes looking at statements of financial position from which students will do independent study to research documents from real businesses.

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Half Term 3: The marketing strategy, Customer needs 

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Half Term 3: The marketing strategy, Customer needs 

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The marketing strategy involves developing knowledge on the marketing mix, and learning about each 'P' in depth and evaluating the importance of product, price, place and promotion on each independent business. The next topic of customer needs involves explaining what is meant by normal distribution, standard deviation and then learning about ways businesses can anticipate customer needs through the use of models and market research.

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Half Term 4: HRM, Operations management, Productive efficiency 

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Half Term 4: HRM, Operations management, Productive efficiency 

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Human resource management includes students learning about organisation within a business and how this can affect the communication between employees and the workforce motivation; from this, students will study appraisal, workforce performance and employer/employee relations. The next topic is operations management which involves studying external influences (such as ethical and environmental factors), methods of production, internal and external quality standards, and stock control. Productive efficiency refers to the consideration of the relationship between inputs and outputs; this includes calculating workforce performance, added value, capacity utilisation, as well as studying lean production.

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The final topic of year 13 A level business is external influences, which relates to any force outside the business influencing business activity; this includes students learning about market forces, the global context of business, international trade and free trade, economic factors, as well as the European Union. After finishing the A level content, teachers will then work with students to improve exam technique in preparation for their summer A level examinations.

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This covers multiple topics, from biopsychology, relationships, schizophrenia and forensic psychology. There is also plenty of retrieval practice from Year 12 topics.

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Focuses on the nervous and endocrine system, localisation of function in the brain, plasticity and functional recovery after trauma to the brain and split brain research. This topic is based around a more biological aspect but the core understanding of the biology for this, has been built in year 12 lessons and is recapped before looking specifically at the brain so you are not dropped in at the deep end.

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Everything from year 12 is recapped constantly as this is a double weighted section. This includes some correlation work, reliability, validity, statistical testing, probability and significance, parametric testing, tests of correlation and association. Some of these will have been touched upon in AS Core Maths and some in Biology.

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Everything on this topic features in Paper 3 but can be applied throughout the other topics when evaluating to gain more AO3 marks. This is taught at the end of Year 12 but will be constantly referred to throughout the course, using examples from all the other sections we have studied. It covers; gender and culture bias, free will and determinism, the nature-nurture debate, holism and reductionism, idiographic and nomothetic approaches and ethical implications on research studies.

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This covers various factors affecting our attraction to other people. Then focusing on 4 theories of romantic relationships and then online relationships in social media and lastly, parasocial relationships.

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This topic explores schizophrenia and how it's classified and diagnosed also looking at biological and psychological explanations for it. In addition to this, we also cover biological therapies for schizophrenia (drug therapy) and psychological treatments (CBTp).

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This focuses on; offender profiling, biological and psychological explanations of offending behaviour and dealing with offending behaviour (custodial sentencing, behaviour modification and anger management).

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(Breadth Study: PART 2)- Tsarist and Communist Russia 1855-1964 

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(Breadth Study: PART 2)- Tsarist and Communist Russia 1855-1964 

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In your second year of A-Level study, students will continue to learn for the examined units that they started in year 12.

For your breadth study, students will examine how the Communists consolidated their power and control in Russia, examining leaders such as Lenin and Stalin, and investigating things such as the Red Terror and the Stalin’s Purges.  Additionally, they will also examine how the USSR changed after Stalin’s death. Finally ending their studies of the Russia course in 1964 with Khrushchev’s fall from power.

Part 2 of the A-Level Breath Study is broken down to as follows;

The Soviet Union, 1917–1964

1. The emergence of Communist dictatorship, 1917–1941

2. The Stalinist dictatorship and reaction, 1941–1964

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(Depth Study: PART 2)- The Making of Modern Britain 1951-2007.

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(Depth Study: PART 2)- The Making of Modern Britain 1951-2007.

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In the students final year of the depth study in the Britain side of the course, they will examine how Britain develops between 1979 and 2007.

During these years they will examine the impact of Thatcherism and deregulation, which includes understanding the impact of things like the miners’ strike and the Falklands. They will also learn about the fall of Thatcher, the Government of Major, the rise of social liberalism as well as learning about the changes in Britain’s relationship with Europe and the realignment of the Labour Party. Finally, students will end the course by examining the rise of New Labour, investigating the roles of Blair and Brown, as well as trying to understand Britain’s ‘special relationship’ with the USA, Britain’s military interventions overseas and the ‘war on terror’.

Part 2 of the A-Level Depth Study is broken down to as follows;

Modern Britain, 1979–2007

1. The impact of Thatcherism, 1979–1987
2. Towards a new Consensus, 1987–1997
3. The Era of New Labour, 1997–2007

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Students begin at the end of year 12 and finish at the start of year 13 an Independent essay that is focused on the historical period of the Tudors.

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Planning the product to be made in the external exam, this is completely separate from the product made in the major project. It has a smaller planning time and is made with the two day making time in mind, and is often simpler than the major project product.

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Unit 3-Sustainability of an Individual’s Finance and Unit 4-Sustainability of the FinancialServices System

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Unit 3-Sustainability of an Individual’s Finance and Unit 4-Sustainability of the FinancialServices System

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In year 13, students will study for the Diploma in Financial Studies. This consolidates the curriculum aims of the certificate. In terms of syllabus content of the Certificate in Financial Studies to include areas such as sustainability in the wider financial services system, and the long-term effect of debt.

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You will continue working on your personal investigation you began in February of Year 12, until the deadline which is usually at the end of January. You will need to decide on a creative way to exhibit/ present your work by the end of your investigation which links to all the work you have completed over the 12 month period.

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Your exam paper, which is worth 40% of your overall A Level Photography grade, will be released on the 1st of February in Year 13 and will conclude with a 15 hour exam in May (which will be spread out over three days). You will be given a brief which will tell you the topic you have been given and need to research for the remainder of the year. To do this you will need to explore a wide variety of work produced by different artists and understand the differences in their methods, approaches, purposes and intentions, for examples, ethical, cultural, aesthetic and moral. In your exam you will need to present/ create your own style of work which links back to the brief you have been given.

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This covers multiple topics including the continuation of Water Cycle and Water Insecurity and Superpowers, to the Carbon Cycle and Energy Security and Health, Human Rights And Intervention. You will also complete a piece of independent research on a physical or human topic area of your choice and complete a 2 day field trip to gain data for this project.

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Water plays a key role in supporting life on earth. The water cycle operates at a variety of spatial scales and also at short- and long-term timescales, from global to local. Physical processes control the circulation of water between the stores on land, in the oceans, in the cryosphere, and the atmosphere. Changes to the most important stores of water are a result of both physical and human processes. Water insecurity is becoming a global issue with serious consequences and there is a range of different approaches to managing water supply.

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Superpowers can be developed by a number of characteristics. The pattern of dominance has changed over time. Superpowers and emerging superpowers have a very significant impact on the global economy, global politics and the environment. The spheres of influence between these powers are frequently contested, resulting in geopolitical implications.

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A balanced carbon cycle is important in maintaining planetary health. You will learn about the physical processes that control the movement of carbon, that changes to the most important stores of carbon and carbon fluxes are a result of physical and human processes and that reliance on fossil fuels has caused significant changes to carbon stores and contributed to climate change resulting from anthropogenic carbon emissions. You will learn how the role of feedbacks in and between the two cycles, provide a context for developing an understanding of climate change and how Anthropogenic climate change poses a serious threat to the health of the planet

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You will learn that Traditional definitions of development are being challenged by broader definitions based on environmental, social and political quality of life. That there are variations in the norms and laws of both national and global institutions that impact on decisions made on a local to global scale. These decisions lead to a wide range of geopolitical interventions via international and national policies, from development aid through to military campaigns. You will learn the impacts of geopolitical interventions on both human health and wellbeing and that human rights is variable and contested which can lead to increasing inequalities and injustice.

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The NEA is an independent research project that you complete throughout your Year 13 course and is based on a human of physical topic of your choice.
It consists of 5 sections-
Introduction - set out your hypothesis/ question, explaining some of the theory behind your chosen subject and the general location of your study
Methodology - Describe each of your primary data collection methods and discuss any potential problems or strengths with your chosen data collection methods.
presentation and Analysis - Once you’ve established how to present your data (graph, table, list) you must describe the pattern shown by each graph or presentation method.
Critical Evaluation - You must evaluate the usefulness  and truthfulness  of your data and provide a balanced view on your investigation
Conclusion - Discuss the wider findings of your investigation and refer back to your original question.

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In year 13 students must create a final thorough research project into an artist or subject matter which has inspired their work throughout the a level. A question is generated which students must answer in their research for example, ‘how does Francis Bacon portray the theme of identity in his work?’. The essay should be around 3,000 words and include an introduction, biography, analysis of work/subject matter and a conclusion of what you found. Students then present this in a creative way that links with the rest of their previous work.

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Example of a piece created in a final exam.

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At the end of year 13 students have a final exam to create their final outcome within 15 hours. This brings together everything researched during personal investigations. It finishes off the a level giving students a chance to create something ambitious that links with all their previous work.

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Miss Hay

Chapter 9: Differentiation

Continued from last half term

Chapter 11 Integration

Mr Baldaro

Chapter 2: Functions & Graphs Ctd

Chapter 7: Trig & Modelling

Chapter 12: Vectors

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Year 13 mock exams will take place at the start of this half term.

Miss Hay

Mock Exams

Chapter 3 Sequences & Series

Chapter 10: Numerical Methods

10.1 Locating Roots

10.2 Iteration

10.3 Newton-Raphson Method

10.4 Applications to Modelling

Mrs McCulloch

Mock Exams

Start Mechanics:

Chapter 4: Moments

Chapter 5: Forces & Friction

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Miss Hay

Proof

Start Statistics

Chapter 1: Regression, Correlation & Hypothesis Testing

Chapter 2: Conditional Probability

Chapter 3: Normal Distribution

Mr Baldaro

Chapter 6: Projectiles Ctd

Chapter 7: Applications of Forces

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Miss Hay

Chapter 3: Normal Distribution Ctd

Revision

Mrs McCulloch

Chapter 8: Further Kinematics

Revision

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The provisional exam timetable for summer 2024 can be found at this link.

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Past papers can be found at the following site (scroll down for AS papers):
https://www.mathsgenie.co.uk/alevelpapers.html

Practice Papers can be found at the following site:
https://crashmaths.com/a-level-practice-papers-edexcel/

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Gravitational and Electric fields (half-term 1)

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Gravitational and Electric fields (half-term 1)

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Learn about the big and small in respect to gravitational and electric fields. How to calculate them and how they are affected by outside factors.

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Magnetic fields and EM induction (half term 2)

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Magnetic fields and EM induction (half term 2)

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Build on GCSE magnetic fields, learning about flux density, EM induction, how transformers work and various other applications of magnetic fields.

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Use your knowledge of electricity to learn how we store energy to either be released very quickly, or very slowly.

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This is your chemistry/physics crossover topic, looking into thermodynamics, how pressure, volumes and temperatures are related and all the applications that go with this.

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Go more in depth into particle physics from year 12, looking into what holds atoms together, fission and fusion and the famous equation E=mc^2

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Option module A: Astrophysics (half term 4)

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Option module A: Astrophysics (half term 4)

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Option module A is Astrophysics, which is the preferred optional module offered at SVA . Build on what you learnt at GCSE and delve deeper into stars, learn how telescopes work, the structure of the Universe, discovering exoplanets and more.

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20th century novel study: elements of crime

Brighton Rock is the story of the leader of a backstreet razor gang in 1930s Brighton. The novel deals with murder, fear, pursuit and retribution. Students will explore the book through the lens of crime writing. The novel focuses on transgressions against established order and the specific breaking of national, social, religious and moral laws. The focus in this component is on ‘Elements of Crime’ and students will consider the significance of elements that exist in the text. Students will explore the setting as a backdrop for criminal action and analyse the importance of language, structure, characterisation, imagery, symbolism and narrative voice. They will also analyse the nature of crime and criminal motivation and how the characters are developed. Students will research and explore a range of ideas in relation to 1930s Britain including: British values; religious beliefs; attitudes to sex; expectations of men; Heaven and Hel; violence and danger and class representation.

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21st century novel study: elements of crime

Students will study a 21st century post-modern crime text. They will explore how Atkinson both embraces and subverts the genre. Students will consider the presentation of three different detective types: the Private Eye, The Police Detective and the Amateur Detective. They will explore concepts of justice; how victims and victimhood are portrayed; detection procedural elements and the representation of the criminal.

The set text will be explore within the social and historical context of its creation and explore how values of right and wrong are seen by elements of contemporary society. They will draw on their knowledge of how world faiths (particularly Catholicism) interpret ideas of guilt and how these influence literature.

Students will be prepared for answering questions specifically relating to the set text and using the set text as evidence of elements of crime.

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Pre 20th Century Crime Poetry.
Crabbe, Browning, Wilde

In this unit students study literary heritage texts that feature elements of crime. They explore how the themes in these texts link and how they relate to those studied in the set novels.
Students begin by exploring the narrative poem 'Peter Grimes' and consider how Grimes' villainy is presented, the reaction of society to his crimes and Crabbes moral message as Grimes is punished by the supernatural world. They then explore three Browning poems, 'My Last Duchess', 'Porphyria's Lover', and 'The Laboratory.' Here the representation of the psychology of the criminal is explored and students consider the way Browning's poetic style is used to create dark and sinister dramatic monologues. Finally, students explore Wilde's 'Ballad of Reading Gaol' here they consider who or what is the real criminal; the true victim and how Wilde's use of poetic devices conveys the futility and monotony of the Victorian penal system. Students then consider how the individual poems, the collection as a whole and the range of set texts illuminates elements of crime writing using this to explore a range of examination questions.

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https://www.mathsgenie.co.uk/newalevel.html (scroll down to A2 topics)

https://naikermaths.com/year-2-a-level-pure/

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Core Maths is a level 3 qualification which is equivalent to half an A Level. Sixth Form students can choose to study Core Maths as one of their enrichment options. They will have one lesson a week of maths throughout year 12 and 13. At the end of the course they will sit two 90 minute exams. Students are allowed to use calculators in both exams.

Some universities have shown their recognition of Core Maths by giving reduced offers for admissions to some of their degree courses. Some universities also accept Core Maths in lieu of a student not achieving a required grade in GCSE maths. Click here for further details.

Core Maths develops the quantitative and problem-solving skills so highly valued by employers. Click here for further details on why Core Maths matters to employers.

Studying Core Maths helps students to develop both their ability and confidence with the mathematical content of other level 3 courses that they may be taking. Subjects which a significant statistical content are geography, sciences, social sciences and business studies.

The specification for Core Maths can be found here. At SVA students study option 2A: Statistical Techniques.

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The majority of the paper 1 content is covered in the following video tutorials: Data analysis & Tax & National Insurance

The main topics on paper 2 are Normal Distribution & Confidence Intervals. Video tutorials on these topics can be found here.

Past papers can be found here. Please note that at SVA students sit paper 1 and paper 2A.

In the following posts you can find a detailed break down of the topics covered in the course.

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1. Numerical Calculations

substituting numerical values into formulae, spreadsheets and financial expressions

using conventional notation for priority of operations, including brackets, powers, roots and reciprocals

applying and interpreting limits of accuracy, specifying simple error intervals due to truncation or rounding

finding approximate solutions to problems in financial contexts

2. Percentages

interpreting percentages and percentage changes as a fraction or a decimal and interpreting these multiplicatively

expressing one quantity as a percentage of another

comparing two quantities using percentages

working with percentages over 100%

solving problems involving percentage change

including percentage increase/decrease and original value problems

including simple and compound interest

3. Interest Rates

simple and compound interest

Annual Equivalent Rate (AER)

savings and investments

4. Repayments & the Cost of Credit

Student loans and mortgages

Annual Percentage Rate (APR)

5. Graphical Representation

plotting points to create graphs and interpreting results from graphs in financial contexts

6. Taxation

income tax, National Insurance, Value Added Tax (VAT)

7. Solutions to Financial Problems

the effect of inflation

Retail Price Index (RPI) & Consumer Price Index (CPI)

setting up, solving and interpreting the solutions to financial problems, including those that involve compound interest using iterative methods

currency exchange rates including commission

budgeting

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1. The Modelling Cycle

Representing a situation mathematically, making assumptions and simplifications

Students will engage in the tackling of 'open' mathematical problem-solving where there may not be a clear single approach or 'correct' answer

Selecting and using appropriate mathematical

Interpreting results in the context of a given problem techniques for problems and situations

Evaluating methods and solutions including how they may have been affected by assumptions made

2. Fermi Estimation

Making fast, rough estimates of quantities which are either difficult or impossible to measure directly

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1. Properties of the Normal Distribution

knowledge that this is a symmetrical distribution and that the area underneath the normal ‘bell’ shaped curve represents probability

Knowledge that approximately 23 of observations lie within 1 standard deviation of the mean and that approximately 95% of observations lie within 2 standard deviations of the mean

2. Notation

use of the notation N(μ,σ2) to describe a normal distribution in terms of mean and standard deviation

use of the notation N(0, 1) for the standardised normal distribution with mean = 0 and standard deviation = 1

3. Calculating Probabilities

Using a calculator or tables to find probabilities for normally distributed data with known mean and standard deviation

The finding of an unknown mean or standard deviation by making use of percentage points will not be required

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1. Population & Sample

understanding what is meant by the term ‘population’ in statistical terms

developing ideas of sampling to include the concept of a simple random sample from a population

2. The Mean of Sample Size n

knowing that the mean of a sample is called a ‘point estimate’ for the mean of the population

appreciating that accuracy is likely to be improved by increasing the sample size

3. Confidence Intervals

Confidence intervals for the mean of a normally distributed population of known variance using (σ^2)/n

Confidence intervals will always be symmetrical

The confidence level required and the sample size will always be stated

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Unit 8 - Responding to a Commission - External Unit EXAM

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Unit 8 - Responding to a Commission - External Unit EXAM

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From September we begin our work towards the Unit 8 exam - Responding to a Commission; this entails responding to a brief set by Pearson in December. In preparation, we introduce the unit and do a walk through a mock together to understand the requirements of the exam. There's a rationale, pitch, proposal and treatment to produce and students have to plan a promotional video based on the brief. This unit does incorporate a lot learnt form Year 12 and informs the rest of the work needed for Unit 4 and 10 also.

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After your January exam, you will begin pre-production for your actual short horror film. This includes a risk assessment,  casting, scripting, location scouting, storyboarding etc.

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Unit 2 - Cyber Security and Incident Management

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Unit 2 - Cyber Security and Incident Management

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In this unit, you will examine the many types of cyber security attacks, the vulnerabilities in networked systems and the techniques that can be used to defend an organisation’s networked systems. You will examine scenarios and explain appropriate protection measures for networked systems. You will also look at the forensic methods used to investigate cyber security incidents and analyse the suitability of those methods for a given scenario. etc. This unit will help prepare you for IT courses in higher education. The unit is externally assessed by a 2 hours exam worth about 30% of the overall qualification.

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Unit 4 – Relational Database Development

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Unit 4 – Relational Database Development

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In this unit, you will examine the structure of data and how an efficient data design follows through into an effective, useful database. You will investigate database management systems (DBMS) and apply practical skills in designing and developing a database within a given DBMS. This unit will provide you with the knowledge, and skills needed for progression on to higher education programmes in Information Technology. The unit is internally assessed by controlled assessment tasks and is worth about 20% of the overall qualification.

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Brainstorm, brief/starting point (personal to student)

Image board x 3 and analysis

First hand drawings, using a wide range of media x 6 pages

Artist/designer research x 6

Visits or interview x 2

Development of research and extensive sampling (using a wide range of skills)

Extended essay 3000 words compare and contracts designers work

Statement of intent

Collections x 3

Development of chosen design

Sampling for final outcome

Prototype

Realise outcome

Evaluation of outcome and project

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Last Updated on January 5, 2022

Halima Akhtar is an exceptional student who gained an A* for both Edexcel A Level Fine Art (100% at AS and A2) and A Level Textiles (100% for AS and A2 Coursework projects and 98% for both examinations). This article features her AS and A2 Textiles projects, completed while studying at Woldingham School, Caterham, Surrey, United Kingdom. Halima gained an A Level Art Scholarship and went on to gain a Distinction for her Art Foundation year. Halima's sketchbooks contain rich, mixed media pieces, sculptural exploration, fabric investigations, manipulation of materials and experiments with stitching, surface and pattern. A journey that begins with first-hand observation and ends with complex, three-dimensional pieces, Halima's AS and A2 Textiles projects are superb exemplars for others: some of the best A Level Textile sketchbooks that I have seen.

Two of Halima's sketchbook pages are included in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

We were lucky enough to interview Halima about her projects. Her responses about first-hand observation and how she approached her themes are particularly valuable.
It is important for high school Art projects to work from first-hand observation and respond to the world around them. It is sometimes unclear how this applies to a Textiles project. Please explain how you were influenced and inspired by first-hand observation.
Halima: Coming from an Art background at GCSE when I approached my first AS Textiles project 'Growth and Decay' I felt it was important to use the skills I had learnt, which included drawing and painting from first-hand resources to record visual information. This way of working has fed itself through my textiles and art to this day. Through my A Level Textiles course I was able to embrace the notion that textiles has much more to offer than making clothes; it is about working with materials and surfaces sculpturally to discover endless possibilities to explore.
As artists we should embrace the sensuous experience, especially within the context of research in textiles. It is not only about how things look but also the way the feel, smell, sit or can be handled. Each of these qualities can provide such rich information about texture, shape, form, colour and structure to inspire work. With the title 'Growth and Decay', the main thing that struck me was the concept that fungi grows as a process of decay and degeneration. I went looking around forests and outdoor areas to find examples of fungi in the natural setting. The tremendous scale, smell and slime that I often saw growing around these forms - observations I could not have made through photographs - inspired my work greatly as I experimented with material qualities. Within my 'Armour' project (see further below), I also drew a connection with natural forms and insects, where some of the repetitive and layered protective shapes were similar in these two entirely separate structures. I feel one of the main reasons that I was able to explore so much in my A Level Art and Textile projects was that not only did I actively take a part in searching for this first-hand experience, but I enjoyed it as part of the natural process of making. The records that I made in drawings and notes also became important references for later. The idea of working from first-hand resources doesn't need to be limited to subjects to draw from. Within my work, observing and taking note of processes and the way in which things happen every day helped to widen my perspective. I believe there is a beauty in taking something ordinary and often unnoticed and being able to comment on it, transforming it to make it important and notable. As I moved on to the second year of the A Level Textiles course, my observations of first-hand resources underpinned my practical work and the exhaustive reflection necessary within my Coursework contextual essay. I was primarily interested in the sequential process of metamorphosis in butterflies and in order to understand this I purchased a small butterfly hatching kit. The insects came in a pot and I observed closely their cocooning, hatching and release. The inspiration I gained from this experience was invaluable. It was breathtaking to see such intricacy and awe in something that happens every single day. The cocooning concept provided the basis for my project, as I was fascinated by this idea of a container with connotations of entrapment and protection. I reflected on how I, too, containing these animals in an artificial setting, had meddled with the boundary between appreciation and being harmful. This brought about the idea of 'collecting' within my research and pushed me to develop more conceptual and meaningful ideas in my work. The commonalities and contradictions in placing these two issues alongside each other was interesting and I was able to use the imagery of the metamorphosis and insect infestation to convey the concepts of compulsive hoarding in a creative way, initially unexpected to even myself. Your work uses a beautiful array of mixed media. Please talk to us about the materials and mediums you used and why you selected these.
Halima: The observations I made in my drawings led organically to textile samples, For example, using wadding to make trappings conveys the quality of translucency and the idea of entrapment that I observed in the compacted wings of the butterfly folded within the cocoon.
On reflection, much of my work and drawings strive from a place within me where I am trying to understand or describe, through marks, a certain texture or form. This is obvious in my AS Textiles Coursework project, 'Growth and Decay', where my sketchbook is filled with material tests and drawings in different media, such as paint, ink, pastel, stitching, string and fineliner. When working from the inspiration of fungi, the qualities within the form influenced the mediums and marks I chose. In my experiments - and then my final piece - I used different colours of felt melted together within a sandwich of cling film and then free machine stitched over to create a simple line drawing. I wanted to evoke a tactile moss-like quality that was alluring, despite being inspired by the slimy, almost repulsive texture of the fungi. For me, there is something compelling about taking textile methods and processes and subverting their functional purpose or worth in more fine art pieces, such as installations or 3D mixed media drawings. Within a fine art setting there can be an unspoken rule of distance between a viewer and the work: with my textile pieces I am really trying to challenge and evoke this desire to connect through touch. My material sampling developed from basic introductions to processes to those that I discovered on my own. Experimenting with processes and combining different materials through simple actions often provided me with more insightful concepts to push further. I am fascinated by the idea that in each cut, stitch, tear or mark the viewer sees the maker manifested physically. It is incredible how the mind leads the hands and body to create something entirely new. Looking at the work of others with this perspective, an understanding of textiles is universal, as we all are capable of using our hands and challenging the ways we do this. This is why I am drawn to mixed media, as it requires so much workmanship and this attention is visible at the immediate surface. In my work I always try to convey something fluid; a regeneration or degeneration of materials. I feel there is honesty in materials that are in a state of disrepair or ruin. They reflect a journey and the idea of a coming apart. With my Decay final piece, there is an organic growth and undulation of the 3D textile elements emerging from the drawing and painted marks. The elements of stitched and torn paper that give texture to the drawing help to create an illusion of different 2D and 3D levels. The textile components of the piece are made up of three main techniques. As I researched the concept of degeneration, I began to think about status. This led me to consider Tudor garments and how they convey excess, worth and importance. Interestingly, I discovered a Tudor slashing process, in which clothes are layered and the top material is cut to reveal even more layers of luxury. This emergence interested me and I was drawn to the idea of combining levels of different material qualities. I also incorporated different sized Suffolk puffs which were very quick and easy to make and produce multiples for the scale I desired. The main part of the textile extension of this drawing was made up of many cup-shaped pieces. I found a netted mesh-like material which held the form of a shape when wet and moulded around it. I was able to fold the fabric around the cup and secure with a rubber band, creating pleats that were inspired by the frilled 'gill' on the underneath of the mushrooms. As I researched armour I saw traditional metal suits and shields, but also discovered ancient Middle Eastern armoury and weapons. The irony is that weapons and objects that featured within ancient battlefields - places of such irreprehensible damage - were so beautiful and skilfully crafted. I was inspired by the beauty and strength and wanted to explore these ideas of mixing hard and soft. I began creating panels out of free machine-stitched patterns on muslin and then wired them to give shape around the arm. I also experimented using patterns in a more subtle way, polyprinting onto brown leather. I created the print by softly drawing into a piece of polystyrene and then printing the negative image. The leather was a compelling material to me, as not only was it strong and felt authentic as an ethnic armoury, but it also suggested the idea of a skin. When I looked at the exoskeleton of the beetles and scorpions I was fascinated by having an armoury as a second skin. For my A2 Textiles Coursework, I looked at cocoons and the idea of collecting and hoarding. My ideas and sampling led me to consider making an installation piece. I wanted to create containers to represent the cocoon shells that were to become vessels for collected objects that were important and therefore safeguarded and protected. With this in mind, the techniques that I used to make pods were very careful and time consuming. With a Japanese pattern cutting book Pattern Magic by Tomoko Nakamichi (Amazon affiliate link) my peers and I experimented with the shape called the 'Jabara'. I had never done any pattern cutting before, however I wanted to challenge myself and found, with time, I picked it up. I found these forms to be elegant and delicate when made in translucent and soft organdies and silks. These luxurious materials and the care the vessels took to create symbolised the attention a collector takes in preserving items of worth. With these pods I wanted to evoke a sense of accumulation, as occurs with the process of obsessive hoarding, where items with value are lost beneath the rubble of everyday rubbish. I decided to tie the delicate, finely constructed pods with more expressive and messy containers crafted from the collected materials themselves. With the collections becoming the materials, the cocoons are left hollow, just as the collector is left feeling empty emotionally after becoming consumed by these meaningless scraps. To create these more exciting and tactile pieces, I began dying materials using batik to create negative resist images of fragmented wing patterns. I also stitched these butterfly patterns onto a vanishing plastic material, so that when completed the fabric dissolved with water, leaving the fragile skeletal stitched drawing. Which artists / designers did you study as part of your project? How have these influenced and shaped your work?
Halima: As part of the process of generating textiles, I continually collect visual information, especially inspiration from other artists or designers. I think it is also important not to limit the sources in which inspiration or ideas can come. Because I also studied Fine Art, I drew ideas from sculptors, painters or installations, as well as textile and fashion work. One of the key examples of how seeing other designer's works in person can affect or inspire work greatly was with my Growth and Decay project. I saw the Future Beauty: 30 Years of Japanese Fashion exhibition, which featured work from designers such as Issey Miyake, Koji Tatsuno and Junya Watanabe. Despite there not being any immediate connection with my work, I absorbed as many influences as I could.
Within the exhibition, the pieces featured a clean and simple elegance and aesthetic. There were very prominent sculptural qualities in the way the designers addressed the body and created shape and form. I was particularly fascinated by the curled undulating textures within a dress made from wired mesh and the honeycomb structures in skirts. These fluid forms resonated with me and I began looking at simple materials in new ways. I found very small paper cups and began cutting and twisting them around each other to respond to the shapes I had seen. As I reflected on my work, this gave direction to my final piece, where I experimented with different ways to create the cup form and, through multiples, convey a sense of growing decay. For my Armoury project I began looking at metal suits and observed how panels were built up in layers and how the composition of the suit featured strong shapes and lines. This led me to look at Robert Delaunay and Marcel Duchamp's cubist paintings. They exuded vibrant blocks of colour and colliding fragmented shapes that became an almost abstract pattern. I developed the idea of a deconstructed armoury along with the patterns from the eastern shields I had seen. The designs of Hussein Chalayan were extremely inspiring to this work. The way in which he draped the fabrics, with their extremely embellished surfaces, felt very protective and he toyed with the concept of lighter layers being tied and joined to become a chunkier form around the body. As I researched my project on Metamorphosis and Collecting I was fascinated by a Malaysian designer, who I discovered online, Ding Yong. Yong's Metamorphosis collection is visually arresting and alluring. Yong addresses the idea of cocooning, with a sinister edge. Tartan prints shroud and restrain the body, challenging the idea of form and function, as the form beneath is immobilised. Through the designs, Yong creates a feeling of sheltering and suppression within a single body. As I began to consider the idea of installation for my Textiles project, the work of Yayoi Kusama and Song Dong in his Waste Not installation were very alluring to me. Both express ideas of repetition, obsession and excess. I was fortunate to be able to see the work of both first-hand and the experience of viewing their work was significant. The pieces were entirely immersive; the scale and the way the space was addressed created a suppressive and consuming atmosphere for all. This resonating impact affected my work extensively as I took my textile samples and looked to construct an installation of my own. What advice do you have for other high school Art students who wish to gain excellent grades in a Textiles project?
Halima: For me it was always more about personal attainment and whether the work conveyed what I needed it to. I have found it is better to become so involved in the work and process that the grade comes as a secondary result. Exploring something in your work that you are genuinely interested in - or that fascinates you - allows the work to come more easily and organically. When you are pushing for ideas and it becomes a chore, this shows through in what you make.
Within A Level Textiles I would say that it is crucial to show lots of experimentation, processes and ideas, but then be able to reflect on the work and isolate the most successful elements to be pushed forward. Try not to think of the end results at the beginning of the project - allow yourself to be guided and these changes will make for a more exciting final piece. By having a concrete idea of what the work should be you can close yourself off from truly experimenting and learning. Being able to demonstrate different techniques and skills is also important. For example, it is okay to have something appear messy or raw if this is justified for your purpose and you have shown you are capable of doing it in other, possibly more refined ways. It is often exciting to show contrasts and juxtaposition of different processes in a textile work. The idea that each of us is entirely unique means that the work we produce is wholly personal and irreplaceable, as it derives from our individual experiences. A quote that I found inspiring is from graphic designer David Carson:
You have to utilize who you are in your work. Nobody else can do that: nobody else can pull from your background, from your parents, your upbringing, your whole life experience.
Reflect on work with peers: often they will have the most interesting things to say. Even if they do not understand what you had intended for the work to be about, as creative individuals they can suggest something to research further and develop within your work. Be active. Work cannot always be made glued to a chair at a desk; the most exciting things happen when you take a chance and try something. The main piece of advice I would give would be to embrace all means of creative expression and not be afraid to challenge or blur the boundaries. A Level Textiles is an extremely open subject and if you embrace the creative process, you may discover something unexpected of your work and yourself as a maker.
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A Level Textiles: Beautiful Sketchbook Pages

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Last Updated on January 5, 2022 Halima Akhtar is an exceptional student who gained an A* for both Edexcel A Level Fine Art (100% at AS and A2) and A Level Textiles (100% for AS and A2 Coursework projects and 98% for both examinations).

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Show discrimination in reviewing ideas as work develops. Establish a clear working relationship between working methods and outcomes by documenting significant steps so that final outcomes do not emerge without evidence of the creative process

Record ideas, first-hand observations, insights and judgments by any suitable means, such as sketches, illustrations, free-arm embroidered studies, test pieces and written notes that are relevant to personal intentions.

Present personal, imaginative final outcomes, together with selective evidence of thinking and production processes, that effectively realise the student’s stated intentions or a design brief and demonstrate critical understanding of visual and, where appropriate, other forms of communication

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Option module B: Medical physics (half term 4)

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Option module B: Medical physics (half term 4)

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Option module B is the alternative optional module offered at SVA, which consists of areas of medical physics you would not have learnt about at GCSE. The module cover areas from the eye and ear, to MRI and CT scanners and radiotherapy.

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Candidates sit three written papers, each of 2 hours duration in the summer examinations window at the end of year 13. Paper 1, worth 85 marks, covers year 12 content plus section 6.1 (periodic motion). Paper 2, also worth 85 marks, covers year 13 content with assumed knowledge from year 12. Paper 3 is worth 80 marks and covers practical skills and data analysis followed by questions on the option topic.

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Here you can find links to weekly maths videos & resources for next steps (university admissions tests information & UCAS support for STEM subjects).

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https://qualifications.pearson.com/en/qualifications/edexcel-a-levels/mathematics-2017.html

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Pearson Edexcel AS and A level Mathematics (2017) | Pearson qualifications

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Edexcel AS and A level Mathematics and Further Mathematics (2017) information for students and teachers, including the specification, past papers, news and support.

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In Year 13 Sociology develops the theoretical knowledge gained in Year 12 and applies it to wider, more diverse topics.  In Year 12 the foundations are learnt and applied to topics students have experience of - Family and Education.  In Year 13 this knowledge is applied to Crime and Deviance and Global Development.

Extended writing is key as is synopticity and it is important students continue to practice extended writing in timed conditions using the structure provided, showing how prior knowledge fits with their new learning.

In Year 13 we study:

Global Development - here students explore the concept of progress and improvements in nations, focusing on economic, social, and political aspects. We examine the areas of theories of development, global inequality, war and conflict, aid and trade as well as social indicators of development. This topic provides a framework for understanding the complex dynamics of global inequalities and the processes of change and improvement in the world's nations

Crime and Deviance - again we apply sociological theories to explain crime and deviance as well as explore gender, social class and ethnicity and their link to crime and deviance.  This area also focuses on globalisation and the impact this has on crime, linking in the role of the media and control and punishment. In summary, the Crime and Deviance unit in A-Level sociology provides a comprehensive overview of the social and political aspects of crime and deviance, exploring its causes, consequences, and the various ways in which society responds to it