Newsroom University of ԰��

Exploring creative health internationally – Building links between the UK and Japan

Mon, 13 Jul 2026 13:37:12 +0100

A new commitment to collaboration

The MOU was formally signed at the National Art Centre, Tokyo (NACT) on May 23^rd. It brings together three organisations with a shared ethos around the power of creativity and culture to support health and wellbeing, and with a research focus on the infrastructure, cross-sectoral partnerships and strategic support required for this work to flourish. Creative Health and Wellbeing is a key research theme for Creative ԰��, and we work closely with Greater ԰�� Combined Authority and local partners in the delivery and evaluation of creative health across Greater ԰��. At Tokyo University of the Arts (TUA), the carries out collaborative research across the fields of art, welfare, healthcare, and technology. The team at TUA already work closely with the , which strives to become a driving force in the sustained advancement of art, improve the social value of art, and work toward a future in which everyone can discover new values and potential through art.

The team in Japan have explored international approaches to creative health and social prescribing, including previous study visits to Greater ԰��, whilst developing the concept of cultural prescribing, which aims to create connections between people through culture and move towards a more inclusive society, ‘where everyone has a space to belong, a role to fulfil, and the chance to lead a full, healthy, and meaningful life on their own terms.’ Find out more about cultural prescribing here -

Given the similarities between creative health and cultural prescribing, there are many opportunities to learn from each other as we strive to demonstrate and articulate the value of fully integrating creativity and culture into our health and social care systems.

Whilst in Japan for the signing ceremony we were invited to speak at the NCAR Co-creation forum ‘’ at the National Art Centre, Tokyo, and the International Social Prescribing Conference at Kyoto University. At both events we encountered enthusiasm for this work across the creative and cultural sectors, but also from healthcare, local authorities and policymakers keen to develop innovative approaches to social issues.

Creative Health and Cultural Prescribing in Japan

During the trip we were introduced to varied examples of creative health and cultural prescribing in practice in Japan, and we began to build a picture of the infrastructure supporting this work, along with ideas for future collaboration.

Creative Ageing

A key driver of cultural prescribing in Japan is the super-ageing population. With over 30% of the population over 65, this brings challenges for health and social care systems and local authorities. Although average life expectancy is among the highest in the world, healthy life expectancy is on average ten years less, and many older people live with long term conditions. For example, one in five over 65s live with dementia.

is a joint project between Tokyo University of the Arts and Tokyo Metropolitan Art Museum based in Ueno, Tokyo, developed in collaboration with nearby healthcare and social welfare institutions. Clinicians, curators and researchers worked together to design a creative ageing programme that could promote wellbeing and social connection through the museum collections, and that was fully accessible to people living with dementia and their carers.

A further programme, Uenobi, has been newly launched based on the cross-sectoral collaboration fostered by Zuttobi to include other assets in the Ueno district, including the Zoo and local and national museums of Japan, establishing a cultural prescribing network. The team have published a handbook to support implementation and through the Art-Based Communication Platform for Co-Creation are exploring how the model could be replicated in other parts of the country.

At prefectural level, local government funded-cultural institutions are supporting residents to age well in their communities. During our visit we were introduced to the work of Kanagawa Arts Theatre, which, among of range of activities designed to promote inclusion, runs popular theatre and dance programmes specifically for older residents, including the internationally recognised . Similarly, Saitama Arts Theatre runs a Dance for Parkinsons programme, working closely with the local public health office, and has expanded its long-standing Saitama Gold Theatre programme for older adults to an experimental programme, designed to be fully inclusive of residents of all ages, abilities and backgrounds.

Fostering connection

Alongside a rapidly ageing population, loneliness and isolation is a priority area for Japanese policymakers. Whilst this can be linked to older age, particularly in rural areas where younger people are moving away to larger cities for work, it is an issue affecting people of all ages. Latest statistics gathered as part of a national strategy to address loneliness and isolation found that 40% of the population report feeling lonely.

Many of the projects we heard about were therefore focused on community-building, connection and providing a sense of meaning and purpose. Examples included initiatives such as community allotments, communal studio spaces, neighbourhood festivals and community arts groups. A more unusual example was Tokyo University of the Arts’ project, which aimed to build links between residents and the student population through the care of community goats at Toride campus, north of central Tokyo. As well as providing a focus for shared activity, the project has sparked several new creative initiatives, including a calligraphy club (using goat hair to make the calligraphy brushes) pottery club (using goat droppings to produce a glaze) and a culinary club, where residents explore recipes based on the wildflowers and crops consumed by the goats.

Museums and galleries supporting health and wellbeing

Similar to the Whitworth Art Gallery, and ԰�� Museum, museums and galleries are recognising their potential to support wellbeing and rethinking their relationships with their local communities, working to ensure their programmes and offers are inclusive and accessible to all. In Fukushima, to the north of Tokyo, the has played a vital role in supporting those affected by the 2011 Tohoku earthquake and tsunami and the subsequent nuclear incident. The museum has been central to capturing the way of life and preserving the memories of communities evacuated as a result of the nuclear incident. The relationships formed through this process have informed new ways of working with residents that link local heritage, nature and wellbeing.

Common goals and next steps

Whilst in our brief trip we were only able to scratch the surface of the wealth of creative health activity taking place, we identified some themes that were common to both Japan and the UK. In particular, creative programmes targeting older adults, creative activity to promote and support mental health and wellbeing and creative and cultural assets as central to community-building and placemaking. We could also observe similar challenges related to the development of a sustainable infrastructure for creative health, including the need to build cross-sectoral partnerships and work across different policy domains, and to articulate the evidence and value of this way of working.

Building on UoM’s existing research evaluating the integration of creative health into systems, and TUA’s focus on joined-up system design, the MOU provides an excellent opportunity for comparative policy research. We can also look across the University’s cultural institutions, and our partners in the wider Greater ԰�� creative health ecosystem to identify where we might co-create programmes and interventions with our counterparts in Tokyo and develop new approaches to design, implementation and evaluation. For example, CreaTech (the combination of creativity and technology) is an area with significant potential for collaboration as a growing element of Greater ԰��’s Creative Industries, a key theme of Creative ԰�� and a specialism of Tokyo University of the Arts.

We look forward to fostering new links between researchers in both universities to build an interdisciplinary, cross-sectoral and international creative health collaborative, evidencing the value of creativity and culture for health and wellbeing.

԰�� accent study reveals the vowel that gives away your social class

Wed, 01 Jul 2026 16:54:20 +0100

The way people in ԰�� pronounce a single vowel sound can reveal their social class, according to new research from The University of ԰��.

The study examined the pronunciation of the final vowel in words such as happy, baby, city and chilly – known by linguists as the "happy vowel".

Key findings

The pronunciation of the "happy vowel" remains one of the strongest indicators of social class in ԰��
Middle-class speakers tend to use a tenser vowel (more like “happee”) than working-class speakers (closer to “happeh”)
The feature has remained remarkably stable across generations despite major social and economic change
Researchers also identified differences linked to ethnicity among working-class speakers
Speakers showed little difference between formal and informal speech, suggesting they are largely unaware of the variation

A small sound with a big social meaning

Analysing recordings from people of different ages, genders, ethnicities and social backgrounds, the researchers found that pronunciation of this vowel remains one of the clearest markers of social class in the city's accent.

Middle-class speakers were more likely to produce a pronunciation closer to "happee", while working-class speakers tended to use the traditionally broader ԰�� pronunciation, closer to "happeh".

The researchers also found differences linked to ethnicity, with working-class South Asian Mancunians generally producing a tenser vowel than their White and Black working-class peers.

A feature that has resisted change

Despite the dramatic social, economic and cultural changes ԰�� has experienced over recent decades, the researchers found no evidence that this aspect of the city's accent is disappearing.

Instead, the pronunciation has remained strikingly stable across generations, making it an unusual example of a speech feature that has resisted change over time.

The study also found that speakers changed this feature very little between formal and informal speech, suggesting that many people are largely unaware they are using it.

What the researchers say

"Our findings show that one of the most distinctive features of the ԰�� accent has remained remarkably resilient, even in a city that has undergone enormous social transformation," said Dr Maciej Baranowski, Senior Lecturer in English Sociolinguistics at The University of ԰��.

"The way Mancunians pronounce the 'happy' vowel is influenced by factors such as social class and ethnicity, but interestingly not by age. That tells us it is a stable feature of the accent that has been passed from generation to generation, rather than one that is changing over time.

"Looking at how accents are distributed tells us a lot about society,” said co-author Dr Danielle Turton, Senior Lecturer in Sociolinguistics at Lancaster University. “Although people sometimes change aspects of their speech as they move into different social or professional environments, many retain strong connections to the way they grew up speaking.

"It's important because it shows that local working-class speech isn't simply being washed away by regeneration or social change. These local ways of speaking remain an important part of ԰��'s identity."

What accents tell us about society

The researchers argue that accents continue to reflect wider patterns of inequality and opportunity, challenging the idea that social class has become irrelevant in modern Britain.

At the same time, they suggest growing exposure to different regional accents through podcasts and social media may be helping to reduce traditional prejudices about how people sound.

The study is based on acoustic analysis of recordings from 109 ԰��-born speakers, making it one of the largest detailed investigations of this aspect of the city's accent.

Publication details

The paper was published in journal Language Variation and Change.

DOI:

‘Ragebait’ culture on social media exposed in new study

Tue, 30 Jun 2026 16:47:43 +0100

A new study has revealed how social media creators are turning anger into entertainment, and what that means for public debate.

Research by Dr Nicholas John from The University of ԰�� and Dr CJ Reynolds from the University of Copenhagen has explored the rise of ‘ragebait’ - content deliberately designed to provoke anger - and how it is reshaping the way audiences engage with morality, accountability and online behaviour.

Key insights

‘Ragebait’ is an increasingly popular strategy for generating attention online
Content creators are engineering confrontations to provoke emotional reactions
Audiences are drawn to feelings of moral superiority and catharsis
Online ‘accountability’ is often reduced to spectacle rather than real change
The trend reflects a shift in how public shaming operates in digital culture

Why this matters

From callout videos to viral confrontations in public spaces, outrage has become a powerful currency in today’s attention economy.

Dr John’s research examines the widely viewed ‘Cart Narcs’ video series, where members of the public are confronted - and often provoked - for failing to return their shopping trolleys to storage bays in supermarket car parks.

While such content appears to promote accountability, the study argues that its real appeal lies in carefully staged conflict.

“Ragebait works because it blurs the line between entertainment and morality,” says Dr John. “It invites viewers to feel they are witnessing justice being done, while actually consuming a highly controlled and repeatable form of provoked outrage.”

Entertainment disguised as accountability

The study identifies a formula behind successful ragebait content - creators construct predictable scenarios, provoke emotional reactions, and then frame themselves as morally justified.

This allows audiences to experience what researchers describe as ‘accountability entertainment’ which stages wrongdoing and its punishment, but without any meaningful consequences beyond the screen.

Rather than encouraging broader social change, the research suggests this format focuses attention on individuals instead of systems.

“Viewers are encouraged to judge and condemn, but not to engage with the wider social conditions that shape people’s behaviour,” Dr John explains. “Accountability becomes something you watch - not something you do.”

The politics of outrage

The research also highlights how ragebait repurposes elements of callout culture – something which is originally rooted in social justice activism - into monetised entertainment.
In doing so, it shifts power dynamics - instead of challenging powerful figures, creators often target ordinary individuals, amplifying their mistakes for mass audiences.

This creates what the study describes as a form of ‘atomised politics’, where collective action is replaced by individual judgement and fleeting moments of online outrage.

What needs to change

The study calls for greater awareness of how emotionally provocative content is produced and consumed, particularly as platforms continue to reward engagement-driven formats.

Understanding the mechanics behind ragebait, says Dr John, is key to recognising its broader social impact.

Publication details

The research is published in Information, Communication & Society.

DOI:

Major discovery reveals untold story behind career revival of D. H. Lawrence

Tue, 30 Jun 2026 15:22:44 +0100

A previously unpublished letter by D. H. Lawrence, discovered by researchers from The University of ԰��, reveals the crucial role played by a radical publisher in rescuing the future author of Lady Chatterley's Lover from one of the lowest points in his career.

The letter was uncovered in the archive of C. W. Daniel – a radical Tolstoyan who was also a pacifist and a vegetarian – which is held at the International Institute for Social History in Amsterdam.

Dr Ingrid Hanson, who was researching Daniel's anti-war publishing activities and his prosecution under the Defence of the Realm Act for publishing Rose Allatini's controversial 1918 novel Despised and Rejected, came across the unexpected correspondence while examining archival documents.

Recognising its significance, she shared the letter with colleague and D. H. Lawrence specialist Dr Howard Booth, who had previously highlighted Lawrence's connections with Daniel.

The discovery provides fresh insight into a crucial period in Lawrence's life, following the suppression of The Rainbow in 1915, his expulsion from Cornwall during the First World War and a period of financial hardship that left him relying on financial support from friends and his sister.

Key discoveries

The newly uncovered letter reveals:

The importance of publisher C. W. Daniel in helping relaunch Lawrence's literary career after the First World War
Previously unknown information about planned editions of Lawrence's work
Evidence of writing projects and publishing plans that have not previously been documented
New details about the professional relationship between Lawrence and Daniel – indeed it is the only known letter we have from Lawrence to Daniel
The extent of connections between prominent literary figures and Britain's anti-war and radical cultural networks

Crucial figure in Lawrence's comeback

D. H. Lawrence is today best known as the author of Lady Chatterley's Lover, Sons and Lovers and Women in Love. However, the newly discovered letter highlights the challenges he faced in the years before he became one of Britain's most influential twentieth-century writers.

After The Rainbow was prosecuted for obscenity in 1915 and withdrawn from circulation, Lawrence's literary career suffered a major setback. The discovery sees Lawrence acknowledging that Daniel played a far more important role in helping the writer rebuild his reputation and publishing career than has previously been recognised.

Dr Booth explained that Daniel published Lawrence's first prose book in nearly four years. It helped provide a route back into print and a £15 advance against royalties – a significant sum of money in those days.

What the researchers say

"The letter shows how important Daniel was to Lawrence's post-war relaunch after the suppression of The Rainbow in 1915, being ordered out of Cornwall under the Defence of the Realm Act in 1917 and wartime poverty," said Dr Howard Booth.

Dr Booth is currently completing a book on Lawrence and politics, and plans to explore the significance of the letter in further detail.

Revealing Britain's overlooked anti-war literary networks

Beyond its significance for Lawrence scholarship, the discovery also provides a new perspective on the networks of writers, publishers and activists involved in Britain's anti-war culture during and immediately after the First World War.

Daniel was a prominent pacifist and radical publisher whose activities brought him into conflict with authorities during the war. His archive offers a unique window into the literary and political communities that challenged mainstream attitudes towards war and conscientious objection.

Dr Hanson said: "It's exciting to have discovered it, and it shows the extent not only of C. W. Daniel's contacts and clients but also of the network of well-known writers contributing to Britain's radical anti-war culture, which is often depicted as marginal."

Why this matters

The discovery demonstrates the continuing value of archival research in uncovering new evidence about major literary figures.

More than ninety years after Lawrence's death, previously unknown documents are still emerging that can reshape our understanding of his life, work and professional relationships.

The letter also offers fresh evidence of how radical publishers and anti-war campaigners helped sustain literary culture during a turbulent period in British history, revealing connections that have remained hidden for more than a century.

University of ԰�� partners with the Academy’s Nicholl Fellowships in screenwriting

Tue, 30 Jun 2026 14:21:29 +0100

The University of ԰�� is proud to be among the global universities, screenwriting labs, film festivals and filmmaker programs partnering with the Academy’s Nicholl Fellowships in Screenwriting to help identify possible Nicholl Fellows in the 2026-2027 program cycle. The University of ԰�� is one of only four partner institutions in the UK.

The Nicholl Fellowships, established by the Academy of Motion Picture Arts and Sciences, seeks to identify and encourage talented new screenwriters from across the globe. Partner institutions may recommend up to two screenwriters per year to submit a feature screenplay to the Nicholl Fellowships.

At the University of ԰�� recommendations will be made by Gonzalo Maza and Jonathan Hourigan, screenwriters and lecturers in the Centre for New Writing. Gonzalo is the co-writer of Una mujer fantástica (A fantastic woman), winner of the Academy Award for Best Foreign Language Film in 2018. Maza, a member of the Academy, said:

If you would like to be considered, .

Hourigan notes that “We're confident of receiving some strong submissions from our MA Screenwriters but in this, the first year of our partnership, deadlines are tight and the criteria strict, so do read the guidelines and criteria carefully.”

Up to five US$35,000 Nicholl Fellowships are awarded annually. Fellows receive ongoing mentoring from Academy members and networking opportunities from the Academy.

Nicholl Fellows participate in pitch workshops, media training sessions, meet-and-greets and more. They also receive ongoing career advancement support through the Gold Alumni Network Program, which provides continued access, opportunity, professional development and education for alumni of the Academy’s global talent development programs.

All Nicholl Fellows' screenplays are archived in the Academy Collection and are accessible through the Academy’s Margaret Herrick Library.

The program was endowed by Gladys “Gee” Nicholl in honour of her husband, writer-producer Don Nicholl. The Nicholl Fellowships in Screenwriting program has awarded 191 fellowships since 1986.

For more information, visit the .

Reimagining opera in Greater ԰��: human–AI collaboration and the future of performance

Mon, 29 Jun 2026 12:46:26 +0100

As ENO establishes a second base in the region, this project brings together stakeholders to explore what opera could – and should – become in Greater ԰��.

Running from 2025 to 2027, Tuning into Opera is exploring four research themes:

Opera in Greater ԰��: History, perceptions and visibility
Place-making and storytelling: Reflecting local identity through opera
Inclusion and accessibility: Breaking down barriers and opening doors
Innovation and technology: Imagining the future of opera-making

The project takes a mixed-methods approach, combining surveys, interviews, workshops and creative collaborations. So far, this has included public surveys exploring perceptions of opera and career accessibility, artist and researcher roundtables and stakeholder interviews across the region’s cultural sector. Together, these activities are helping to build a nuanced understanding of opera’s current position in Greater ԰�� and its future potential. At its core, this is a project about listening: listening to audiences, to those who feel excluded from opera, and to those already reimagining what it can be.

The project’s themes came into particularly sharp focus at a recent public workshop: Future of Opera: Human–AI Improvisation, held at the International Anthony Burgess Foundation in May. The event formed part of both Tuning into Opera and the series and explored how digital technologies might reshape opera as a more participatory artform.

Opera meets AI: experimentation and participation

The workshop featured a live demonstration of scenes from an immersive sci‑fi opera developed by Dr Alexandra Huang-Kokina, Bicentenary Fellow in Music at the University of ԰�� and.

Audience members were not passive observers. Asked to become Yōkai – playful spirits influencing events – they used their smartphones to submit emoji-based emotional responses and vote on key narrative decisions. This input was aggregated through an ‘emotion engine’, which shaped the performance in real time, affecting scenography, timbre shifts and even the fate of characters within the story. For performers, this created a responsive and partially improvised environment, where they adapted not only to each other, but to audience input mediated through AI.

In conversation: AI, creativity and the future of opera

The performance was followed by a panel discussion to reflect on the broader implications of AI for opera. The conversation featured Dr Alexandra Huang-Kokina, Bob Holland, Executive Producer at English National Opera, Dr Jennifer Cearns, Lecturer in AI at The University of ԰��, and Cliona Cassidy, one of the event’s performers, a soprano, composer and experimental vocalist. It was chaired by Lauren Monaghan-Pisano, Director of Strategy and Partnerships at ENO.

Dr Alexandra Huang-Kokina framed the workshop’s performance as a cultural intervention: opera was used as a medium through which to explore and communicate the role of AI in society. She emphasised that this is particularly important given that public discourse often positions AI as inherently threatening. By embedding AI within an artistic context, she suggested, we can create a platform for more nuanced and imaginative engagement.

Another key theme was the move from linear narrative structures to interactive ‘storyworlds’, which Alexandra likened to gaming environments. The panel reflected on how this approach can reposition opera as an immersive and participatory experience, where meaning is co-produced rather than delivered. They noted that such an approach opens up new possibilities for audience engagement, while also prompting important questions about how creative control is balanced and how authorship is remunerated within more collaborative forms.

The discussion also touched on the practicalities of integrating AI into live performance. The use of mobile phones, for example, enables real-time interaction and participation, while also introducing considerations around audience focus.

The panel also reflected on the wider implications of applying technologies such as emotion recognition and data aggregation in live performance contexts. In particular, they reflected on how audience responses – such as emoji inputs – are translated into collective datasets that shape the performance, raising questions about how individual emotions are represented within aggregated data. The discussion also looked ahead to more advanced forms of audience sensing, including biometric tracking and facial recognition, highlighting the importance of consent and critical reflection when incorporating these technologies into live cultural experiences.

Questions of access and inclusion – central to Tuning into Opera – also formed an important part of the discussion. AI and digital technologies can be seen as offering new pathways into opera, particularly for younger audiences and those with limited prior exposure. At the same time, the panel recognised that not all audiences will have equal access to or feel comfortable with digital participation.

Continuing the conversation

As Tuning into Opera moves forward, these questions will remain central to the initiative’s research and engagement work. Over the coming year, Tuning into Opera will continue to develop workshops, consultations and collaborations across Greater ԰��, working with communities and partners to explore how opera can become more inclusive, responsive and relevant.

The Human–AI Improvisation workshop offered one possible vision of opera’s future. More importantly, it demonstrated the value of bringing research, creative practice and public engagement into dialogue.

If you are interested in being part of this conversation, we would love to hear from you. Get in touch by emailing tuningintoopera@eno.org.

About the Author

Dr Kamila Rymajdo is a writer and academic. She is an Honorary Research Fellow within the Music Department at University of ԰�� and works as a Research Associate for English National Opera. She is also Leader in Residence at the University of Lancashire for her contribution to music journalism. Previously, she was a Research Fellow at University of Lodz.

About ENO

English National Opera are the national opera company dedicated to creating extraordinary encounters with opera, on stage and beyond. Founded in 1931 as Sadler’s Wells Opera to make opera accessible to all, we continue that mission today by presenting opera that’s different, creatively daring and inclusive. From performances at the London Coliseum and in Greater ԰��, to work in schools, communities and public spaces across the country, we are committed to reaching and reflecting the full diversity of our nation.

About Creative ԰��

is an interdisciplinary platform based at The University of ԰��. The platform champions research in creativity and creative practice, bringing together research communities with external stakeholders to explore new research areas and address strategic opportunities. Please visit the for more information.

‘Blind ways of seeing’, embodied knowledge and the return of the polymath: Summer Solstice with Creative ԰�� and Jodrell Bank

Fri, 26 Jun 2026 13:46:03 +0100

and were delighted to host as part of Creative ԰��'s Solstice and Equinox series.

The panel event brought together leading physicists and artists underneath the Lovell Telescope at Jodrell Bank, a UNESCO World Heritage site, to explore the interactions between art and science, the positive friction and overlaps between their practice and the benefits of interdisciplinary collaboration.

The Solstice and Equinox Series brings innovative creative artists to The University of ԰��'s four cultural institutions. Each of our unique cultural institutions – the Whitworth, the John Rylands Research Institute and Library, ԰�� Museum and Jodrell Bank Centre for Engagement – focus on building civic, national and international partnerships to advance the social, environmental and individual wellbeing of our communities.

The evening began with an opportunity for guests to view the , on display at Jodrell Bank until 7^th September 2026 as part of their ‘Curious Universe’ series. Cosmic Titans was co-developed by artists and physicists at The University of Nottingham’s , a dedicated space to encourage and study interactions between artists and physicists. Co-founded by and , physicists at The University of Nottingham, the space highlights the potential of creativity in accelerating innovation and the widening of scientific participation in the arts.

Following the exhibition viewing, attendees were invited to the Space Dome for the keynote panel discussion, ‘Interdisciplinary approaches to Quantum’. After an introduction by , Director of the Jodrell Bank Centre for Engagement, the audience welcomed Prof David Olusoga OBE, Prof Weinfurtner, Dr Kuchner and renowned artist, to the stage.

Prof David Olusoga began discussions by mapping the division between the arts and science replicated in our culture and education system, which ignores the potential overlaps they share. Drawing on the historical figure of the polymath, Prof Olusoga established the historical and social significance of collaboration between the often-divided fields.

The panel discussion was centred around the shared collaborative experience between Prof Weinfurtner, Dr Kuchner and Conrad Shawcross. As co-founders of ArtLab at the University of Nottingham, Prof Weinfurtner and Dr Kuchner had invited Shawcross to become one of the first resident artists of their space.

The panellists discussed the cost of the division between science and art that is hard-wired into our culture and thought. The panel talked of the ‘catastrophic’ impact of STEM on the arts, and the narrowing specialisation of scientific careers with seniority. By bringing creative practice and art into science, the panel highlighted the two-way benefits of collaboration, not only in mediating abstract concepts to wider audiences but the benefit of artistic representation of scientists themselves.

The panellists then concluded with reflections of their experience collaborating, before opening the discussion up for questions from the audience.

Following the panel discussion, attendees were invited to enjoy a DJ set and multimedia performance by , another ArtLab resident artist and contributor to Cosmic Titans. Audiences were given a demonstration of the technology and science behind the piece, which used an interferometer, a device used to measure the interaction of light waves, to produce music and visual displays.

‘Cosmic Titans – in-conversation with David Olusoga’ was hosted in partnership with Jodrell Bank Centre for Engagement as a part of Creative ԰��’s Solstice and Equinox series. To find out more about future events in this series and many more, .

Creative ԰�� appoints new Director

Tue, 23 Jun 2026 13:49:26 +0100

Currently a Professor and Head of Enterprise (Academic) at the Royal Northern College of Music (RNCM), Michelle will take up her new roles on 14 September 2026.

As Director, she will lead the strategic direction and development of the University’s Creative ԰�� interdisciplinary research platform, bringing together academics, cultural partners and communities to advance creative research, practice and innovation. She will also be responsible for fostering partnerships, strengthening external engagement and enhancing the University’s impact across the creative and cultural sectors.

Michelle brings considerable research and creative industry engagement experience to the role. Her research practice explores audience response to live and recorded music, neurological response to music listening, music and time, perception of contemporary music, entrepreneurship, and music and Parkinson’s disease.

Her research on ‘What makes live music special?’, in collaboration with the University of ԰��, was featured in UK Research and Innovation’s ‘101 jobs that change the world’ series. She was Principal Investigator of the £1 million RNCM StART Entrepreneurship Project, exploring the most effective ways to train creative industries students in entrepreneurial skills.

She is a Fellow of Enterprise Educators UK (EEUK), chaired the subject association for music in higher education, MusicHE, and was a member of the Advance HE Aurora Advisory Group.

Her publications include multiple journal articles and book chapters, and a co-edited volume entitled Music and Time: Psychology, Philosophy, Practice. She is joint Editor-in-Chief of the journal Psychology of Music.

Michelle won the I Love ԰�� Alan Turing Award in 2025 for innovation, creativity and smart thinking, and was a finalist in the Northern Power Women Awards in the People with Purpose - Public Sector category in 2026.

Professor Fiona Devine, Vice-President and Dean of the Faculty of Humanities at the University of ԰��, said:

Michelle said:

Lost & Found in Translation: From Methods Fair Workshop to a Global Research Network

Thu, 18 Jun 2026 11:24:54 +0100

Lost & Found in Translation (L&FIT) is a collaborative network of postgraduate researchers (PGRs) and early career researchers (ECRs) initially based across the four North West Social Science Doctoral Training Partnership (NWSSDTP) institutions. The network brings together researchers whose work involves qualitative interviews conducted across diverse languages, settings and disciplines.

The initiative was founded by , Lecturer in Arabic Cultural Studies (and scholar of Translation Studies) at the University of ԰��. Recognising that many PhD researchers were engaging with issues of translation often outside of Translation Studies, she identified a gap: cross-language research practices vary significantly across disciplines, yet opportunities for shared reflection were limited.

L&FIT began as a small group of scholars from across the NWSSDTP which includes ԰��, Liverpool, Lancashire, Lancaster and Keele Universities. These researchers initially came together to deliver a workshop at the Methods@԰�� 2025 Methods Fair. What followed was not a one-off event, but an ongoing conversation that continued well beyond the Fair itself.

Building on this momentum, the group secured a Catalyst Grant in summer 2025. This funding supported a programme of three workshops (February, April and May 2026) and a conference in June 2026. From the outset, the diversity of the network was striking, with participants drawn from disciplines including Biology, Human Geography, Business, Politics, Literature, IT and Translation Studies. Guest speakers from the supported the network by sharing their own expertise while signposting the group to the latest translation research publications.

By the second workshop, the network had already expanded beyond the NWSSDTP region, welcoming contributors from institutions in China and Morocco, alongside a visiting scholar from the United States. The third workshop deepened these conversations further, focusing on the role of the researcher within the research process, and on how to ethically represent the communities involved in cross-language research.

The L&FIT Conference

The conference programme reflected the breadth and ambition of the network. Originally planned as a one-day event, it expanded into a two-day format - including an online component - to enable wider participation.

Topics ranged from AI algorithms and idioms, speech recognition and sign language, to research in conflict zones and the emotional complexity of interviews that extend beyond words. Participants also critically examined broader structural challenges, including how the ‘big social sciences’ engage with cross-language production, interpreters being seen as a problem, not a help, when ‘money talks’ in different languages; academia ‘stuck’ in English.

A practising translator described the event as “diversified, well-structured and highly relevant to the current state of the Translation field”, highlighting the way it opened up new perspectives on both the challenges and possibilities of working across languages.

For those involved in organising the conference, the experience was equally significant. One Year 3 PGR reflected on the “professionalism and attention to detail demonstrated at every stage”, describing it as “the best experience I have had across no fewer than ten conferences and workshops this year.”

Why has L&FIT resonated so strongly?

Reflecting on the network’s success, Dr Abou Rached describes L&FIT as “academic community development in action”. Its impact, she suggests, stems from a combination of open collaboration, institutional support, and a shared recognition that translation is a vital component of academic research practice. Together, these elements have created “rich potential to become a sustainable hub of knowledge-sharing in the methods area and beyond.”

This sense of community is echoed by participants. One doctoral researcher noted that involvement in the network had encouraged greater reflexivity in their work, particularly in “keeping grassroots voices at the centre of research”. Another highlighted the personal significance of these connections, explaining that the network “made me feel less alone… and part of a community.”

Where next?

What began as a group of ten researchers across five North West universities has grown into an international network of around 50 scholars. Participants now span regions including North Africa (Morocco, Algeria, Libya and Egypt), the Gulf (Qatar), China and beyond.

The network’s momentum has attracted strong support from the wider academic community. A guest speaker praised its success in “bringing together such a diversity of disciplinary perspectives” and emphasised the importance of sustaining this energy into 2026–27.

For many involved, the value of L&FIT lies not only in intellectual exchange but in the sense of belonging it fosters. As one Year 2 PGR reflected, being part of the network has been “truly inspiring” and has “renewed my enthusiasm for translation studies” another valued “how researchers from a wide range of fields are all, in different ways, contributing to language and cultural accessibility.”

Looking ahead, the network plans to first extend these conversations through a dedicated blog, continuing to create space for dialogue, reflection and future collaborations.

Where can I find out more?

You can read more about the workshops and conference , and while L&FIT does not yet have a LinkedIn page, you can explore posts from the conference, panel by panel, and post by post, !

Today's housing emergency is nearly 200 years in the making, says new report

Mon, 15 Jun 2026 16:52:24 +0100

Many of the problems facing the more than 134,000 households living in temporary accommodation in England today - including more than 176,000 children - are part of a pattern of failure stretching back nearly 200 years, according to a major new report.

The research reveals that poor conditions, lengthy stays, placements far from schools, work and support networks, fragmented responsibility and weak accountability have been recurring features of England's temporary accommodation system across generations.

Written by Dr Jessica Field from The University of ԰�� and published by homelessness charity Justlife, the report traces the development of temporary accommodation from the Victorian Poor Law workhouse system to the modern homelessness system.

Drawing on extensive archival research, parliamentary records, case law and historical accounts, it argues that many practices often presented as contemporary policy failures are in fact longstanding features of temporary accommodation provision, challenging the idea that the current situation represents a sudden departure from an otherwise effective system.

Key findings

Temporary accommodation has existed in different forms for nearly two centuries
Many of the problems seen today have deep historical roots
Poor conditions, lengthy stays and placements away from communities have been repeated over time
Fragmented responsibility has consistently made accountability difficult
People living in temporary accommodation have often had limited opportunities to challenge poor conditions or unfair decisions
Temporary accommodation has frequently operated outside the standards expected of other forms of housing
A new enforceable framework is needed to ensure temporary accommodation is short, safe and healthy

A crisis with deep historical roots

The report identifies a long-running pattern in which certain groups have faced greater barriers to support than others, rooted in ideas about who is considered ‘deserving’ of assistance.

It argues that while major reforms have changed the legal framework around homelessness, longstanding patterns of exclusion, unequal treatment and poor-quality accommodation have repeatedly reappeared in different forms.

The research also highlights how fragmented responsibilities across government departments, local authorities and providers have often made it difficult to identify poor practice, enforce standards or learn from successful approaches.

Lessons from nearly 200 years of history

The report calls for three major reforms:

Make unequal harms visible - better monitoring is needed to understand who is being placed where, in what conditions and for how long, enabling policymakers to identify and address unequal outcomes.
End fragmentation - temporary accommodation requires clearer statutory coordination, stronger oversight and greater accountability across the system.
Create an enforceable framework - temporary accommodation should be subject to baseline national standards, backed by meaningful enforcement.

Better temporary accommodation is possible

The report also identifies examples showing that better temporary accommodation can be delivered when there is political will and investment.

One example is the 1944 Temporary Housing Programme, which funded more than 150,000 prefabricated bungalows following the Second World War. Designed with comfort, privacy and family life in mind, the programme demonstrated that temporary accommodation could provide safe and dignified housing rather than merely emergency shelter.

What the researchers say

"Many of the problems experienced by people living in temporary accommodation today have appeared again and again for nearly two centuries,” said Dr Jessica Field. “What emerges from this research is a story of recurring patterns rather than isolated failures - poor conditions, long stays, family disruption and displacement from communities have persisted across very different political and policy contexts. Understanding how these problems developed helps us see why piecemeal reforms have often struggled to deliver lasting change.”

"Temporary accommodation may seem like a current crisis, but it has been part of our lives for nearly 200 years - yet the experience for many people living in temporary accommodation today remains painfully similar to what it was in the nineteenth century,” said Simon Gale, Chief Executive of Justlife.

"Poor conditions, long stays, people being moved away from their communities, and families left in uncertainty are not new problems. Lifelines shows they are part of a much longer pattern. That matters because we cannot keep responding to temporary accommodation as if each problem is new, isolated or unavoidable.”

"If we are serious about ending the harm caused by temporary accommodation, we need a clear national framework, proper standards, stronger accountability and a housing policy that stops temporary solutions becoming long-term realities."

Publication

was authored by Dr Jessica Field and published by Justlife.

New screening series explores how ‘global China’ is negotiated on the ground

Fri, 12 Jun 2026 10:42:47 +0100

, funded by the British Academy’s Chinese Global Orders programme, will present a series of five short audio-visual portraits capturing the lived experiences of individuals working at the intersection of China and diverse global contexts.

Rather than focusing on high-level geopolitics, the event highlights the role of brokers, translators and traders who operate in “contact zones” such as border markets, development projects, restaurants and cultural settings. Through these stories, the event aims to show how global processes are shaped through everyday encounters, negotiations and exchanges.

The screening will examine how these actors mediate communication, navigate cultural differences and shape understandings of “global China” on the ground. Organisers hope the event will prompt discussion on how power, knowledge and relationships are formed across borders in practice.

The event is open to researchers and those interested in global migration, China studies and the social dynamics of international engagement. You can register for remaining tickets .

Spotlight On: Isaac Lynch

Mon, 08 Jun 2026 15:32:00 +0100

Tell us a bit about yourself and the roles you have had before joining the University

I have worked in Higher Education for the past five years at Leeds Conservatoire and BIMM University, so stepping into the University of ԰�� as the Martin Harris Centre Receptionist has been fairly smooth.

I enjoy working alongside creative people and I particularly love supporting students, because I felt like I didn’t connect with the staff of my university and I want them to have a better experience than I did. So far, it’s been very enjoyable working at MHC as part of a larger team than what I’ve been used to. Joining in September, at the busiest time of our year, was challenging!

My previous role was also very student-focused, I used to be on first name basis with most of the students I’d deal with day to day. It’s helped me become a great people person, which I’ve found benefits me greatly in my current work.

I have a degree in Music Technology, which gives me a very broad understanding of different aspects of music, musicology, and sound engineering, and all of this contributes to my understanding of creative courses at degree level.

Aside from typical administrative work, what’s one aspect of your role that others may not be aware of?

One aspect of my job with the MHC is running the Box Office for several events that are held throughout the academic year, such as the MUMS Opera performance of Hansel and Gretel, the MUMS Chamber Orchestra Concert, and the Quatuor Danel Beat the Rush Hour concert. It’s a nice departure from being behind a screen and is a great chance to interact with MHC visitors and support creative events happening at the University.

So, what do you get up to outside of work?

Aside from using my degree in my day job, I also have perform and release music regularly under the name Isaac Malibu. I am also currently singing at the Luminiscence Light Show”at ԰�� Cathedral, running until June, and I have bookings at House of Social and Matt and Phreds in the next few months. As well as the live performances, I am in the studio writing and recording music for my own projects and also creating tracks for other singers. II also organise events, curating lineups and showcasing s talent across the north.

University of ԰�� have signed an MoU with Tokyo University of the Arts and National Center for Art Research, Japan

Mon, 08 Jun 2026 12:33:50 +0100

We’re delighted to announce that we’ve signed a Memorandum of Understanding (MoU) with Tokyo University of the Arts and The National Center for Art Research, Japan.

On Saturday, 23 May 2026 at The National Art Center, Tokyo (NACT), Japan, Prof John McAuliffe, Associate Vice President (Cultural Portfolio), signed a Memorandum of Understanding on behalf of Creative ԰��, at The University of ԰��.

This landmark agreement commits the University to collaborate in a three-way partnership with the “Arts-Based Communication Platform for Co-creation to Build a Convivial Society" at Tokyo University of the Arts (TUA) — commonly known as the ART-based Platform for Co-creation — and the National Center for Art Research (NCAR), part of the National Museum of Art, Japan.

As part of this MoU, the three partners (UoM, the ART-based Platform for Co-creation, and NCAR), will work collaboratively with the Greater ԰�� Combined Authority (GMCA) GM Place Partnership, to strengthen international research collaborations

The formal signing ceremony took place following the

Prof John McAuliffe, Associate Vice President (Cultural Portfolio), Prof Sook-Kyung Lee, Director of The Whitworth, Dr Hannah Waterson, Research Associate – Knowledge Mobilisation and Julie McCarthy, Strategic Lead for Creative Health at the GMCA presented as part of the event exploring Creative Health initiatives from ԰��.

The event drew 150 guests to The National Art Center, Tokyo, and over 700 registered for the online event. The afternoon focused on knowledge exchange around Creative Health and Social Prescribing, along with discussion around future collaboration and shared research opportunities.

Colleagues were also invited to speak at the Kyoto University International Social Prescribing Conference (ISPC 2026), alongside academics from TUA and NCAR. The conference brought together people from across the world interested in social prescribing and non-medical approaches to health and wellbeing. The University of ԰�� and GMCA, joined Tokyo University of the Arts and NCAR for a joint session at the conference, exploring differences and similarities in the UK and Japan. They discussed supporting community-based groups to deliver the work and the role of museums and galleries.

Image Credit: Yumi Saito

Communicating at a global university – why it matters and how we achieve it

Thu, 28 May 2026 11:21:10 +0100

All I remember from my first weeks studying at an international school are the awkward conversations: subtly working out how to say someone’s name without offending, attempting to make sense of slang I’d never heard before. Speaking with one another wasn’t easy.

Decades on, observing some ԰�� students, it doesn’t seem like we’ve made much progress. The assumption existed then, and seems to exist today, that just because students are surrounded by people from different countries, they’ll implicitly learn how to manage exchanges, they’ll ‘figure it out’. There is little indication, though, that this is the case.

Communicating across languages and cultures is complex. It involves awareness, understanding, adaptability, a willingness and confidence to step out of our comfort zones.

This matters because what could be a strength, can easily become a silent barrier to learning and participation. In my experience the challenges of communication often become most pronounced during groupwork, especially where there is a shared, assessed outcome.

To gain a better understanding of these communication difficulties and how we can support students to overcome them, my colleague Rachel Heasley and I worked closely with students and academics in FSE.

We observed and analysed how groups of students, who didn’t know each other, communicated when completing a task. Through student consultations we then explored our observations.

A few themes emerged:

some students speak less, not because they lack ideas, but because they’re shy or worried about being misunderstood because of their language skills
others take over unintentionally because silence is interpreted as agreement or disinterest
cultural norms influence the language students choose to disagree, question or express uncertainty.

What is clear, though, is there’s a willingness to make it work. Students just don’t know how to with confidence. For most, this needs to be explicitly taught. Without it, students likely default to what feels safest – talking only with familiar peers.

With that knowledge, we created two targeted interventions: a 120-minute workshop and a 60-minute self-directed resource.

Both feature videos of ԰�� students sharing real-life stories – honest reflections of the awkward moments and the breakthroughs. They’re accompanied by interactive and reflective tasks, which guide students to think about their own communication styles, assumptions and strategies and reach a shared understanding of how to communicate in groups.

In semester one, we piloted these with two year-one undergraduate courses in the Department of Earth and Environmental Sciences and Department of Materials, each cohort comprising roughly 140 students.

The timing was deliberate. We didn’t want to wait until students were struggling, we wanted to address it head on, aiming to normalise the idea that communication is a skill to be worked on, it’s not something you ‘have’ or don’t. Exposing students to this early in their academic studies gives them time to hone their skills before completing higher stake group assessments in years two and three.

Student response was overwhelmingly positive with over 90% of students reporting that they would recommend the workshop or self-study resource to another student. There was a notable shift post workshop in both students’ preparedness and confidence levels, with the percentage more than doubling.

I strongly agree that I feel prepared to communicate effectively	pre workshop	post workshop
	20%	48%
	pre resource	post resource
	33%	44%

I strongly agree that I am confident in communicating effectively in group work.	pre workshop	post workshop
	21%	50%
	preresource	post resource
	37%	44%

Following up with students a month on, one student shared:

Another described beginning to find their voice:

Academics noticed the difference too. Compared with previous cohorts, they reported students participating more equally and taking greater responsibility for group dynamics. They also observed a shift in tone with clearer, more respectful communication, and a greater appreciation of the challenges others might be facing. With less time spent managing group conflict and troubleshooting communication breakdowns, the ‘wins’ were obvious.

Moving forward, if we want students to communicate confidently, we need to create the conditions for that to happen. That means moving beyond assumptions, recognising that diversity alone doesn’t guarantee meaningful interaction, and it means equipping students – all students – with the skills they need to navigate difference, not avoid it.

Further Reading:

exploring the
connect ruth.fordham@manchester.ac.uk rachel.heasley@manchester.ac.uk

Acknowledgements: Thanks to Dr Katherine Harrison and Dr Barbara Waters for collaborating on the pilot and their year one undergraduate students on EARTH11300 and MATS11701 for taking part and providing valuable reflections.

Artist Provenance expert and CTO of Massive Attack visits University for collaborative activities exploring AI, copyright and creative authorship

Thu, 21 May 2026 11:02:14 +0100

Occurring at a pivotal moment in the debates around AI and intellectual property, the visit also highlights a number of timely developments in the artist provenance sphere. These include the appointment of Sir Robin Jacob, former Lord Justice of Appeal in Intellectual Property, to the Genotone Ltd. advisory board, a significant endorsement of artist provenance infrastructure.

is a British-German creative technologist with over 25 years at the intersection of music, technology, and art. As CTO of and founder of , he has spent his career building the infrastructure that connects creative practice to emerging technology, from pioneering work on one of the world's first artist websites with David Bowie in 1999 to encoding Massive Attack's Mezzanine into synthetic DNA with ETH Zürich.

Andrew advises the UK government's Department for Culture, Media and Sport and Department for Science, Innovation and Technology’s Working Groups on AI and copyright, representing coalitions of over 30,000 artists through the Music Managers Forum, Featured Artists Coalition, and AFEM. He is a leading voice on artist provenance, AI transparency, and the future of creative rights in the age of generative AI.

At the heart of the visit was the major public lecture Proof of Human: AI, Copyright, and the Fight for Creative Authorship, which took place at the heart of the Innovation District at SISTER.

In this special lecture and discussion, Andrew Melchior presented a compelling case for strengthening creative authorship in the era of generative AI.

Drawing on his experience advising UK government technical working groups on AI and copyright, Melchior explored how large-scale AI systems trained on vast datasets of copyrighted material, often without consent or compensation are disrupting established frameworks for protecting creative work. He argued that the challenge facing artists today is not only legal but infrastructural: without reliable systems to verify authorship and trace creative lineage, existing rights regimes cannot be effectively enforced.

Following the lecture, he was joined in conversation by John McGrath, Artistic Director and Chief Executive of Factory International, and responded to audience questions.

Earlier in the day, Melchior lead an interactive masterclass for undergraduate and postgraduate music and composition students.

The session focussed on practical workflows for producing and releasing music while maintaining provenance and control of intellectual property in a rapidly evolving AI landscape. Students engaged directly with Melchior and explored the real-world implications of emerging technologies on their creative practice.

The visit also included a roundtable discussion bringing together academic experts and policymakers. They examined the relationship between music, culture, technology, and ԰��’s creative heritage; the impact of AI and other technologies on the creative industries and mechanisms to protect the rights and livelihoods of creative practitioners.

This visit was part of Creative ԰��’s ongoing commitment to fostering interdisciplinary collaboration and critical debate at the intersection of culture, technology, and society.

Institute of Cultural Practice student placement with Creative ԰��: Callum Henry

Fri, 15 May 2026 13:50:37 +0100

My name is Callum, and I am a master's student studying Creative and Cultural Industries at the University of ԰��. Since December 2025, I have been on placement with Creative ԰��, where I have supported and learned about the wide range of activities the platform undertakes. This has included gaining insight into how Creative ԰�� operates as a research platform within the University, and how this work translates into exhibitions and public events.

My decision to return to university was driven by a strong interest in how creative practice and the arts can contribute to health and community regeneration and particularly how communities can work collaboratively to create meaningful change. I have worked in different organisations around Community Collaboration and wanted an insight into what the University does to engage with the community and different engagement approaches. When the opportunity to apply for a placement with Creative ԰�� arose, I recognised it as an ideal way to explore how academic research and cross-sector collaboration can influence community development both within the University and across the wider region. The organisation’s strong network of community and arts partners made the placement feel like a perfect fit.

During my time at Creative ԰��, my role focused on supporting the delivery of events and exhibitions developed through both internal research and external partnerships. I contributed to audience engagement evaluation, assisted with social media promotion in the lead-up to events, and supported the organisation of activities from early planning stages, such as researching venues, coordinating catering, and drafting event briefs, through to acting as an ambassador on the day.

Two particularly memorable projects that demonstrate the depth and impact of Creative ԰��’s work were the International Women’s Day event held in collaboration with and the Hulme Nannas' exhibition of (in)visibility, community and urban change.

The Hulme Nannas' exhibition of (in)visibility, community and urban change was a community-focused project involving women over the age of 50 living near the University. Created by author and artist Anthea Cribbin, and led by researchers Tina Cribbin and Niamh Kavanagh, the exhibition explored The University of ԰��'s position within Hulme, an area historically marked by deprivation but now undergoing significant regeneration and gentrification. The project provided a platform for local residents to share their perspectives, raising important questions around place-making, identity, and community voice during periods of substantial change.

, was the largest event during my placement and highlighted Creative ԰��’s commitment to inclusivity and accessibility. Thoughtful considerations, such as providing takeaway food options during Ramadan, helped ensure all attendees could fully participate. The event featured a panel discussion on inequalities in employment for women over 50 in ԰��, from the project Uncertain Futures, alongside contributions from local residents involved in the research. Performances from artists within Muslim and Turkish communities added a celebratory dimension, showcasing the strength of collaboration between the University and its wider community. It was a diverse, inclusive, and genuinely collaborative event, and a great example of Creative ԰�� at its best.

These examples are just two of the activities I was able to get involved in during my time at Creative ԰��. There where lots of other events that took place from AI in Music through to Creative Inspiration from Plants, Memorial Launches and research symposiums. Alongside this, I supported a diverse range of exhibitions from Moss Worlds, through to Biblical Women. The diversity of activities that took place where really interesting and showed different approaches delivery, teaching me a great deal

This placement has helped me develop both my confidence and my commitment to working collaboratively with communities to address challenges around health, equality, and access to the creative industries. I have gained valuable insight into how meaningful partnerships can bridge the gap between academic research and real-world impact. The work undertaken by Creative ԰�� is vital in fostering these connections, and it has provided me with approaches and perspectives that I will carry forward in my future work.

I am extremely grateful for my time at Creative ԰��. The team were welcoming, supportive, and deeply passionate about their work. I would strongly encourage anyone who has not yet attended one of their events to do so, they cover a wide range of topics and are consistently engaging and inspiring. The exhibitions in the Samuel Alexander Building’s glass corridor are also not to be missed; having worked with the team, I now appreciate the care and effort that goes into curating and regularly updating this space.

For anyone considering a placement that offers genuine insight into community engagement, academic collaboration, and creative approaches to complex social challenges, Creative ԰�� is an opportunity not to overlook. It has been an incredibly valuable and rewarding experience, and I would like to extend my sincere thanks to the entire team for hosting me.

University of ԰�� academic awarded prestigious fellowship for research into Ancient Greek democracy

Thu, 14 May 2026 13:11:55 +0100

Dr Alberto Esu, Lecturer in Classical Greek History in the Classics, Ancient History, Archaeology and Egyptology Department at the University of ԰��, has been awarded a prestigious fellowship to participate in research activities for the Phyle Project: Revitalizing Democracy in Theory and Practice. The project explores the history of civic offices in ancient Greek democracies and their relevance to contemporary republican and democratic theory.

One of only 12 fellows worldwide, Dr Esu was awarded the fellowship of 24,000 USD through nomination and competitive selection by an international committee of senior scholars. The fellowship is funded by the , which was awarded to Professor Josiah Ober for his leading contribution to the history of Athenian democracy.

As an award-holder, Alberto will support the research activities of the Phyle Project over the next three years until 2028, including participating in a workshop at Stanford University and a final conference in Athens. His studies will explore how Greek democracies structured civic offices, arguing that institutional design—especially limited and well-defined authority—was central to democratic resilience.

Reflecting on the award, Alberto said:

԰�� academic’s personal homelessness story shortlisted for Orwell Prize

Wed, 13 May 2026 10:00:00 +0100

An academic from The University of ԰�� has been shortlisted for one of Britain’s most prestigious awards for political writing after publishing a deeply personal account of his experiences of hidden homelessness as a teenager.

, a History researcher at the University, has been shortlisted for the 2026 Orwell Prize for Reporting Homelessness for his article The Shame of Britain’s Hidden Homeless, which was published in .

The article combined data and analysis on the scale of hidden homelessness in Britain with Dr Seaton’s own experiences of housing insecurity as a young person, including the impact it had on his education and wellbeing. The Orwell Prize judges praised the article for blending rigorous reporting with personal testimony.

Sarah O’Connor, judge for The Orwell Prize for Reporting Homelessness 2026, said: “Andrew’s piece was data heavy, rich with facts and explanation about hidden homelessness, but what really stood out to us was the way in which Andrew talked about his own experience of being part of that story, of being homeless as a young person, and all the effects which that had on him and his education - and how he ultimately overcame them.”

Dr Seaton’s research and writing focuses on inequality, welfare, medicine and the environment, with particular interests in using lived experiences in the past to inform our present. His Orwell Prize nomination places him alongside journalists from national organisations including the BBC, The Daily Mail and The Big Issue.

“It’s amazing to be shortlisted alongside these wonderful writers for a prize that draws attention to homelessness,” said Andrew.

The Orwell Prize for Reporting Homelessness was established to champion journalism that sheds light on one of Britain’s most enduring social challenges. The prize recognises reporting that is person-centred, data-driven or policy-focused.

Chair of judges Michael Gove said: “The Orwell Prize attracts some of the most powerful and most exciting journalism being produced in Britain today. Homelessness is a huge social evil, but it has also inspired some great reporting and fantastic analysis. It has been a joy to spend time both with this work and with my fellow judges, who have brought a huge amount of passion and authority to the business of sifting some brilliant entries.”

The Orwell Foundation, which runs the awards, promotes the values associated with George Orwell’s writing, including integrity, courage and fidelity to truth.

The winners of the 2026 Orwell Prizes will be announced on 25 June at the Bloomsbury Theatre in London.

One of the world’s leading AI experts is visiting The University of ԰��

Wed, 06 May 2026 12:27:42 +0100

The University of ԰�� is set to welcome internationally renowned journalist, author and broadcaster Karen Hao for a major public lecture on Thursday 28 May, offering a rare opportunity to hear directly from one of the world’s leading voices on artificial intelligence.

Hao, best known for her acclaimed book Empire of AI and her reporting on the global AI industry, has built a reputation for deeply researched, incisive journalism that cuts through the hype to examine the real-world impacts of emerging technologies.

Her work spans investigations into major technology companies, the geopolitics of AI and the societal consequences of rapid innovation, making her one of the most authoritative commentators in the field today.

Her lecture will explore the forces shaping the global AI landscape - from corporate power and data extraction to governance, ethics and the future of work. It is open to academics, students, industry professionals, policymakers and members of the public, reflecting the University’s commitment to fostering inclusive conversations about technologies that are reshaping society.

“It is a real privilege to welcome Karen Hao to ԰��. She is one of the most important voices on AI today - her work is not only groundbreaking but exceptionally rigorous and well-sourced, cutting through hype to address what actually matters,” said João C. Magalhães, Senior Lecturer in AI, Trust and Security and co-lead of the AI, Trust and Security Cluster at the University’s Centre for Digital Trust and Society.

Hao’s career includes reporting for leading global publications and producing widely respected analysis of artificial intelligence systems and their societal implications. She is also known for her work as a podcast host and commentator, bringing complex technical and political issues to wider audiences with clarity and nuance.

Her visit comes at a time of intense global debate around AI governance, safety and economic impact. As governments and industries grapple with regulation and deployment, events such as this provide a vital forum for informed public discussion.

The lecture will take place at 5.30pm in Lecture theatre G.003 of Alliance ԰�� Business School. Tickets are available via , and early booking is encouraged due to anticipated high demand.

Festival of Libraries 2026 programme announced

Tue, 05 May 2026 10:23:15 +0100

has announced the full programme for the upcoming , which will take place in libraries across Greater ԰�� from 10-14 June.

The award-winning festival, which is supported by Arts Council England, features a vibrant programme that highlights the library network’s full offer, across wellbeing, culture and creativity, digital and information, and, of course, reading.

Festival of Libraries won Best Event at the ԰�� Culture Awards 2024 and was named the second Most Inclusive Literature Festival by Inclusive Books For Children in 2025.

has curated a series of four free events for the Festival programme, showcasing our research, in partnership with the and the .

Writing for Wellbeing workshops will see poets from the Centre for New Writing run two sessions at Stockport and ԰�� libraries, exploring how creative writing can positively impact wellbeing.

The Linguistic Diversity Collective will present which will explore how dictionaries define words and will take place at the . This interactive event will explore the meanings, uses, origins, and evolution of Jamaican Patwa. It draws on research from Dr Serge Sagna, of the Linguistic Diversity Collective and is aimed at all generations of people of Jamaican descent living in ԰�� along with members of the wider public who would like to learn more about Jamaican Patwa / Patois. All are welcome.

‘Tasting Children's Literature - An Edible Readathon’ will provide a family-friendly, immersive session exploring foods in children's literature. The workshop will engage children in drawing pictures of and telling stories about the foods that come to life in their favourite stories, as well as the foods that mean most to them and their communities.

Find out more about the University’s Festival of Libraries workshops and book your free places by visiting .

Look Back: The Past, Present and Future of the Computer in Electronic Music

Thu, 30 Apr 2026 11:19:29 +0100

On 25 March, Creative ԰�� hosted a research café exploring ԰��’s role in the development of electronic music, from the earliest computers through to present advances in human-machine collaboration.

Organised with help from the ,&�Բ��;‘ addressed the city’s contributions to electronic music from an interdisciplinary perspective. The event explored the themes in computer science, musical composition and history, and asked what ԰��’s past can tell us about the future of machine‑assisted creativity.

԰��’s influence on popular music has long been celebrated, with bands such as Oasis, The Smiths and Joy Division/New Order cementing the city’s reputation. Furthermore, ԰��’s contributions to computing are well known, with the University of ԰�� celebrating 75 years since the development of the Turing Test this academic year. However, far less attention has been afforded to the intersection of these two histories, the city’s contributions to electronic music.

The event addressed three main components of this musical relationship: the early development of electronic music and Turing's work in ԰��; electronic music facilities and research at The University of ԰�� throughout the years; and contemporary human-machine collaborations shaping the future of electronic music.

The event began with a welcome address by Creative ԰�� Director, Professor John McAuliffe, before (Senior Lecturer in Text Mining and Creative ԰�� Theme Lead for Creative Industries and Innovation/CreaTech) introduced the aims and speakers for the day.

The first lightning talk was delivered by , a former mathematical biologist and author of Alan Turing’s ԰��. Dr Swinton highlighted that Turing himself was not especially interested in musical composition. Instead, it was the need to market computers that encouraged early experiments in using machines for entertainment. While Turing did not compose electronic music, contemporaries such as Christopher Strachey were instrumental in developing some of the earliest computer-generated works.

(Research Software Engineer, Centre for Interdisciplinary Methodologies, University of Warwick) then turned to the representation of sound in computing, drawing on the archive of Eric Sunderland, a maintenance engineer on ԰��’s Atlas machine who created polyphonic music using the computer. Dr Emsley highlighted the challenges of researching such archives, which are often incomplete: while numerical data survives, the sounds and voices those numbers once represented are frequently lost.

԰��’s electroacoustic heritage was explored further by (Professor of Electroacoustic Music Composition and Director of the Electroacoustic Music Studios and MANTIS). Professor Berezan traced the history of the University’s electroacoustic studios, founded in 1967, from sparse archival records in the 1980s through a period of rebirth from the early 1990s to the present. These developments led to the founding of the and the in 2007, with a strong emphasis on taking electronic music out of the studio and into live performance.

Subsequently, (Professor of Innovation and Sustainability, The University of ԰��; Professor of Political Economy of Sustainability, Maastricht University) reflected on his personal journey with electronic music. Drawing on Zen Buddhist teachings from Shunryū Suzuki, he described a ‘second beginning’ with music later in life. Professor Boons considered the concept of the ‘musical centaur’, a human musician assisted by a machine, alongside the risk of ‘reverse musical centaurs’, where humans become appendages of uncaring machines.

The final lightning talk was delivered by (Bicentenary Fellow in Music), who offered a glimpse into the future of machine involvement in music. Discussing her research project , an immersive opera with live audience interaction, Dr Huang-Kokina explored the artistic and technical challenges of integrating AI into performance. She also previewed her forthcoming project, ‘Emotion Engine’, which creates a real-time feedback loop between audience response and stage design, concluding with the question: “If the stage can finally listen, what will audiences say?” Dr Huang-Kokina’s work will be further discussed at the forthcoming research café, , on 19 May 2026.

Following the lightning talks, a panel discussion featuring Dr Alexandra Huang-Kokina, Dr Iain Emsley, (Professor of Natural Language Processing) and (Professor of Electronic and Produced Music at the Guildhall School of Music and Drama) and chaired by (Professor, Department of Computer Science). The panellists discussed what the role of machines should be in music production.

Following the event, attendees were invited to view Turing – Machine, a sound installation by Professor Frank Boons that articulates the evolving ways in which humans and computers interact, and an interactive two-player musical Turing test by PhD student .

To stay informed about Creative ԰��’s work in the Creative Industries and Innovation/CreaTech theme, as well as our other events and activities, please .

Iran’s AI memes are reaching people who don’t follow the news – and winning the propaganda war

Wed, 22 Apr 2026 10:20:07 +0100

A Lego-style Iranian military commander : “Our inbox is flooded with Americans saying they don’t watch the news. They listen to our songs instead since your media is full of sh*t.”

This is the opening line of an AI-generated video which is part of Iran’s meme campaign – built around Lego-style animation and rap soundtracks, which have online. The line captures the strange reality of contemporary politics: news is often most effectively disseminated not through journalism but humour, memes and entertainment.

Since late February, pro-Iranian media groups – most notably, the – have flooded social media with AI-generated video content mocking Donald Trump, Benjamin Netanyahu and US foreign policy. It has been dubbed – but the sophistication is striking.

These videos but do not look or feel like state propaganda – despite the spokesperson for Explosive Media admitting to the BBC that the . They capture the internet zeitgeist: fast, funny, visually familiar and designed for virality.

Trojan horses

The success of these memes lies in their audience strategy. They do not target people actively seeking news. Instead, they mimic the language of everyday internet culture to reach those who are not following events in the Middle East at all.

Humour is the mechanism they use to get reach. These videos function as Trojan horses, drawing viewers in with recognisable imagery, references and music – while communicating a narrative about American overreach, dysfunction and corruption.

As , a US-based expert in disinformation, notes, this kind of content reaches “politically uninvested people who otherwise wouldn’t have engaged with war-related content”.

The key insight here is not geopolitics but audiences. Conventional political communication, including press conferences, policy statements and traditional news coverage, reaches people who are already paying attention. These AI meme videos are designed to reach everyone else: the millions of people whose understanding of international conflict extends no further than what happens to appear in their social media feed.

Humour is the primary mechanism these videos have harnessed to conquer the social media algorithms. The joke is not the message – it is the delivery system. By packaging geopolitical arguments inside “diss tracks”, pop culture references and shareable clips, these videos communicate political ideas before audiences have even registered they are consuming political content.

What makes audiences receptive to ‘slopaganda’?

But this raises a deeper question. Why are people so receptive to receiving political information in this form? The answer is that they have been primed for it.

For two decades, a generation of Americans – and increasingly British and European viewers – have learned to process political news through satire. Jon Stewart’s The Daily Show became, for many younger viewers, a than the nightly news.

The likes of Stephen Colbert, John Oliver, Seth Meyers and Jimmy Kimmel also built enormous audiences by making politics funny, accessible and emotionally engaging in ways that conventional journalism often failed to do. The implicit message, repeated nightly, was that humour was not merely a gloss on political commentary. It was a .

This was largely a progressive phenomenon. The targets were politicians and large institutions, both government and private sector – and the satirists positioned themselves as holding power to account. But this created an expectation that , and that comedy is a legitimate vehicle for political understanding.

Iran is copying populist strategy

Since 2008, many populists have recognised the in their election campaigns – none more so than Trump. His campaign appearances on comedy podcasts, his and stunts, and his endless memes are not distractions from his political strategy – they are his political strategy.

Trump reached, and mobilised, millions of who had long since stopped engaging with political news in any traditional form.

Iran has been paying attention. The American scholar of propaganda has that Iran is now “using popular culture against the No.1 pop culture country, the United States”.

The Lego aesthetic, the rap beats, the 1980s pop covers, the selection of jokes are not random choices. They demonstrate a precise calibration of what can effectively reach online audiences in the western attention economy.

The result is content that is not immediately visible as foreign propaganda, and instead looks like entertainment. For audiences already accustomed to learning about politics through comedy, the distinction barely registers.

There is a profound irony here. The cultural conditions that produced shows like The Daily Show and Last Week Tonight – the erosion of trust in mainstream political communication and the demand for authenticity and humour over formal rhetoric – have produced a media environment in which a foreign state can distribute propaganda to millions of Americans, and have it feel indistinguishable from domestic entertainment.

This is not to say that late-night satire and Iranian AI content is equivalent. But they are operating in the same media ecosystem – one in which humour has become a primary method of political communication.

The most unsettling thing about what is happening right now is what this means for our information environment.

If propaganda is indistinguishable from satire, and satire accumulates millions of views while news does not, the line between political entertainment and political persuasion has seemingly collapsed. And the people most affected are those who think they are not following the war at all.

, Early Career Researcher, Religions and Theology Department
This article is republished from under a Creative Commons license. Read the .

Back-to-basics approach can match or outperform AI in language analysis

Wed, 15 Apr 2026 09:55:01 +0100

A new study led by Dr Andrea Nini at The University of ԰�� has found that a grammar-based approach to language analysis can match or outperform advanced AI systems in identifying who wrote a text. The method, called LambdaG, uses patterns in grammar and sentence construction rather than large-scale AI models, offering comparable accuracy with greater transparency and lower computational cost.

Key findings

A grammar-based authorship analysis method matched or exceeded leading AI systems across most test datasets
The approach outperformed several neural network-based authorship verification models
Researchers tested the method across 12 real-world writing datasets including emails, forums and reviews
The system is more transparent than many AI models because it shows which grammatical patterns informed decisions
Researchers say the findings challenge assumptions that more complex AI always produces better results

What did the study find?

Researchers found that a relatively simple, linguistically grounded method can perform as well as - and in some cases better than - complex artificial intelligence systems in identifying authorship.

The study suggests that increasingly sophisticated AI is not always necessary for high-performing writing analysis, particularly when methods are designed around established principles of how language works.

How does the LambdaG method work?

The method, called LambdaG, analyses patterns in grammar rather than relying on large-scale machine learning models.

It builds a statistical profile of how an individual writes by measuring features such as function word usage (words like it, of and the), sentence structure, punctuation patterns and other grammatical habits.

The researchers say these features create a distinctive behavioural signature for each writer.

Why is this different from AI-based authorship analysis?

Many current authorship verification systems rely on complex AI models trained on vast datasets. While effective, these systems can be difficult to interpret, computationally expensive and hard to explain in high-stakes settings such as legal investigations. By contrast, LambdaG provides a transparent explanation of which grammatical features influenced its conclusions.

How accurate was the method?

Researchers tested LambdaG across 12 datasets designed to reflect real-world writing scenarios, including emails, online forum posts and consumer reviews.

In most cases, the method achieved higher accuracy than several established authorship verification systems, including neural network-based approaches.

Why does grammar reveal authorship?

The researchers argue that grammar acts as a behavioural signature, like how we write our signature or how we walk.

Over time, individuals develop unconscious habits in how they structure sentences and use language. These habits create identifiable linguistic patterns that can distinguish one writer from another.

What are the potential applications?

The researchers say the method could support work in:

Forensic linguistics
Criminal investigations
Online abuse detection
Academic integrity monitoring

The study was published in Humanities and Social Sciences Communications.

DOI:

University signs Memorandum of Understanding with Tokyo University of the Arts and National Center for Art Research, Japan

Mon, 13 Apr 2026 13:43:08 +0100

The University of ԰��, through Creative ԰��, has signed a Memorandum of Understanding (MoU) with the “" at (TUA) — commonly known as the ART-based Platform for Co-creation — and the (NCAR), part of the National Museum of Art, Japan.

This notable three-way partnership is centred on creative health and will help to foster a deeper academic and cultural exchange between Japan and the UK in this area of research. It will form the basis for future research collaboration and knowledge exchange.

Greater ԰�� (GM) is recognised as a national and world reference for creative health. Building on a long history of arts and health work, GM launched its Creative Health Strategy in 2022, with ambitions for GM to become the world’s first Creative Health City Region. The GM Creative Health Place Partnership continues to support the development and delivery of creative health activity across Greater ԰��.

The agreement will be formally signed in Tokyo on 23 May 2026, following the , at The National Art Center, Tokyo, where colleagues from The University of ԰�� will present on creative health initiatives in Greater ԰��.

Whilst in Tokyo, The University of ԰�� and GMCA colleagues have been invited to speak at the , alongside academics from TUA and NCAR.

The University of ԰�� is proud to work collaboratively with a number of renowned teaching institutions across the globe, with several partners located in Asia including ԰��-Chinese University of Hong Kong, ԰��-Ashoka University, ԰�� O.P. Jindal Global University, ԰��-IISC Bangalore and ԰��-Manipal Academy of Higher Education.

The University collaborates with other institutions around the world at a faculty level through impactful MoUs, ensuring colleagues can collaborate with global peers in their field and access the resources they need to co-create cutting-edge research.

The Faculty of Humanities was a founding member of the Global Humanities Alliance, a partnership that includes the University of Melbourne, University of Toronto, University of Nairobi, Ashoka University, Mahidol University, Pontificia Universidad Católica de Chile, Universitas Gadjah Mada and The University of ԰��.

The University of ԰�� is globally renowned for its pioneering research, outstanding teaching and learning, and commitment to social responsibility. We are a truly international university – ranking in the top 50 in a range of global rankings – with a diverse community of more than 44,300 students, 12,800 colleagues and 585,000 alumni.

Music student wins 2026 Stuart Hall Essay Prize

Mon, 13 Apr 2026 09:52:02 +0100

Harriet Hillier, a second-year undergraduate student in Music at the University of ԰��, has been awarded the Stuart Hall Essay Prize for 2026. The prize, worth £2,000, is open to UK-based academics, students, journalists and other writers aged 18-30, and aims to stimulate new contributions to the areas of political, cultural and educational research pioneered by the Jamaican-British cultural theorist and sociologist Stuart Hall.

Harriet’s essay, ‘Choosing a Nation: Identity, Belonging, and Representation in International Sport’, was the unanimous choice of the judging panel. The essay focuses in particular on fencing, a sport at which Harriet has represented Great Britain in international competitions.

The judges, Professor Catherine Hall, Professor Jo Littler and Professor Kennetta Hammond Perry, gave the following comments on the prize-winning essay: “This essay applies Hall’s conjunctural method to read culture at the intersection of political, economic and ideological forces. The case study is of fencing as an international sport and the author applies their experience of it as a participant to discuss what it means to represent a nation at this time, in a post-Brexit world in which borders have become ever more problematic, where sport is transnational yet aims to figure as a key symbol of national unity, and athletes adopt strategic nationalities in order to gain funding enabling them to compete. The essay is beautifully written and engages throughout with different aspects of Hall’s thinking – put to work in relation to the specificity of now. The moment – it is argued – is one of both crisis and opportunity: it raises the question as to what kind of nation we want to be, and insists that the nation’s story can be retold. We appreciated its extrapolation of the hybrid histories of the sport, its grasp of the neoliberal dynamics shaping its present, and its deft threading through of personal experience to tell the story on multiple levels”.

The winning essay has been published on the .

Nanjing Hydropolis: Broadening horizons together

Wed, 01 Apr 2026 10:35:48 +0100

The Nanjing Hydropolis Spring School took place between 22-31 March and was organised by the School of Architecture and The Confucius Institute at the University of ԰��. It aimed to offer an insight into the historic city of Nanjing and people’s life through its water infrastructure to help participants’ understanding of relationships between urban space, ecological processes and social activity.

The programme, which was open to students and recent graduates of the University of ԰��, took 16 participants into the deep ends of water infrastructure in the historic city of Nanjing. Students observed and discussed water infrastructure with planners, designers, government officials and NGOs for an exploration of the relationship between water, the city and its people.

The group was taken to many sites designed by faculty of the hosting institution, Southeast University. This included drainage pump stations on Jiangxin Island, renovation projects on Qinhuai River in Nanjing, Little Qinhuai in Yangzhou and a café on top of the pump station that allows the public access to an important infrastructure of the island. The renovation projects along the Little Qinhua River also provide public spaces like an exhibition hall, a hotel and office buildings.

Prior to the site visits, participants had the chance to hear from the designers about their design concepts and the consideration of the historic landscape and eco-system. They also visited ecological sites such as the Apricot Blossom Lake from the recycled water from Nanjing Iron and Steel Works and a small animal farm on-site. The Jiangbei Water Source Heat Pump station uses river water to provide heating and cooling to thousands of households and businesses. Seeing the river dolphins (known as Finless Porpoise) returning to the world’s third largest river, the Yantze, after extinction was the highlight of the trip for many.

Inspired by these innovative projects with the smart design and humanistic approach to water infrastructure, participants, together with their Chinese teammates, created models to reflect their observations and presented their analysis to the expert panel on the final day.

The programme attracted the attention of local media and received coverage in the Nanjing Express and the Nanjing Morning Post – with millions of views on Chinese social media.

Nanjing Hydropolis was funded by , China and the .

You Ought To Know: Simon Industrial Fellow Karen Gabay releases podcast series about Black British music histories

Thu, 19 Mar 2026 17:09:24 +0000

From January to July 2025 broadcaster and producer Karen Gabay carried out research as part of a Simon Industrial Fellowship with the and the at The University of ԰��.

As part of the fellowship Karen Gabay produced a podcast series entitled ‘You Ought To Know’ that will be published across various platforms, with the first episode premiering on 23 March 2026. Each podcast captures a conversation with musicians that have had and continue to have a significant impact on British popular music. These conversations were recorded at public engagement events as well as in intimate one-on-one settings across ԰��.

You can listen to and watch the podcast episodes on various platforms. To be notified of new episodes subscribe to Karen Gabay’s and the School of Arts, Languages and Cultures’ channel.

The first podcast is a recording of Karen Gabay’s panel event on Reggae and Dub-Poetry in the UK with Lovers Rock legend , Dub Poetry great and Reggae and Hip Hop artist in the ԰�� Museum in June 2025. This episode will premiere on 23 March 2026 at 3pm.

The second episode explores the history of Black British Gospel Music and was recorded in in Deansgate in May 2025. ԰�� musician , gospel pioneer , Mancunian vocalist and Kingdom Choir member and founder of ԰�� Inspirational Voices star in this episode to be released a few weeks later.

The third podcast episode features a conversation with renowned Soul singer-songwriter and former Ikette known for her work with Paul Weller, Peter Gabriel, and Jimmy Cliff. The recording took place across three sessions at The University of ԰�� and , the iconic home of Granada Television in July 2025.

The final episode of this series was recorded in July 2025 and features ԰�� singer-songwriter It explores how the musician’s alternative soul and R&B sound is influenced by Black British musicians and led him to pursue collaborations with soul great Jill Scott and UK artist Marsha Ambrosius of Floetry.

These episodes form the beginning of a series of conversations around the unsung legends and influential artists in the UK music industry. Future episodes will be released on Karen Gabay’s channels in the coming months. This bonus content includes in-depth conversations with the Queen of Northern Soul (Tainted Love) and earlier podcast guests Sylvia Tella and Luke Smith on their lives and work in the Black British music industry. It also features an intimate one-on-one discussion with who is considered a musician’s favourite and trailblazer in redefining Soul for British audiences.

Throughout her fellowship, Karen was able to build on her interest in uncovering and showcasing forgotten artefacts of Black music history and gained access the in the for further archival research. This allowed her to amplify the voices of those working within the UK music sector, in particular Black vocalists, and industry professionals, who have heavily impacted popular music in the UK and globally. She explored how different cultural spaces in ԰�� have played a significant role in the lives of these musicians and their path in the music industry over the decades.

Secondary outputs of the project include Karen Gabay’s reading list and a playlist providing the musical soundtrack for exploring the recent past and present of Black British music and its influences, which can be accessed .

This Simon Industrial Fellowship laid the foundations for documenting alternative music histories in the UK. It explored and applied ethical and collaborative methods of archiving personal stories of a demographic, who have suffered from experiences of institutional exclusion, absence of fair accreditation and missing commercial opportunities due to their race or geographical location. It is taking steps towards righting wrongs of the recent past and gives talented but previously overlooked creatives a platform to tell their stories on their own terms.

As such it reasserts the relevance and significance of the John Rylands’ British Pop Archive and is adding more diverse and nonetheless equally relevant archival artefacts to its catalogue. This work aligns with the University’s renewed strategic focus on archives and just archival practices to celebrate, document and bring to the fore the stories that make ԰�� the city we know today.

Look Back: Unlocking Historical Archives with AI: Opportunities and Challenges

Tue, 17 Mar 2026 18:26:48 +0000

were delighted to host , an event addressing the opportunities and challenges that AI presents to researchers and practitioners working with archives, how AI can drive greater accessibility and utility of archives for new groups of users, and what future archives might look like as a result of further developments in AI.

Hosting speakers from The University of ԰��, the , and , the event aimed to generate interdisciplinary and cross-institutional conversations about AI’s place in the present and future of the archival sector.

With the University celebrating 75 years since Alan Turing’s seminal paper Computing Machinery and Intelligence this academic year, Creative ԰�� also hosted the in the Samuel Alexander Glass Corridor. Attendees of ‘Unlocking Historical Archives with AI’ were invited to attend a private viewing of the exhibition, which spotlighted 20 early career researchers from across the University exemplifying creative research approaches to AI.

The event began with an introduction by Creative ԰�� Deputy-Director, . A round of lightning talks commenced with (Senior Lecturer of History and Library & Archive Studies), who provided an overview of how AI-powered tools such as , a cooperatively run transcription tool, are transforming the accessibility of archives, though with significant consequences for climate, data scale and research practice.

Subsequently, (Senior Lecturer in Text Mining and Creative ԰�� Theme Lead for ) presented her research on how natural language processing (NLP) can help to make ‘community-generated digital content’ (CGDC) more searchable and queryable. Focusing on the , Dr Batista-Navarro presented an approach to CGDC which uses NLP to recover valuable information often lost in its metadata.

(Professor of British History) then gave a historian’s perspective by highlighting the work of the OHOS/԰�� Histories . The ongoing project seeks to reinstate Moss Side’s Champs Camp, the UK’s first Black-led boxing gym, as a significant chapter in Black British history. Prof Barker highlighted the ethical considerations of using AI in approaching CGDC, with there being both opportunities to uncover hidden histories alongside ethical risks regarding copyright and data protection. Overall, Prof Barker concluded that researchers must take an informed, empathetic approach to using AI in archives.

An interdisciplinary perspective was once again provided by (Creative ԰�� Research Associate), who gave a demonstration of the methodological approach used in the Creative ԰��-supported . Dr Flavel gave insight into how AI models can be used to annotate multimodal data in the form of TV shows. By analysing audio, video and subtitles, researchers can conduct large-scale analysis of on-screen representation (such as Bechdel tests) with greater accuracy than simply analysing screenplays.

The round of presentations was concluded by (Professor of Italian and Director of the John Rylands Research Institute and Library), Principal Investigator of ‘’. Prof Armstrong presented takeaways from this ongoing project, which uses cutting-edge machine learning computational technologies and image matching to study the material features of the early printed page for almost the entire body of prints of Dante’s ‘Divine Comedy’.

The lightning talks were followed by a panel discussion featuring Dr Ben Wiggins, Dr Riza Batista-Navarro, Prof Hannah Barker, Prof Lorna Hughes (The University of Glasgow) and Rachel Hetherington (԰�� Histories), chaired by Dr Constance Smith. The panellists responded to some of the provocations raised in the lightning talks and further discussed what the future of archives might look like. An audience Q&A followed the panel discussion.

(Head of ) concluded the day’s programme with a talk on how the Library’s digital archives and digitisation services could enable further research innovation in this rapidly developing interdisciplinary field.

To stay informed about Creative ԰��’s work in the CreaTech theme and our other events and activities please .

New Music Takes Centre Stage as Sir John Tomlinson Performs with Hallé Youth Orchestra and Choir

Tue, 17 Mar 2026 18:15:43 +0000

and , Lecturer in Composition at the University of ԰��, both spent their formative years in rural East Lancashire, Oswaldtwistle and Bacup respectively, and their shared Lancastrian heritage and dialect inspired them to work together on new music that celebrates this region. The Wanderer – the commissioning of which was funded by the Vaughan Williams Foundation – is a song cycle for bass soloist, orchestra, and choir setting four poems by 19th century writer Edwin Waugh, who was often referred to as the .

Edwin Waugh wrote poetry in the distinct dialect of East Lancashire. Each song paints a picture of a wandering figure reflecting on first love, city versus rural life, the pain of loss, and the healing power of nature.

Sir John Tomlinson and the Hallé Youth Orchestra and Choir, conducted by Euan Shields, will premiere The Wanderer at Bridgewater Hall in ԰�� on Sunday 22 March.

Information about the upcoming premiere can be found here:

Find out more about Josh Brown’s works here:

԰�� conference to re-examine Falklands/Malvinas conflict nearly 45 years later

Wed, 04 Mar 2026 11:44:05 +0000

On Thursday 16th April and Friday 17th April, The University of ԰�� is hosting a major conference about the Falklands/Malvinas conflict.

44 years have passed, but the conflict still resonates deeply in both the UK and Argentina. Once a little-known far-flung archipelago for the British, the islands became emblematic of the UK’s pride and military strength in the face of declining post-imperial influence. For Argentines, the islands remain a unifying symbol of national identity under ‘la causa Malvinas’.

Now, as the 45th anniversary approaches, it enables us to pose and address histories, legacies and a number of questions through multiple lenses: What is the importance and legacy of the conflict forty-four years on? How have scholarly and popular works regarding the conflict and the continued territorial dispute been represented since? What is the current shape and future scope of a nascent Falklands/Malvinas scholarship?

This conference will be particularly interested in, but not limited to, media coverage and military aspects of the conflict and thereafter.

The event hopes to build upon the success of the last conference held at The University of ԰�� in 2019, and provides an opportunity for veterans from both sides, experienced and independent scholars, early career academics and postgraduate students, to share their ideas and present their research in a supportive and interdisciplinary environment.

The event seeks to draw upon researchers from across the North-West and beyond, and possibly to initiate a ‘Falklands/Malvinas Network’ that might consider further projects and publications as the 45th anniversary of the conflict draws near.

Presenting the conflict from both sides, the conference has keynote speakers including Professor Sir Lawrence Freedman, Emeritus Professor of War Studies at King’s College London, who is a leading authority on strategic theory, international history and nuclear policy, and has served as the official historian of the Falklands Campaign and adviser on major UK defence inquiries.

Also speaking will be Professor Virginia Gamba - a senior United Nations official and Special Representative for Children and Armed Conflict who has more than three decades of global experience in disarmament, peacebuilding, and human security - and Rear Admiral Jeremy Larken DSO, a Cold War submariner and senior Royal Navy commander who played a key operational role in the Falklands Campaign as Captain of HMS Fearless and Chief of Staff to Commodore Michael Clapp, the amphibious Maritime Force Commander, bringing firsthand expertise in crisis management and high-level military leadership.

Together, they represent an exceptional breadth of insight into warfare, diplomacy and strategic decision-making at the highest levels.

The full conference programme and ticket information can be found at , or you can follow @fm44conference on X (Twitter) and @fm44conference.bsky.social on Bluesky.

Conference sponsors: British Commission for Military History (BCMH), Society for Latin American Studies (SLAS) and The University of ԰��’s Student Enhancement Fund.

CreaTech Network 2026: Exploring Creativity & AI in Entertainment, Heritage, and Open Tools

Tue, 10 Feb 2026 15:48:14 +0000

The CreaTech Network series returns in 2026, led by in collaboration with and the . This three-part event series, running between February and June 2026, is designed to strengthen connections across the CreaTech ecosystem in Greater ԰�� and the North West, and to support collaboration between the University and the wider creative and cultural industries community.

The theme of this year’s series is Creativity and AI, exploring how artificial intelligence is shaping creative and cultural practice. Across a series of in-person events, the programme brings together researchers, creatives, technologists, and industry partners to examine emerging opportunities and challenges. The 2026 series will focus on AI in entertainment, cultural heritage, and free and open-source tools.

If you’re curious about what’s coming in 2026, take a look back at previous CreaTech Network events from 2024 and 2025, which explored AI across music, publishing, fashion, and other creative areas. Those past programmes show the exciting mix of ideas, collaborations, and experiments that have shaped the Network and give a hint of the conversations and creativity to expect this year.

Creativity and AI: Entertainment

🗓️🕒 Thursday 26 February l 14:30 - 17:00
📍Contact Theatre, Space 0, Oxford Rd, ԰�� M15 6JA

The first event of the 2026 CreaTech Network Series will focus on how AI is currently being used across the entertainment sector, particularly in film, television and games. It will look at practical uses of AI in areas such as animation, screen production and creative workflows, alongside some of the challenges this raises for creative practice.

Hear from academic and industry speakers in short lightning talks, followed by a panel session and an open Q&A inviting audience participation.

Creativity and AI: Cultural Heritage

🗓️🕒 Thursday 30 April l 14:30 - 17:00

The growing use of AI in cultural heritage raises important questions around data, ethics and partnership. This event examines how galleries, libraries, archives and museums are working with AI, and the implications for practice.

Creativity and AI: Free and Open-source AI Tools and Platforms

🗓️🕒 Thursday 25 June l 14:30 - 17:00

What role do free and open-source AI tools play in creative and cultural practice today? This event examines how open technologies enable collaboration and shared innovation.

International Mother Language Day 2026: A series of events celebrating language diversity

Tue, 03 Feb 2026 16:27:06 +0000

(IMLD) 2026 takes place on Saturday 21 February, with an exciting programme of local celebrations announced by and their partners.

This year will be the 10th International Mother Language Day observed in Greater ԰��, a celebration of the cultural diversity and vast number of languages spoken across the city region.

, one of the University’s research platforms, will offer a series of events to mark the occasion in collaboration with partners and colleagues. All events are free to book, and all are welcome.

19^th February 2026 - - Join the Language Society and the International Society in the Student’s Union to celebrate International Mother Language Day with an international language exchange! This event will be a great chance to meet new people whilst speaking together in a new or familiar language. There will be optional activities including zine making for you to join in with, centred around the theme of languages and the linguistic diversity of our community. The event will take place from 2pm in The Nest.
21^st February 2026 - - Join the for a talk by Dr Serge Sagna, Prof. Tine Breban and Dr Simone de Cia to mark International Mother Language Day 2026. This talk centres around the multilingual public signs found across towns and cities, and what they tell us about language domination and language policy in ԰�� and beyond. This event will be held in ԰�� Museum from 11am – 12pm.
21^st February 2026 - The invites you to a free, family-friendly language themed trail around ԰�� Museum to celebrate International Mother Language Day 2026. Grab your activity sheet and follow the language-themed trail around the museum’s enchanting collections, thinking about your own language(s) along the way.

To find out more about International Mother Language Day and the city’s celebrations, visit the .

Classical Association Conference, ԰��, April 2026

Tue, 03 Feb 2026 13:41:04 +0000

The University of ԰��, with the ԰�� Metropolitan University, will jointly host the from 10^th-12^th April, 2026. The Classical Association's Annual Conference is the largest UK annual meeting of professional researchers and educators within ancient world studies.

The conference will host workshops on how the classical past can help us address the challenges and pressing problems facing our planet and global society. The conference Presidential Address from ancient historian and broadcaster Professor , and Keynote Interview with the scholar Professor Jo Crawley Quinn, will showcase our commitment to knowledge exchange and public engagement.

Radical measures needed to close arts class gap in Greater ԰��, inquiry finds

Mon, 26 Jan 2026 10:00:00 +0000

Working class creatives are struggling to break into and are leaving the arts, a new inquiry has warned.

, led by Chancellor of The University of ԰�� Nazir Afzal OBE and Avis Gilmore, former Deputy General Secretary of one of Europe’s biggest trade unions, found that barriers preventing working class talent from succeeding included class-based discrimination, low pay, a lack of connections and exploitative practices.

Less than half of creatives surveyed (44%) said they earned enough to make a living, with many requiring second jobs; 51% of respondents said they had experienced bullying, harassment or bias based on their social class; just 18% of respondents said they saw their lived experiences widely represented in the art form they practice and only 22% said they personally knew anyone working in the arts when they were growing up.

Featuring over 150 hours of interviews with artists ranging from teenage musicians and mid-career arts workers to globally recognised playwrights and BAFTA and Emmy winning screenwriters, the Inquiry found anger, despair and seeds of hope in the voices they heard.

Co-Chair Nazir Afzal OBE, who is also the Chair of the Lowry theatre, said this was an opportunity for Greater ԰�� to lead the way on a national challenge and build a better sector “where talent is discovered everywhere, nurtured properly, paid fairly and allowed to rise.”

Among the Inquiry’s 21 recommendations are measures to include class as a protected characteristic, the appointment of a Class Champion, a drive to increase apprenticeships, measures to decasualise labour and a co-ordinating body led by the GMCA to marshal resources, spot gaps and join up best practice.

Although the Equality Act does not recognise class as a protected characteristic, Afzal said that ԰�� should look to unilaterally recognise people from working class backgrounds as having protected characteristics. “As a former prosecutor, I have seen our region do this before,” he said. “When Sophie Lancaster was killed, Greater ԰�� Police broke new ground by offering people from alternative sub-cultures hate crime protection – and other police forces eventually followed suit. This was the right thing to do and we need to be equally bold. Because we are not going to break down barriers that are crushing creativity until we build an arts sector that treats class as a core inclusion issue.”

But as well as highlighting structural failings, the Inquiry also shines a light on many changemakers who are working hard to widen participation and make a difference. Co-chair Avis Gilmore said she was particularly inspired by institutions like the Co-op stepping up on the back of the report to campaign for more apprenticeships. “I’m thrilled that the Co-op has agreed to lead a campaign to significantly boost creative apprenticeships in our region,” she said.

Claire Costello, Chief People and Inclusion Officer at Co-op explained: “Our Co-op believes everyone, whatever their background, should be able to access opportunities in the arts and creative sector throughout Greater ԰��. Apprenticeships can provide a ‘stepping stone’ for future careers, that’s why Co-op is encouraging Greater ԰�� employers to share unspent apprenticeship levy funds to raise £3 million over 3 years to support 200 new apprenticeships in the arts and creative sector throughout Greater ԰��.”

The inquiry’s findings are being launched on January 26^th at an event at the Whitworth Art Gallery at The University of ԰�� in collaboration with research platform Creative ԰��, where the Mayor of Greater ԰��, Andy Burnham, is due to speak.

The report can be downloaded .

Challenge accepted: Alex Shaw’s Ten Years as a Dementia Awareness Ambassador

Thu, 22 Jan 2026 11:37:55 +0000

In December 2025, Alex Shaw, Arts Administration Manager at the Martin Harris Centre, received a certificate celebrating her 10^th Anniversary volunteering as a Dementia Friends Ambassador for the Alzheimer’s Society.

In that time, she has created 632 Dementia Friends, and run 40 Dementia Friends Information sessions at the , the Faculty of Science and Engineering, ԰�� Royal Infirmary, Chorlton Park Primary School, the 6th Chorlton-cum-Hardy Brownies and 6th Chorlton-cum-Hardy Guides, and in her local community. Alex has also held a cupcake sale, raising over £560 for the Alzheimer’s Society.

The University’s new fundraising and volunteering campaign, Challenge Accepted, encourages colleagues to get out into the local community and make a difference - every action helps build momentum. Alex has used some of her to deliver Dementia Friends info sessions in her community.

Alzheimer’s Society’s Dementia Friends initiative is all about increasing people’s understanding of dementia and inspiring everyone to make a difference for people affected by the condition in their communities. To become a Dementia Friend you'll learn more about dementia, how it can affect someone and the small ways you can make a difference in your communities. If you are interested in learning more or would like to join the existing 3,865,882 Dementia Friends in the UK, please visit or email Alex at alex.shaw@manchester.ac.uk.

New Funding to Catalyse Devolved Cultural Policy Making: The Mayoral Authorities Creative Health Network

Tue, 20 Jan 2026 09:00:00 +0000

Working with the Mayoral Authorities Creative Health Network (MACHN), convened by Greater ԰�� Combined Authority and Greater London Authority, the network will map policy alignment and challenges across mayoral areas and establish a first of its kind framework for embedding creative health for growth into devolved strategy. The project is titled ‘’.

2026 Co-Lab Policy Network Awards

The programme based at has today announced the results of the 2026 : an ambitious intervention to reorientate place-based cultural policy making in a new context of and the .

The awards mark a pivotal opportunity to deliver devolution and community-led innovation not just as buzzwords, but as practical tools for better place-based policymaking. Together, the four awards mark a timely shift in how we understand innovation, community, and collaboration across the UK.

The programme will fund 4 new to support innovative cross-sector cultural policy networks in devolved nations and regions of the UK.

Co-Lab Policy Network Awards 2026

The Co-Lab Policy Network Awards will create new spaces for deliberation on complex cultural challenges and opportunities—from culture-led regeneration to creative health—building devolved policy infrastructure that will enable better outcomes. The networks will work across sectors to ensure that people in devolved settings become not just participants in policy but the co-creators of it.

The AHRC Creative Communities programme will bring the four networks together to host a devolution and cultural policy summit in December 2026. The programme will publish a Policy Priority Paper from each network award in March 2027. The papers will make new policy recommendations direct to devolved administrations to strengthen delivery and create new capacity for devolved policy exchange within and between the nations and regions of the UK.

About Creative Communities

is a major multi-million pound research programme based at Northumbria University in Newcastle. The investment builds a new evidence base on how cultural devolution can enhance belonging, address regional inequality, deliver devolution, and break down barriers to opportunity for communities in devolved settings across all four nations of the UK.

Music Department hosts 'Re:locating the Arts' event with researchers and leading industry partners

Thu, 15 Jan 2026 11:43:24 +0000

On 4th November, the University’s Music Department hosted Re:locating the Arts, a symposium which explored research and current practice on themes of location in the output of arts organisations, co-organised with partner organisation ԰�� Camerata. With contributions from academia, postgraduate researchers, and professionals working in industry, the event provided an opportunity for a disciplinary diverse range of voices to interrogate current thinking around the role of geographical location in designing and delivering effective arts programmes.

With representatives from theatre, music, orchestral production, and music education, the event began with a roundtable discussion that examined routes to finding a home within a community. Presentations covered a breadth of topics spotlighting current initiatives and relocations in arts organisations; experimental AI in collective practice; festival partnerships; the positioning of the arts within (and by) universities; civic capital in classical music outreach projects; ethics, rights, and regulations in the University of Sheffield’s Access Folk’s participant-led research; and preliminary findings from the University’s research partnership with English National Opera.

This symposium was the third in an ongoing series of Think Tank events, in which themes emerging from a collaborative PhD project are discussed and interrogated by a diverse range of voices and disciplines. The Think Tank series will continue in 2026 with an event focusing on the theme which was considered the most urgent for further interrogation: community.

This event was funded by the North West Consortium Doctoral Training Partnership, part of the Arts and Humanities Research Council. Thanks also to Creative ԰�� for their generous support.

For more information on the Think Tank series, please email Rebecca.parnell@manchester.ac.uk

Researchers awarded funding from Schmidt Sciences for 'Envisioning Print with AI Computer Vision' project

Tue, 16 Dec 2025 11:06:03 +0000

The project aims to teach computers to identify differences between examples of early printed documents and artworks, that is, to be able to discover minute instances of difference in otherwise-identical prints from the same printing surface. It explores whether computers ‘see’ books and prints the same way as people do, and asks whether the algorithm sees (or indeed, can see, or can be made to see) the same way as humans.

The researchers aim to develop AI tools that can understand the differences between multiple versions of prints throughout history, allowing scholars to understand how early imagery was made and circulated, along with the practices of printers and their workshops.

The team consists of (Professor of Italian and Director of the John Rylands Research Institute at the University of ԰��); (Professor of Computer Science and Head of Engineering Research at the University of ԰��); (Head of the Digital Development Team at the University of ԰�� Library); (Senior Software Developer in the University of ԰�� Library’s Digital Development Team); (Senior Researcher in Digital Humanities at the University of Oxford); (Royal Society Research Professor and Professor of Computer Vision Engineering at the University of Oxford); and (Software Engineer at the University of Oxford).

Professor Richard Curry, Vice-Dean for Research and Innovation in the University's Faculty of Science and Engineering, said: "It's fantastic news that the ԰��-led project Envisioning Print with AI Computer Vision, has been selected for this Schmidt Sciences award. This project is an exemplary, highly interdisciplinary collaboration between humanities researchers and computational experts, and its cutting-edge mixed methodologies will shape future innovation with real-world impacts in line with the University's ԰�� 2035 ambitions."

Wendy Schmidt, co-founder of Schmidt Sciences, added: “Our newest technologies may shed light on our oldest truths, on all that makes us human – from the origins of civilization to the peaks of philosophical thought to contemporary art and film, Schmidt Sciences’ Humanities and AI Virtual Institute (HAVI) is poised to change not only the course of scholarship, but also the way we see ourselves and our role in the world.”

Schmidt Sciences has awarded $11 million to 23 research teams around the world who are exploring new ways to bring artificial intelligence into dialogue with the humanities, from archaeology and art history to literature, linguistics, film studies, and beyond. As part of the Humanities and AI Virtual Institute (HAVI), these interdisciplinary teams will both apply AI to illuminate the human record and draw on humanistic questions, methods, and values to advance how AI itself is designed and used.

Schmidt Sciences is a nonprofit organisation founded in 2024 by Eric and Wendy Schmidt that works to accelerate scientific knowledge and breakthroughs with the most promising, advanced tools to support a thriving planet. The organisation prioritises research in areas poised for impact, including AI and advanced computing, astrophysics, biosciences, climate, and space – as well as supporting researchers in a variety of disciplines through its science systems program.

Creative ԰�� Showcases Student Research and Celebrates University Collaboration at BEYOND Conference 2025

Fri, 05 Dec 2025 15:18:30 +0000

For the second-year running, was one of the partners for the , engaging with industry leaders, researchers and artists from across the creative sector. The conference provided an opportunity to explore applications of and research into CreaTech and build collaborative links across the UK.

One of the highlights was Professor John McAuliffe, Creative ԰��’s Platform Director, taking part in the panel discussion “Civic, Creative and Cultural: University Collaboration”. The session brought together members of the , including Professor Kirsty Fairclough (School of Digital Arts, ԰�� Metropolitan University), Dr Sam Ingleson (University of Salford) and Professor Wiebke Thormählen (Royal Northern College of Music). Together, they demonstrated how universities are helping to create a more connected, creative and equitable city-region through strategic partnerships and cultural engagement.

Creative ԰�� also invited three PhD students and their supervisors along to BEYOND for their CreaTech Student Research Showcase. The showcase, located among many other exciting product and research demos in the Immersive Futures Lab, featured the students’ PhD research and celebrated the University of ԰��’s vibrant postgraduate research community. These projects show how creative technology can tackle real-world challenges across diverse industries:

- PhD in Electroacoustic Music Composition
Stream of Strings explores embodied music cognition, blending cultural heritage with creative technology to create motion-responsive performances and visual works. The project reimagines the ancient Chinese Guqin as an interactive instrument for live performance and public engagement. She is supervised by .
- PhD in Electroacoustic Music Composition
Data Sonification for Algorithm Behaviour uses sonification, the mapping of non-auditory data into sound, to better understand how optimisation algorithms work. This approach advances mathematical research while inspiring educational tools and musical compositions. He is also supervised by Professor Ricardo Climent.
- PhD in Computer Science
ReflectanceFusion is a neural text-to-texture model that generates editable, relightable materials from text prompts. It enables precise control of physical attributes, producing highly accurate textures for rendering and material design. He is supervised by .

The showcase sparked lively conversations among attendees, with many playing the Guqin virtually via a Leap Motion Controller and others listening to the beats generated by algorithms being solved in real time. Not only did the students get to practise their pitching skills, but they also found partners for onward collaboration and learning. It was great to see how the next generation of researchers and business partners can come together and seize opportunities for R&D.

More content from BEYOND 2025 will be shared soon, but to get an idea of the atmosphere at this special conference.

New study exposes how conspiracy theories go mainstream across Europe

Tue, 02 Dec 2025 09:00:00 +0000

New pan-European research has shown that the spread of conspiracy theories across the continent is driven by a continuous feedback loop between media reporting, political rhetoric, protest movements and social media algorithms - not any single cause.

The involves 14 researchers from across Europe, and it has examined how conspiracy theories take shape differently in the UK, German-speaking countries, the Balkans, the Baltics, Slovakia and Poland. Their findings highlight that conspiracy narratives reflect the political cultures, histories and social tensions of each region, meaning that approaches to tackling them must be tailored rather than imported wholesale from elsewhere.

A key theme across the reports is the feedback loop that enables conspiracy narratives to circulate. Even when politicians or media outlets refer to a conspiracy theory to debunk it, the resulting attention helps it spread further via social media amplification and mainstream exposure. This blurring of online and offline spaces allows fringe ideas to influence political rhetoric, as seen in Europe-wide variations of the “Great Replacement” narrative.

The research also explores how conspiracies evolve in response to local concerns. In the UK, anxieties around Covid-19 restrictions fed into narratives about “15-minute cities”. In German-speaking countries, stigma around conspiracism has pushed much of it to the online sphere. In the Baltics and the Balkans, the legacy of foreign occupation, conflict and surveillance shapes suspicion of elites and fuels a sense of victimhood. Conspiracy theories in Poland and Slovakia frequently target gender and LGBTQ+ rights, often influenced by US culture-war narratives.

The reports identify a lack of evaluation of initiatives designed to counter disinformation. Some fact-checking and NGO efforts themselves become targets of conspiracist suspicion, undermining trust and the stability of their funding. Nevertheless, media literacy campaigns, debunking and fact-checking each have a role to play when adapted to national contexts.

In the UK, the REDACT team argues that the current Online Safety Act does not go far enough. Unlike the EU’s Digital Services Act, it does not explicitly address health misinformation, election-related disinformation or AI-generated content, leaving gaps in the regulation of systemic risks.

Ultimately, the project concludes that tackling conspiracy theories requires more than closing individual online channels. Efforts must address the structural political and social conditions that allow conspiracist narratives to flourish, as well as the business models that incentivise sensational content. The researchers urge a move away from simply asking why the public lacks trust, towards making institutions genuinely worthy of trust.

HCRI Anthropologist Recognised with Top Feminist Scholarship Award for Groundbreaking Work on Kashmir

Thu, 27 Nov 2025 15:49:38 +0000

, Lecturer in Disasters and Climate Crisis at the , has won the Gloria Anzaldúa Book Prize for his monograph,

Widely regarded as one of the highest honours in the field of feminist studies, the prize is named in tribute to renowned Chicana poet, feminist theorist, and writer Gloria Anzaldúa. It is awarded annually to groundbreaking monographs that significantly advance multicultural feminist research, particularly within Women’s, Gender, and Sexuality Studies.

The National Women’s Studies Association announced the award at its annual conference in San Juan, Puerto Rico, in November.

The jury described the book’s contributions as follows:

“Atmospheric Violence: Disaster and Repair in Kashmir offers incredible insights and invitations as we take up [the author’s] question: ‘how we can operate in ways that warp the distance between the academy and community, expert and subject, story and theory, life and poetry’? [The] generous, incisive, beautifully written and visual work informs a lyrical and generative text that is disobedient to the colonial disciplines of extraction normalized in the infrastructure of knowledge production. Atmospheric Violence enriches the depth of Women’s, Gender, and Sexuality studies in [its] offering of rich and complex ethnographic scholarship that continually asks readers pause and reframe the role of the researchers, modalities of living and erasure, and the ever-present question of the politics of our location before we can even fathom a response to ‘Who Can Stand with Kashmir?’ [We] thank [the author] for inviting us to pause and delve into these rich scenes of an otherwise.”

This is the fifth international award the monograph has won since its release last year.

Watch: Interdisciplinary Research Case Studies 2025

Thu, 27 Nov 2025 11:26:01 +0000

As one of the University’s four platforms, Creative ԰�� convenes, develops and sustains interdisciplinary research communities across all three faculties and connects them to strategic partners in Greater ԰��. Fostering interdisciplinary research lies at the heart of the University’s goals and informs Creative ԰��’s focus to support and enable research projects that span from vastly different corners of the University.

The Creative ԰��-affiliated projects featured in the videos are:

– with Dr Anke Bernau, Dr Aurora Fredriksen and Dr Ingrid Hanson
– with Dr Riza Batista-Navarro and Dr Tom Flavel
– with Prof Laura Black and Keisha Thompson
– with Dr Ahu Gümrah Parry

These short films provide insights into the world of interdisciplinary research, including project team composition, the participants’ experiences of interdisciplinary work and working with the Creative ԰�� platform. They are designed to inspire potential interdisciplinary pump-priming applicants who are looking to find out more about successful interdisciplinary research projects.

University of ԰�� hosts unveiling of 2026 BRIT Awards Trophy

Thu, 20 Nov 2025 13:28:59 +0000

The University of ԰�� proudly hosted the unveiling of the official 2026 BRIT Awards trophy design at the University’s , marking a major cultural moment as the BRITs prepare to be hosted in ԰�� for the first time in their history.

The trophy, designed by internationally acclaimed ԰��-born designer was unveiled during a special event celebrating both the city’s creative heritage and the University’s role as a hub for arts, design, music and performance. The University of ԰��’s , home to the renowned - the UK’s first large-scale, dedicated collection for the preservation and study of popular, counter- and youth culture - helped frame the significance of the occasion.

At the event, attended by fashion, music and drama students from across the University, guests witnessed the first public reveal of the iconic trophy and took part in an in-depth Q&A with Williamson. The conversation, led by , Head of Collections, Teaching and Research at the John Rylands Library, offered students and attendees unique insight into the designer’s creative process, his career journey, and what it means to see the BRITs come to his home city.

Williamson’s design draws deeply from ԰��’s identity. Crafted in amber-toned resin reminiscent of the golden honey of the worker bee, the city’s enduring symbol of resilience, the trophy sits atop a globe representing the global reach and influence of British music.

Heather Cole from the John Rylands Research Institute and Library added: “It was a privilege to host Matthew Williamson and introduce our students to the creative thinking behind this year’s BRITs trophy.

At the John Rylands Library, and through the British Pop Archive, we are committed to preserving and celebrating the cultural movements that shape British identity. Seeing a ԰��-born designer lead this new chapter of the BRIT Awards resonates strongly with our mission, and it was inspiring to give students direct access to such an influential figure.”

, taking place on Saturday 28th February at ԰��’s , marks the first time the ceremony will be hosted outside London. This year’s trophy places ԰�� and the University, firmly at the centre of the BRITs’ new era.

Matthew Williamson joins a distinguished list of creatives who have shaped the BRITs trophy, including , , , , , , , . Each year, the BRITs commission a leading artist to reinterpret the iconic statue, ensuring it remains a dynamic symbol of British creativity.

As the BRIT Awards begin their first-ever chapter in ԰��, the University’s involvement underscores its commitment to celebrating and fostering the city’s rich cultural landscape while offering transformative experiences for its students.

New Creative ԰�� report explores workforce challenges in ԰��’s cultural sector

Mon, 27 Oct 2025 13:57:26 +0000

With recently launching a new cultural strategy for the city: Always Everywhere (2024-2034), the set out to offer key insights into the current issues facing ԰��’s cultural workforce. In line with the strategy’s renewed focus on equality, diversity and inclusion, the fellow undertook a deep dive into issues relating to workforce diversity, recruitment, retention, talent development and skills.

Through 25 interviews, and two stakeholder roundtables with senior leaders, emerging leaders, and employment support practitioners from cultural institutions of different sizes, the research sought to highlight the perspectives of the sector, whilst identifying sector-needs in terms of building a more equitable and diverse leadership cohort.

The study’s key findings reveal that despite the widespread uptake of EDI initiatives and workforce development interventions, there are still stark inequalities around diversity and leadership in ԰��. The issues range from challenges diversifying the leadership cohort; to problems attracting, recruiting, developing and retaining emerging leaders from diverse backgrounds; to widespread experiences of isolation in leadership; to skills gaps relating to fundraising, digitalisation, and pastoral support; to mental health issues and the wider care crisis; to challenges around responding to polarised political debates.

The study highlights how this is a sector which not only acknowledges these problems, but they are also pushing forward numerous initiatives, policies, and workstreams in their endeavours to cultivate workplaces where minoritised groups can thrive. Yet, the conversations also indicate how the sector is faced by innumerable wider structural and cultural barriers, as detailed in the report.

This is a difficult context. However, despite the ongoing structural challenges facing the sector, something needs to be done. This report puts forward five key recommendations which offer a route to broadscale positive change in ԰��’s cultural industry. These recommendations make use of several ԰��-specific opportunities - namely, the close-knit ties between organisations, the context and tone of the new cultural strategy, and the desire for deeper cross-institutional collaboration around EDI.

Recommendations

Encourage a new network of cultural leaders – this network should take a focus on including and developing minoritised leaders and organisations in ԰��.
Create a formalised ԰�� mentorship scheme – to focus on including leaders from diverse backgrounds, and facilitated by collaborative efforts between the new network of cultural leaders, the Always Everywhere Arts HR Working Group, and the Oxford Road Corridor culture network.
Facilitate joined-up coaching provision across cultural organisations - as part of the commitments of the new cultural leader’s network and The ԰�� Cultural Consortium – sharing skills, expertise, and building networks for emerging leaders from diverse backgrounds.
Mid to high-level training schemes/placements for emerging leaders – supported by ԰�� higher education providers and skills development providers in the city, including Factory Academy and others. Training should take a focus on supporting leaders from diverse backgrounds, understanding their specific development needs, and creating bespoke and tailored programmes of support.
Develop a joined-up EDI model – creating frameworks for organisations to home in on and share expertise in specific areas of EDI and workforce support.

Curran-Troop, H (2025). . The University of ԰��/Creative ԰��.

԰�� Students Take Their First Steps to Becoming Entrepreneurs at Startup Weekend 2025

Mon, 27 Oct 2025 13:50:00 +0000

140 students from across the University of ԰�� took part in Startup Weekend 2025 (24th–26th October), a three-day entrepreneurship event hosted by the Masood Entrepreneurship Centre (MEC).

Aurore Hochard, Director at MEC, brought Startup Weekend to the University of ԰�� in 2024, shortly after joining the team. Following the huge success of the very first Startup Weekend initiative, it has since become a flagship event at the Masood Entrepreneurship Centre, championing entrepreneurship among students across the university.

This year’s event, organised by Joana Carneiro (Enterprise Innovation Administrator at MEC) and Izzy Paton (Operations Administrator at MEC), brought together industry experts, speakers, and mentors to spark and celebrate entrepreneurship, showcasing both emerging and established talent.

Across the weekend, participants pitched ideas, formed teams, and developed startup concepts with guidance from experienced mentors and industry leaders, wrapping up the weekend with a live pitch event in front of a panel of expert judges.

The event opened with inspiring talks from Aurore Hochard and Farah Frikha, Founder of Vesta Capsules and MEC alumna, followed by rapid-fire 30-second pitches and team formations.

Throughout the weekend, participants learned how to identify customer needs, validate business concepts, and apply entrepreneurial thinking to solve real-world problems.

Saturday focused on turning ideas into viable products and business models, with hands-on workshops including “Building the Startup Team” led by Dr Rob Martin, Lecturer in Enterprise and Entrepreneurship at MEC.

Tom Parson, Founder of Big Echo, led “Blank Page to Big Idea: Unlock Startup Ideas with AI”, a session on using AI to spark creativity and accelerate the ideation process, helping students transform concepts into viable business ideas.

Jorge Servert, Founder of Sensium, led “Developing the Right Product or Service”, a practical session guiding students to define and build their product or service based on real market needs, while also creating their first business plan using MEC’s startup template.

On Sunday, teams perfected their business ideas through sessions like “Marketing & Acquiring Customers” with Eleni Chiarapini, Lecturer in Entrepreneurship at MEC, and “Personal Branding for Startups” with Coralie Watson, Founder of Theme Socials.

Lastly, students worked on their pitches in “Pitch Perfect” with Julia Spencer, Acceleration Manager at NatWest Corporate Banking. Julia shared industry experience and insight on what investors are really looking for in a pitch and how to make an idea stand out.

The weekend wrapped up with final presentations to a judging panel featuring Professor Lee Pugalis (Deputy Director of MEC), Travis Ralph-Donaldson (Innovation Discovery Manager at the University’s Innovation Factory), Stephen Sankson (Regional Director at NatWest Corporate Banking), and Jenny Oliver (CEO and Founder of Biora Nature Tech).

The event concluded with an awards ceremony recognising the top-performing teams and their innovative ideas:

First place went to Veila, a clothing brand redefining modest fashion, led by Sabrinel Takheroubt (AMBS, Faculty of Humanities) alongside Nishita Chatlani, Yutong Song, Danna Castañeda, and Eleanor Alphonso (all AMBS and Faculty of Humanities students). The team received £3,000 to continue their journey to market, focusing on direct-to-consumer growth and online marketing.

Second place was awarded to DecoRent, a decoration rental service for short-term stays in ԰��. The team, Stella Zhuoyue Ji Chen (AMBS), Mollie Levitt (School of Arts, Languages and Cultures, Faculty of Humanities), Benya Irlam (AMBS), Yaowen (Stephen) Hu (AMBS), and Chaerin (Devon) Son received £2,000 to help expand their mission of bringing cosy, functional spaces to students across the city.

Highly Commended went to isitUp, a speculative market app for investing in people’s relationships, led by Isaac Batho (School of Engineering).

In total, 20 new business ideas were formed over the weekend, showcasing the entrepreneurial energy of ԰��’s student community and representing students from across all three faculties, Humanities; Science and Engineering; and Biology, Medicine and Health.

Throughout the weekend, participants were supported by a dedicated group of mentors offering one-to-one advice and feedback, including Oladabola Babalola (Babz), Fernando Torres, Harry Panter, Sergio Gutierrez, Luke Marden, Jonghun Lee, Rick Watson, Ramin Esmaeilzadeh, Huw James, and Leigh Wharton.

About the Masood Entrepreneurship Centre:

The Masood Entrepreneurship Centre (MEC) is the University of ԰��’s focal point for enterprise and entrepreneurship teaching, learning, and startup support. MEC helps students, researchers, and alumni turn ideas into real-world impact through workshops, mentorship, and venture programmes.

Learn more at:

University of ԰�� Modern Languages Academic wins 2025 Philip Leverhulme Prize

Wed, 22 Oct 2025 13:01:04 +0100

(SALC) at the University of ԰��, has been awarded the in the Languages and Literatures category. The Leverhulme Trust administered awards commemorate the work undertaken by Philip, Third Viscount Leverhulme and grandson of William Lever, founder of the Trust.

The prize recognises the celebrates the achievements of outstanding researchers whose work has already attracted international recognition.

Dr Pulford, who has been awarded £100,000, was selected for his multilingually-grounded ethnographic and historical research in East Asia and the former-Soviet Union. Building on degrees in both modern languages and anthropology, Ed’s work has explored everyday experiences of socialism and empire across national and ethnic borders in different parts of Eurasia. He has published extensively on China-Russia relations and cross-cultural understandings of time, ethnicity and 'friendship', including in two books entitled Mirrorlands (2019) and Past Progress (2024).

Professor Maggie Gale, Vice-Dean of Research, Faculty of Humanities added: “We are extremely proud of Ed and his achievement and look forward to the advancement of his research and impact.”

Professor Anna Vignoles, Director of the Leverhulme Trust, said: “We continue our centenary celebrations with the announcement of this year’s prize winners. The Trust is delighted to support them through the next stage of their careers.

The breadth of topics covered by their research is impressive, from landscape archaeology to biomolecular mass spectrometry, applied microeconomics to adaptable wearable robotics, and pyrogeography to critical applied linguistics. Selecting the winners becomes increasingly challenging year-on-year due to the extraordinarily high calibre of those nominated.

We are immensely grateful to the reviewers and panel members who help us in our decision-making.”

Demonstrating the Progress of ԰��’s First Venture Builder Cohort

Mon, 13 Oct 2025 14:48:46 +0100

On Wednesday 8 October at Sister ԰��, The Masood Entrepreneurship Centre (MEC) hosted the inaugural Venture Builder Demo Day.

11 student and graduate founders from across The University of ԰�� gave compelling 4-minute pitches to an audience of investors, local ecosystem partners, stakeholders, and peers – demonstrating innovative solutions to real problems across diverse sectors.

They each developed their products and services on the ԰�� Venture Builder – MEC's 12-week programme of structured support to help entrepreneurs test and validate their idea, build an MVP and gain real traction on their journey to market-readiness.

Mohamed Abbas (Venture Builder Manager, MEC) emphasised the importance of collaboration between organisations and individuals in supporting emerging young founders:

After the pitches, startups and guests gathered for the showcase and networking – an opportunity to ask questions, share ideas, and build connections.

The ventures showcased were:

SpinOr – Compact superconducting quantum computers.
PeerMatch – Building the platform where humanity's next breakthrough begins.
AquaMinds – AI-powered early warning system for fouling in water treatment plants.
Vesta Capsules – Offering safe sleep anytime, anywhere through stackable, weatherproof, and modular pods inspired by Japanese capsule hotels.
ARDHANN – AI-powered next-gen composite materials for Energy, Space and Defence.
Gynomics – Harnessing computational biology and machine learning to drive predictive and preventative care in women's reproductive health.
Ecotrace – Plug-and-play circularity SaaS to extend the lifecycle of consumer goods, improve customer experiences, and help manufacturers meet tightening regulations.
Synkit – Wellness app helping employers support female staff through cycle-synced lifestyle.
Waddle – Spontaneous small-group meetups for students seeking real-world connection.
UniSights – Platform for Latin American schools to connect students with UK universities.
TerraIQ – AI-powered farm optimisation platform for smallholder farms to unlock sustainability-linked revenue.

We would like to congratulate all the startups who participated in the Demo Day for reaching this key milestone and we are excited to follow their growth and continued success.

MEC is the University’s focal point for enterprise and entrepreneurship, offering opportunities for all current students, recent graduates and staff. Our vision is to create an ecosystem that nurtures innovators and fosters startups, driving global impact.

You can find out more on our website . If you are interested in supporting our entrepreneurs with your expertise or investment, please get in touch with our team.

Art History students publish their first Special Issue

Fri, 10 Oct 2025 12:00:00 +0100

We are delighted to share this Special Issue on video art, the first Special Issue brought together by art history students as part of our art history blog, Dispatches in Art History, here at the The University of ԰��.

The theme was chosen by students, and was also shared in a 'video art showcase' event in February this year, organised by then-third year art history student Francesca Boulad.

Fran introduces the Special Issue here:

It features four posts:

1)
Second year Art History student Leni Cadle considers an undersea dystopia in digital video work by Migues Soares

2 )
Fran investigates the strange argument that seems to unfold as this iconic video work progresses - how should we feel in the encounter with this video artwork?

3)
Second-year student Leni Cadle grapples with fast food realities and manipulated desires in video work by Ed Atkins

4)
Digital Humanities Lecturer (and editor of Dispatches in Art History) Claire Reddleman reflects on treasuring 'crap' content from the early internet (with music from Cutting Crew)

New research sheds light on Britain’s forgotten role in the French Resistance

Wed, 08 Oct 2025 10:25:56 +0100

New research by Dr Laure Humbert from The University of ԰�� and Dr Raphaële Balu from Sorbonne University has revealed how Britain’s vital contribution to the French Resistance during the Second World War was largely forgotten in France - and why this silence lasted for decades.

The study, published in French journal as part of a special issue on ‘Les invisibles de la Résistance’ [the invisibles in the Resistance] edited by Professor Claire Andrieu, highlights the many ways British men and women supported the Resistance - from sending secret agents behind enemy lines to working side by side with Free French forces in mobile hospitals - and explores why this contribution was not officially celebrated in the aftermath of war.

One striking example is the story of the Hadfield Spears hospital, a Franco-British medical unit set up in 1940 by American philanthropist Mary Spears and Lady Hadfield, with support from the Free French in London. Staffed by British nurses and doctors alongside Free French medics, the hospital followed the troops across campaigns in the Middle East, North Africa, Italy, and finally France. It treated thousands of wounded soldiers and became a symbol of cooperation between the two nations. But in 1945, just after the victory parades in Paris, the unit was suddenly dissolved. Official recognition never came, and its story slipped into obscurity.

Another case examined is that of the Special Operations Executive (SOE), the British service that parachuted around 1,800 agents into occupied France. These men and women risked their lives to arm and advise Resistance fighters, often building strong friendships with local groups. But as liberation came, Charles de Gaulle, keen to re-establish France’s independence, dismissed several of these agents in person. Their contribution, once celebrated in Britain, was gradually erased from French accounts of the Resistance.

The study shows that this sudden “falling-out” in 1944-45 was not only about personalities, but also about sovereignty and post-war politics - the result was a long-lasting “invisibility” of Britain’s role in French collective memory.

While in the UK the exploits of SOE agents became the stuff of books, films and television dramas, and while the Hadfield Spears unit appeared at the BBC, in France these same stories were largely absent from official commemorations.

Mission Research: The University of ԰�� awarded one of the UKRI Community Innovation Practitioner Awards

Mon, 29 Sep 2025 14:16:35 +0100

Ruth Flanagan will work with Cartwheel Arts as Community Innovation Practitioner (CIP) during 2025-2026.

The , funded by the UKRI Arts and Humanities Research Council (AHRC) and led by Northumbria University, has extended its signature award, the , for a new 2025-26 cohort. This represents an investment of nearly £500,000 to catalyse place-based innovation across all 4 nations of the UK research ecosystem.

The AHRC Creative Communities programme examines the role of culture and devolution in unlocking cross sector co-creation and place-based innovation across all 4 nations of the UK.

AHRC Executive Chair Professor Christopher Smith said:

Ruth Flanagan is an artist who has been working with Creative ԰�� partner organisation, Cartwheel Arts, with diverse communities in Rochdale to deliver craft and heritage projects. During 2025-2026, Ruth will work as Community Innovation Practitioner (CIP), along with University of ԰�� researchers through Creative ԰�� and the School of Arts Languages and Cultures to introduce a research framework to her work finding connections through diverse communities through craft traditions.

is one of six new UK CIPs across a spectrum of projects that represent the rich cross-sector community research and inclusive innovation that is catalysing growth.

In partnership with Cartwheel Arts and national organisation Heritage Crafts UK, and working closely with Greater ԰�� Combined Authority, this project draws on the history and legacy of ԰��’s Co-Operative movement by using crafting methods to promote resilience, belonging and cultural engagement in diverse communities in Rochdale (which is Greater ԰��’s Town of Culture 2025).

Ruth Flanagan said of the award:

About the Community Innovation Practitioner Awards

This is a major investment in place-based innovation and cross-sector research partnerships across the devolved nations and regions of the UK. Each CIP will work in their devolved policy context to explore how co-created cultural innovation can enhance belonging, address regional inequality, deliver devolution and break down barriers to opportunity.

The CIPs will generate vital new knowledge about co-creation and the unique role played by their communities and partnerships in growth through new research, development and innovation (RD&I).

Each CIP will produce a , and an episode of the to share learning from their community and cultural partners. Together, the CIPs will form a Community of Practice network with the aim of fostering new relationships and sharing innovative practice.

Funding has been awarded to six new CIPs across a spectrum of projects that represent the rich cross-sector community research and inclusive innovation that is catalysing growth in all 4 nations of the UK.

About Creative Communities

is a £3.9m major research programme based at Northumbria University in Newcastle. It builds a new evidence base on how cultural devolution can enhance belonging, address regional inequality, deliver devolution and break down barriers to opportunity for communities in devolved settings across all four nations of the UK.

For more information you can also visit the .

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