<![CDATA[Newsroom University of ԰]]> /about/news/ en Mon, 25 May 2026 03:00:08 +0200 Thu, 21 May 2026 12:02:13 +0200 <![CDATA[Newsroom University of ԰]]> https://content.presspage.com/clients/150_1369.jpg /about/news/ 144 Artist Provenance expert and CTO of Massive Attack visits University for collaborative activities exploring AI, copyright and creative authorship /about/news/artist-provenance-expert-and-cto-of-massive-attack-visits-university-for-collaborative-activities-exploring-ai-copyright-and-creative-authorship/ /about/news/artist-provenance-expert-and-cto-of-massive-attack-visits-university-for-collaborative-activities-exploring-ai-copyright-and-creative-authorship/746667Creative ԰ were delighted to welcome internationally renowned composer, producer and creative technologist  to The University of ԰’s School of Arts, Languages and Cultures for a two-day programme of activities from 18–19 May 2026. The visit brought together students, academics, policymakers, and the public to explore questions with the founder of artist provenance organisation  around the future of creative authorship, copyright and musicmaking in the age of artificial intelligence.

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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.

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Thu, 21 May 2026 11:02:14 +0100 https://content.presspage.com/uploads/1369/5b3be520-35d4-48a9-8cab-bef5604547a5/500_amvisit.jpg?10000 https://content.presspage.com/uploads/1369/5b3be520-35d4-48a9-8cab-bef5604547a5/amvisit.jpg?10000
԰ researchers challenge misleading language around plastic waste solutions /about/news/manchester-researchers-challenge-misleading-language-around-plastic-waste-solutions/ /about/news/manchester-researchers-challenge-misleading-language-around-plastic-waste-solutions/737129Researchers from The University of ԰ have found that terms used to discuss solutions to the plastic waste crisis are misleading, and obscure genuine discussion of sustainability.

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Solutions to the plastic waste crisis are often pitched using words that can skew value judgements, new research argues.

The , authored by the Sustainable Materials Innovation Hub at The University of ԰, explores the consequences of terminology choices on end-of-life solutions for plastic waste. While recycling has long been touted as a solution for plastic sustainability - it comes in many forms, and can sometimes serve as a smokescreen for genuine discussions around sustainability.

The researchers, Seiztinger, Lahive, and Shaver, find directional terms - such as ‘upcycling’ and ‘downcycling’ - to be poorly defined as value propositions, and that their use can skew perceptions of the benefits, potentially posing barrier to circularity.

‘Downcycling’, for instance, implies the production of a less favourable or ‘less good’ material as the end product of the recycling process, while ‘upcycling’ has positive connotations. However, despite what these terms suggest, a ‘downcycled’ stream may produce a high value product, while an ‘upcycled’ path may have a greater negative environmental impact than alternative routes.

Using these terms assigns disproportionate value to certain end-of-life plastic solution strategies, and can be used by supporters or detractors of different recycling technologies to obscure genuine evaluation of their environmental impact.

The study, published in the journal , suggests that plastic waste solutions consistently fail to live up to their marketed messaging, and that clearer communication of the true value of the product from a recycling process is essential to drive investment in proper plastic waste management. Corresponding author, Professor of Polymer Science at The University of ԰, said: “The confused terminology surrounding the fate of waste plastic often lacks a consideration of value and unintended consequences. As these terms are now being used to promote technologies outside of a sustainable system, we felt it important to argue for clarity and caution when presuming quality from this directional terminology.”

The researchers argue that no single solution offers a quick fix, and that it is wrong for the terminology to suggest otherwise. They call for greater clarity over how we value end-products. They suggest a ‘spiral system’ of reuse, in which plastic materials are treated as complex mixtures that, like crude oil, can be chemically deconstructed at the end of their life and transformed to become a huge range of longer-lasting products over their lifetime.

For example, a yoghurt pot could be reconstituted into car parts, and then after that into a park bench. Ultimately, after many years of service, it could be chemically deconstructed, and turned back into a yoghurt pot. As the polypropylene in such simple packaging is already used in cars, hard shell suitcases, garden furniture, appliances, and plumbing, a cross-sector approach to reuse of plastic waste could generate more value than an approach focused solely on single-use packaging.

By moving away from direction-loaded terminology, researchers suggest that plastic waste solutions can be judged on the measurable environmental and economic value of the end-products, rather than an assumed or subjective value based on language, that is not always supported by full life-cycle assessment or economic analysis.

Dr Claire Seitzinger added: “Building a circular plastics economy means looking at the whole system, not isolated solutions pitched against each other. Policy, industry, innovation and collaboration across sectors are essential for a sustainable future. The next time you eat a yoghurt, where do you want the pot to end up? Should it become another yoghurt pot? A park bench? A car? What is best? And what should you, the packaging producer, or the government do to make that to happen?”

Paper details:

Journal: Cambridge Prisms: Plastics 

Full title: Up, down and back again: Value judgements in polymer recycling

DOI: https://doi.org/10.1017/plc.2026.10041.pr1

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