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.

Look Back: Creative Health Research Symposium - Social Care and Creative Practice

Wed, 24 Jun 2026 13:38:35 +0100

We started with Paul Hines, CEO of who invited attendees to share their own ideas around creative health and participation. He introduced the audience to Made by Mortals’ work, which is centred around facilitating creative projects with drawn from lived experience of healthcare. He also shared more about The University of ԰��’s work with Made by Mortals, exploring participatory arts for health in research.

Rod Kippen, from , then shared the charity’s work, particularly through , a creative space and art gallery attached to their mental health provision for young people. He explored some of the problems that artistic spaces have when connecting with young people and showed some fantastic projects and artwork created by young people at The Horsfall.

In our final talk, Dr Hannah Waterson, gave us an overview of her research trip to Japan as part of a delegation sent to Tokyo to sign a Memorandum of Understanding between Creative ԰��, Tokyo University of the Arts and The National Center for Art Research, Japan. She had the opportunity to visit a wide variety of Creative Health projects during her time in Japan and shared with us some highlights including visiting community goats, who have inspired some more unusual creative projects using their hair and even their droppings!

We ended the day with a Happy Place workshop led by ; participants were welcomed to create a collage to create a visual representation of their happy place.

During the breaks we showcased Creative Health work from across the University of ԰��, which included artwork from “H”, “ and “.

Find out more about research theme.

Tombs reveal Ancient Egyptian religion was constantly evolving, book reveals

Mon, 22 Jun 2026 09:00:00 +0100

Ancient Egyptian religion was not as fixed and unchanging as many people imagine, according to new research by ԰�� Egyptologist .

His new book reveals that beliefs and funerary practices evolved even within a single generation, showing that ancient Egyptian religion was dynamic, adaptable and shaped by changing social priorities.

The study focuses on tombs at Saqqara, one of Egypt’s most important burial sites, and explores how tomb owners commissioned and decorated their burial spaces in ways that reflected both tradition and contemporary change.

Key insights

Ancient Egyptian funerary texts were not fully standardised during this period, and varied between tombs
Tomb decoration involved the choices and priorities of the tomb owner or commissioner
Religious practices and funerary fashions could change within a single generation
Local traditions shaped how beliefs were expressed in places such as Saqqara
Egyptian religion was flexible and evolving rather than completely fixed over time

Why this matters

Ancient Egypt is often portrayed as a civilisation governed by rigid traditions and unchanging religious beliefs lasting thousands of years.

However this research challenges that perception, revealing a society in which religious ideas and funerary practices adapted over time, even across the span of a single lifetime.

Rather than being rigid, Egyptian religious culture responded to changing tastes, priorities and local traditions.

A human story told through tombs

At the heart of the book is the idea that tombs were highly personal spaces.

The decoration, inscriptions and arrangement of funerary texts within tombs at Saqqara reflected the involvement of those commissioning them. While these tombs drew on established religious traditions, they also reveal changing fashions and evolving approaches to the afterlife.

Two tombs built only a generation apart could already show noticeable differences in style, emphasis and religious presentation.

What the research found

Drawing on archaeological evidence from Saqqara, the study shows that:

Funerary texts and images differed between tombs during this period
Tomb decoration reflected individual commissions rather than a single rigid template
Religious styles and practices evolved noticeably over relatively short periods of time

The findings challenge the long-standing image of Egyptian religion as static and entirely controlled from the top down by priests and kings.

Why Saqqara matters

Saqqara, the necropolis of ancient Memphis, provides an unusually rich record of religious and artistic change.

The book demonstrates how local traditions shaped tomb decoration and funerary expression, revealing how broader religious beliefs could be adapted differently within particular communities.

A different view of ancient religion

The research presents ancient Egyptian religion as:

Evolving rather than fixed
Influenced by local communities and changing fashions
Shaped through personal commissions and lived experience

In short, the study suggests that ancient Egyptians were not simply preserving ancient traditions unchanged - they were continually adapting them for new generations.

Publication details

The Transmission of the Book of the Dead in New Kingdom Tombs at Saqqara will be published in paperback by on June 25^th, but is also currently available to read online via .

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.

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

A new banner for Rochdale – Unity Is Strength

Fri, 05 Jun 2026 16:57:34 +0100

Unity Is Strength was delivered by the Creative ԰�� partner organisation, and demonstrates how a community arts project can place the participants as ‘owners’ and build a space for reflection and conversation. A series of workshops brought together women from the town’s diverse communities, including women who have experienced forced migration, to create an embroidered banner.

Unity Is Strength is a programme with themes of home, diversity, cooperation, strength and unity. Unity Is Strength was a vehicle for a diverse group of women to communicate to the arts and culture sector the types of engaged practice that best meet community needs and creative aspirations.

During 2025-2026, Ruth Flanagan has been a Community Innovation Practitioner (CIP), working alongside TheUniversity of ԰�� researchers through Creative ԰�� and the School of Arts Languages and Cultures to introduce a research framework to her work finding connections in diverse communities through craft traditions.

The , are part of the and funded by the UKRI Arts and Humanities Research Council (AHRC).

The Unity Is Strength banner consciously echoed the historic banners of progressive organisations, including the Co-operative Women's Guild. The project was grounded in Rochdale's identity as a progressive town, the birthplace of the co-operative movement and as a home for diverse communities.

The banner's imagery was visualised and created by participants: motifs drawn from Rochdale's 19th century Town Hall sit alongside the Red Rose of Lancashire, Afghan pomegranates, Romany Vardo roses, and symbols representing Jamaica and Barbados as a visual representation of the group's collective identities. The project culminated in an April launch event at the town hall, featuring a Citizens' Jury in which participants reflected on the project's themes and how the shared practice of embroidery had crossed cultural boundaries.

Zulfar, originally from Afghanistan and now settled in Rochdale, spoke at the unveiling:

"I dedicate this banner to Rochdale. This project has been grounding and energising for me. We shared love and friendship, and patience while learning new skills. I chose to embroider a pomegranate, which in my culture symbolises abundance and happiness. For me, the banner also reflects a wish for peace for people all over the world."

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.

Creative Health in Devolved Policymaking: Exploring the role of Mayoral Strategic Authorities in supporting creative health

Wed, 06 May 2026 09:26:33 +0100

Creative ԰�� were delighted to welcome representatives from Mayoral Strategic Authorities (MSAs) across the county to the University ԰�� in March to launch our research project, in partnership with the Mayoral Authorities Creative Health Network.

The event was the first in a series of workshops exploring the how MSAs are embracing the power of creative and cultural assets to support health and wellbeing, and what more we can do to embed creative health more sustainably into our systems, maximising its potential to contribute to population health and address inequalities.

Mayoral Strategic Authorities and Creative Health

Mayoral Strategic Authorities are key players in the creative health ecosystem. As a regional tier of government, MSAs can use their devolved powers in areas such as housing, transport, culture, work and skills, and police and crime to strategically align investment and infrastructure and organise public services in a way that best meets local need and promotes economic growth across clusters of local authorities.

While until now only Greater ԰�� has held a devolved health remit, typically a MSA will have powers relating to a range of complex social and economic factors that have such an important impact on our health and wellbeing – the wider determinants of health. The forthcoming English Devolution and Community Empowerment Act will devolve more powers and place a statutory duty on all MSAs to consider how they can improve population health and reduce health inequalities. These policy levers encourage MSAs to coordinate cross-sectoral, place-based and preventative approaches to health. As these approaches take shape, there is a timely opportunity to ensure that creative health forms an important part of the conversation from the outset.

Several MSAs have already taken a strategic approach to creative health. For example, Greater ԰��’s Creative Health Strategy sets out an ambition to become the world’s first Creative Health City Region. West Yorkshire’s Creative Health Consortium brings together cross-sector partners to boost creative health infrastructure across the region, and in the Greater London Authority, creative health is part of the Mayor’s Health Inequalities Strategy and Health in All Policies approach. The Mayoral Authorities Creative Health Network provides a forum for support and knowledge exchange across MSAs who wish to develop their approach to creative health. Our Creative Communities Co-Lab Policy Network project will allow the Network to engage in research exploring how creative health improves population health and adds social and economic value across a whole system, and to co-design sustainable investment models.

Mapping Creative Health Policy Alignment in MSAs

To begin this process, we brought together representatives from different policy areas, geographies, and with varying levels of expertise in creative health to discuss where creative health is already taking place within and across policy domains.

Facilitated by Lucy Taylor from , participants shared examples of programmes and projects from culture, health and social care, work and skills and the environment, with links to early years education, housing, transport, violence reduction, criminal justice and economic development, highlighting the breadth and scope of creative health.

Example: Early Moves (Greater ԰��)

Early Moves has been developed in partnership with the national dance organisation Rambert and the Greater ԰�� Combined Authority School Readiness Team to support pre-school children with their motor skills and to build the skills and confidence of early years practitioners.

The project trains and supports practitioners to introduce structured movement sessions in the daily routine of early years settings, working with children aged 2-4 years. It has demonstrated improvements in children's motor skills, speech, language and communication, as well as positive impacts on practitioner wellbeing and confidence.

Zooming out to consider a whole system approach, we mapped the cross-sectoral partnerships, initiatives and infrastructure necessary to address complex challenges such as health inequalities and began to imagine how a creative health approach could support a MSA to address these.

Example: West Yorkshire Creative Health System

A scene setting presentation from Jim Hinks, Head of Culture, Heritage and Sport Policy, West Yorkshire Combined Authority and David McQuillan, Arts & Health Programme Manager at South West Yorkshire Partnership nos foundation Trust, described the development of a ‘Hub and Spoke’ model for creative health, centred around a collaborative hub, bringing together a constellation of creative health providers, five place-based work programmes and a matrix of stakeholders to develop infrastructure for creative health across a whole system.

The process identified opportunities for creative health to feed into MSA priorities:

Prevention and neighbourhood models of health: The shift to a more preventative and community-based approach to health, as set out in the NHS 10-year plan and reflected in the new health duty for MSAs, is a key lever for creative health. This shift promotes join up across local services, including health, local authorities and the voluntary, community and social enterprise sector to provide person-centred support. Creative health can be built into the provision of neighbourhood health and used to engage residents in the co-design of such services.
Regeneration and placemaking incorporating housing, transport and the built environment. Creativity and culture can play a vital role in engaging residents in the design of their neighbourhoods, supporting social cohesion and social capital within communities and boosting pride in place.
Work and skills and employment: Many MSAs could provide examples of creative health in action improving workforce wellbeing and supporting people that are unemployed on a pathway back to work. Creative health also provides new opportunities for the creative workforce.
Good growth – Delivering economic development and growth is a primary function of a MSA. Health and economic growth are intrinsically linked, with improved health an outcome of economic growth, and good health a precursor to a stronger economy. Creative health therefore contributes to the growth agenda as an important element of the cultural and creative industries and through its influence on population health. In order to address health inequalities it will be vital that this growth is inclusive and the benefits are felt by all residents.

What next?

The workshop highlighted opportunities and common challenges for creative health felt in MSAs across the country, which will inform the direction of this research.

There was a clearly expressed need to embed creative health more sustainably within a MSA, moving away from short-term project-based work towards long-term, cross-sectoral investment which can support preventative approaches and provide evidence of impact over time. To achieve this, it will be necessary to demonstrate and communicate the value of creative health consistently and coherently and in a way that is meaningful to decisionmakers in a devolved policy context.

The next stages of this research will investigate how this might be achieved, working towards tools and resources that will be useful to those looking to make the case for creative health in their own systems, as well as a set of recommendations for policymakers.

AHRC Creative Communities is a multi-million-pound research programme based at Northumbria University. AHRC Creative Communities Co-Lab Policy Network Awards are cross-sector cultural policy networks in devolved nations and regions of the UK. They create new capacity for cross-sector collaborative exchange of policy ideas relating to culture and devolution (regional and national) in the context of the UK Government Missions. Find out more here:

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 .

Infected Blood Inquiry Memorial goes to University of ԰��

Tue, 10 Mar 2026 13:43:40 +0000

The formal handover of the Inquiry Memorial to the University of ԰�� will take place on Tuesday 24 March. The University is providing a permanent home for the Inquiry Memorial.

The Inquiry Memorial is located in a central location that has limited space so we will livestream the formal handover for Inquiry participants who would like to follow online or watch the recording afterwards.

The livestream will begin at 14.00 on Tuesday 24 March. Sir Brian Langstaff will make remarks as part of the event. If you wish to watch the livestream, please go . The recording will be available on the Inquiry website.

From Wednesday 25 March, it will be possible to visit the Inquiry Memorial at the University of ԰��. The Inquiry Memorial is in the Old Quadrangle of the University of ԰��, on the ground floor of the Whitworth Building which is open weekdays 7am – 5:30pm. The Inquiry Memorial is also visible from the Old Quadrangle without entering the Whitworth Building.

԰�� 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.

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 .

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.

Centre for New Writing launches new anthology

Thu, 11 Dec 2025 17:07:46 +0000

The latest edition of the was launched with an event at the International Anthony Burgess Foundation on Monday, 13 October.

Two award winners were announced on the evening:

Anne Boyd Rioux took The PFD Prize, an annual award for the most promising piece of fiction from the MA Creative Writing dissertation, as chosen by the leading London literary agency, . The winner receives a cash prize and the opportunity to work with an agent at PFD to develop their writing towards publication.

Anne is a former English professor from New Orleans and a biographer specializing in American women writers. She is the author of three non-fiction books and the popular Substack newsletter Audacious Women, Creative Lives. She is currently working on her upcoming first novel A War of Her Own, based on the real-life story of the New Yorker writer Kay Boyle. Trapped in France during WWII with her abusive husband, the artist Laurence Vail, and his ex-wife Peggy Guggenheim, she fell in love with an Austrian refugee who needed rescuing as much as she did. Many years later, however, the consequences of her decisions during the war continue to reverberate through the lives of her children.

Kieron Fairweather, Associate Agent at PFD added:

The MA Poetry Prize went to Ellie Grant. Ellie is a neuroqueer poet. She takes inspiration from childhood, the pockets of green in her local London, and the pockets of dark in urban places where green things tend to grow. She placed second in the The University of ԰�� Micropoetry Competition in 2024 and was shortlisted for the Bridport Prize 2025.

Ellie commented:

The editorial team for this year’s anthology consisted of Samantha Graham, Tom Pyle and Dylan Stewart:

Samantha commented: "So many hours of work have gone into producing this Anthology, both from myself, Tom, and Dylan and from our peers whose brilliant writing is featured within it, and I couldn’t be prouder of the book that we have collectively created. Overseeing and managing this project has been the highlight of my postgraduate experience and I’m so glad to have been able to celebrate the completion of it at the launch event last month."

Tom added: "Being part of the editorial trio for The ԰�� Anthology 2025 has been a challenge and a privilege. Seeing the work that it takes to get a book to print, having complete creative control over the process but most importantly being able to showcase the range of talent from the writers in this MA cohort; people who we’ve sat in workshops with and watched develop throughout the year. To have this book as a marker in the sand feels appropriate and, personally, gives me a lot of satisfaction."

Past contributors to The ԰�� Anthology have gone on to become successful established authors: Beth Underdown’s debut novel, The Witchfinder’s Sister, was a Richard and Judy bestseller; Alys Conran was shortlisted for the Dylan Thomas Prize for her debut novel, Pigeon; Nat Ogle, author of In The Seeing Hands of Others, was shortlisted for The White Review Poet's Prize; Joe Carrick-Varty’s collection, More Sky, was shortlisted for the T.S. Eliot Prize; Thomas D. Lee’s novel, Perilous Times, was a Sunday Times bestseller; Jessica Moor was named one of the ten best debut novelists of 2020 by Observer New Review, and was also shortlisted for the Desmond Elliot Prize.

Humanities Academics Celebrate Business Engagement Success at inaugural event

Thu, 11 Dec 2025 12:09:18 +0000

Opening the event was Dr Louise Bates, Director of Business Engagement and Knowledge Exchange for the University of ԰�� who highlighted the depth and breadth of the collaborative partnership work undertaken by academics from across the University and how her team supports academic colleagues in establishing such partnerships. Vice Dean for Research, Professor Maggie Gale welcomed guests and highlighted the breadth of expertise and collaborative innovation taking place across the faculty within key areas including AI, climate resilience and sustainability, legal and social justice including investigating racial bias on the bench, age-friendly communities, and supply chain innovation.

Associate Dean for Business Engagement, Civic & Cultural Partnerships , Professor Richard Allmendinger introduced the nominees from each school.

The winners, announced by Maggie Gale, were:

Alliance ԰�� Business School

Prof Jian-Bo Yang & Prof Dong‑Ling Xu, for their KTP with Kennedys to develop and embed an intelligent data driven fraud prevention and detection service for insurance claim handling, utilising modern machine learning, text analytics and semantic technologies.

School of Arts, Languages and Cultures

Prof Eithne Quinn, for work on racial bias in the judicial system enabled through a Simon Industrial & Professional Fellowship project undertaken by Keir Monteith KC, which has received significant media coverage and follow-on projects in related areas.

School of Social Sciences

Prof Emma Barrett for a Simon Industrial & Professional Fellowship with Limina Immersive “Building a safer Metaverse: Exploring the challenges faced by industry in developing safe, secure and ethical immersive experiences”. The project supported a successful £80K SPRITE+ funding bid for a deep dive expected to result in a step change in our industry engagement around XR and fostered new cross-disciplinary and external collaborations.

School of Environment, Education & Development

Dr Emma Shuttleworth For collaborating with key stakeholders, including the Environment Agency, Yorkshire Wildlife Trust and Groundwork Greater ԰��, to lead KTPs that have developed a data-driven framework for innovative sustainable water management in the Irwell catchment and optimised the long-term financial health of the Groundwork Trust.

At the end of the Awards ceremony Richard Allmendinger announced the launch of a seed-funding call for academics across the faculty to submit bids for up to £7k to support early-stage development of collaborative projects with partners. Full information on the call available .

The full list of nominated projects:

Alliance ԰�� Business School

Dr Arijit De, Associate Professor in Management Science For his work in establishing Maritime Engineering and Management as a new cluster theme at UoM, including work with Port of Dover, DFDS, Ship & Bunker, Sealand and Smart Green Shipping building a substantial portfolio of research in maritime, port, and freight logistics with these partners, a REF Impact Case ԰�� in freight and maritime logistics is in development.
Prof Yu-wang Chen, Professor of Decision Sciences and Business Analytics KTP – - the largest KTP awarded by Innovate UK.
Dr Pedro Sampaio, Senior Lecturer in Information Systems KTP – - to design, develop and embed an Industry 4.0 inspired data driven business model and management information framework which will support the company's strategic vision of expansion.
Prof David Hughes, Professor of Personality and Organisational Psychology & Nadia Papamichail, Professor of Decision Systems & Management Sciences KTP - to create sustainable growth and productivity improvement by combining behavioural psychology profiling and emotional regulation with advanced data science techniques to tackle complex work processes and transform the way JLG engages, supports its clients and staff through the legal frameworks. DH was shortlisted for Academic of the Year at the 2025 KTP Awards.
Prof Brian Nicholson, Professor of Business Information Systems & Dr Sung Hwan Chai, Lecturer in Accounting KTP: - To develop, embed and exploit advanced smart data driven technologies to deliver digital transformation within the audit function significantly increasing quality, productivity and capacity to deliver additional insight and value to clients.
Prof Judy Zolkiewski, Professor of Marketing KTP projects - . To create a smarter business that is both client-driven whilst also enhancing improved employee interactions, within a unified customer-centric framework that can support product and service innovation.
Prof Jian-Bo Yang, Professor of Decision and System Sciences & Prof Ling (Dong‑Ling) Xu, Chair Professor of Decision Science and Systems KTP - AMBS & Kennedys to develop and embed an i and detection service to support insurance claim handling utilising modern machine learning, text analytics techniques and semantic technologies, that can shape and add value to business.

School of Arts, Languages and Cultures

Prof Eithne Quinn, Professor of Cultural and Socio‑legal Studies For work on racial bias in the judicial system enabled through a undertaken by Keir Monteith KC which has received significant media coverage and led to a follow-on project on mis-use of lyrics in rap music in criminal court cases.
Prof Steve Scott-Bottoms, Professor of Contemporary Theatre and Performance - Finding the Story ARC: Engaging businesses with climate resilience in Yorkshire’s Aire valley IAA 496 Advance - The Rivalry Project: Extending Stakeholder Engagement with Climate Resilience in the Catchment of the Aire
Dr Kostas Arvanitis, Senior Lecturer in Museology - Therapeutic Impact of Physical, Digital and Virtual Collections of Trauma.
Dr Kostas Arvanitis, Senior Lecturer in Museology & Dr Andy Hardman, Senior Lecturer in Creative and Cultural Practices KTP - SALC & Port Sunlight Village Trust - creating and embedding a framework and tool-kit underpinned by museological and critical heritage research to transform the ways in which PSVT manages and interprets its history, site and collections.
Prof Sasha Handley, Professor of Early Modern History Salford Community Leisure - - Sleeping Well Salford: Using Historic Sleep Practices to Support Health and Social Care Pathways.

School of Environment, Education & Development

Dr Emma Shuttleworth, Senior Lecturer in Physical Geography Working collaboratively with a number of key stakeholders on environmental sustainability projects including Environment Agency, and leading on KTPs with Yorkshire Wildlife Trust and Groundwork Trust to create and embed a data driven catchment management framework that will drive innovative evidence-based sustainable water management within the Irwell catchment and optimise long-term financial health for Groundwork Greater ԰��.
Dr Sophie van Huellen, Senior Lecturer in Development Economics - Why Ghanaian farmers have been unable to capitalise on record cocoa prices with Fuad Mohammed Abubakar, Managing Head of the Ghana Cocoa Marketing Company (UK) Ltd.
Dr Joanne Tippett, Lecturer in Spatial Planning ԰�� UNESCO Creative City of Literature IAA 425 Secondment - Imagining sustainable futures: self-facilitated learning from heritage through art and play in UNESCO-designated sites. Shortlisted for ‘Transformative Social Venture of the Year’ award at the KEUK Awards 2024.

“The RoundView is a powerful way to activate and build capacity in UNESCO’s core competencies for sustainability leadership”. James Ömer Bridge, Secretary-General of UNESCO UK.

“The Secondment demonstrated that the RoundView learning toolkit offers great promise to address a key challenge we experience as UNESCO sites, of linking our work to sustainable development… and enabling us to translate SDG 13 Climate Action into an accessible activity. A key finding from the Secondment was that the ‘poetry as pedagogy’ incorporated into the toolkit helps encourage sustainability learning through literature, a key need for both us as Cities of Literature and our library partners.” Ivan Wadeson, Executive Director of ԰�� UNESCO City of Literature.

Dr Nuno Pinto, Senior Lecturer in Urban Planning and Urban Design For demonstrating exceptional leadership and innovation through the establishment and continued development of the MSc Data Science student industry-project programme. His dedication has transformed the initiative into a thriving platform for student engagement and real-world impact, with its success growing year on year. Nuno’s commitment to expanding the programme is evident in his active collaboration with fellow academics, fostering the creation of similar opportunities across other schools. His work exemplifies the spirit of business engagement and makes him a worthy nominee for the Faculty of Humanities Business Engagement award.
Prof Sarah Marie Hall, Professor in Human Geography with ԰�� Central Foodbank IAA 468 Relationship Development - Developing community-led, anti-poverty research capacity. IAA 503 Proof of Concept - Developing ԰��’s Anti-Poverty Research Community: Co-Producing Grassroots Collaborations for Positive Social Change. Winner of UoM in the Outstanding public engagement initiative: Local/civic engagement category
Prof Nicola Banks, Professor of Global Development - Activating citizen philanthropy for community-centred social justice: piloting a One World Together Global Citizenship curriculum for secondary schools.
Prof Alison Browne, Professor of Geography - the project brings together data analytics and social science insights to develop a Water Practices Analytical Toolkit for use in the water industry, offering a unique approach for managing the sustainability of water and influencing the UK’s long-term usage, average and peak water demands.

School of Social Sciences

Prof Tine Buffel, Professor of Sociology and Social Gerontology Age Friendly ԰�� (԰�� City Council) IAA 401 Secondment - Developing age-friendly communities to support healthy ageing: Exploring the potential of a policy innovation partnership between public agencies and faith-based organisations in Greater ԰��.
Prof Emma Barrett, Professor of Psychology, Security and Trust Simon Industrial & Professional Fellowship with Limina Immersive “Building a safer Metaverse: Exploring the challenges faced by industry in developing safe, secure and ethical immersive experiences”. The SIF project supported a successful £80K SPRITE+ funding bid for a deep dive expected to result in a step change in our industry engagement around XR and fostered new cross-disciplinary and external collaborations. The work also informed EB’s presentation at the Home Office Digital Forensics Conference in June 2025, alongside Innovate UK.

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.

In Memoriam: Professor Roger Ling (1942–2025), Distinguished Scholar of Roman Art

Thu, 04 Dec 2025 14:11:00 +0000

ROGER LING, Professor of Classical Art and Archaeology

It is very sad to report that Roger Ling, a distinguished member of the Art History staff at the University of ԰�� for more than 50 years - as lecturer, senior lecturer, Professor, and emeritus - died at the beginning of November after a long illness. During much of that time the Department had expanded to its maximum extent in terms of personnel and breadth of interests, which extended from the classical to modern periods. But early on it was Roger who for a number of years singlehandedly saw to the teaching of ancient and classical art at all undergraduate and postgraduate levels, until he was joined by colleagues with interests in early Greece and pre-Roman Italy, as well as in Minoan and Egyptian art, enabling him to concentrate more on the Roman world.

Roger was, in international terms, a leading historian of ancient Roman art and architecture. His deep knowledge of Pompeii originated from his PhD on stuccowork in Roman Italy, and he went on to publish many books on related topics, including Roman painting (on which he wrote the standard English textbook), and mosaics - he was also a frequent contributor to the journal Mosaic which focused on the rich material of Roman Britain. But Roger’s lasting monument is the four-volume Insula of the Menander at Pompeii published by Oxford University Press, to which his wife Lesley, who died three years before him, was a major contributor and was co-author of volume 2 (on the wall decorations). This housing block occupied a large residential space in the ancient town and encompassed a number of dwellings along with various service areas. As well as meticulous recording of archaeological detail, the Menander volumes offer a fascinating human history concerning the different social classes that inhabited the various parts of the insula at different periods, from the impoverished to families of the highest rank.

For all the time that he worked at ԰��, Roger and Lesley lived a characteristically austere life in beautiful but remote parts of the High Peak near Buxton. Internet receptivity could never be relied on. Without a television, Roger would go over to friends and neighbours, or the local pub, to follow his favourite team, Watford FC. Without a car, he would ski across the fields in winter to the local station at Chapel-en-le-Frith to catch the ԰�� train in time for his early morning lectures. Occasionally he would sleep over in his office in the department if the weather got too bad for the return journey. But with a knowing smile, Roger remained cheerful and imperturbable in almost all circumstances. Only departmental meetings succeeded in disturbing his equilibrium.

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.

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 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.

Festival celebrating ԰��’s medieval heritage returns for 2025

Tue, 09 Sep 2025 09:00:00 +0100

Thanks to the dedication of The University of ԰��’s Dr Gillian Redfern and the support of the University’s Social Responsibility Fund, the ԰�� Medieval Quarter Festival will return to the city on Saturday 27 September. The free, family-friendly festival will once again transform the area into a lively celebration of ԰��’s rich medieval heritage.

Now in its third edition since its launch in 2021, the festival continues its mission to shine a light on an area many residents are surprised to learn exists - the Medieval Quarter. Nestled beside the modern city centre, this historic area stretches from Chetham’s Library and School of Music to ԰�� Cathedral, weaving through Shambles Square, the Corn Exchange and the National Football Museum.

The area tells the story of ԰�� long before the Industrial Revolution. From the 10th-century parish church that grew into ԰�� Cathedral to the 15th-century Collegiate buildings that became Chetham’s Library, the area is steeped in history. At the festival, the public will have the rare chance to explore these spaces for free - normally only accessible by paid tour - making the festival a unique opportunity to engage with the city’s past.

Visitors can look forward to an exciting programme of activities designed to bring medieval ԰�� to life:

Saturday Scriptorium – Try your hand at medieval calligraphy using quills, ink and parchment in Chetham’s Library’s Baronial Hall, and take home your masterpiece.
Falconry Displays – Watch birds of prey soar in the courtyard and even try falconry with expert guidance.
Historical Re-enactments – Meet medieval re-enactors from Historia Normannis as they showcase tournaments, crafts, and costumes.
Medieval Drama – Boo, cheer, and hiss along with interactive student performances in Chetham’s Courtyard.
Guided Tours – Discover the story of the Medieval Quarter, including rare access to the remnants of the 14th-century Hanging Bridge, and enjoy tours of ԰�� Cathedral.
Music of the Middle Ages – Immerse yourself in the sounds of the era with performances from the ԰�� Troubadours.
Family Fun – Browse medieval-themed stalls, enjoy a fashion show, and soak up the atmosphere with food, picnics and live entertainment.

The festival will take place from 11am – 4pm. For more information, visit .

How an ancient document secured the power of the ‘first King of England’

Tue, 19 Aug 2025 13:46:39 +0100

An expert from The University of ԰�� has revealed how a single sheet of 1,100-year-old parchment may have been used to heal a dangerous royal rift in Ancient England.

King Æthelstan, who is generally known as the first King of England, began his rule almost exactly 1,100 years ago when he was crowned at Kingston on 4 September 925. While history books usually paint his reign as powerful and secure, Dr Jonathan Tickle has found that his early years on the throne were far from smooth sailing - especially in the city of Winchester, where loyalties to a rival prince ran deep.

The story centres on a document now known as “Sawyer 1417” – a lease of farmland agreed between the monks of Winchester’s New Minster and a royal official named Ælfred. On the surface, it looks like a simple property deal. But Dr Tickle’s analysis reveals it was also a carefully staged public event designed to send a political message, patch up strained relationships, and remind everyone who was really in charge.

At the time, Æthelstan faced opposition from supporters of his younger half-brother Eadwine, who some believed had a stronger claim to the throne. The New Minster was a key player in this drama - not only was it home to the tombs of Æthelstan’s father Edward the Elder and grandfather Alfred the Great, but it also stood in a city that may have backed Eadwine.

The charter was read aloud in an assembly packed with nobles, monks, and townsfolk. Its language tied the land deal to the memory of Alfred and Edward, anchoring the king’s authority in his famous ancestors. By setting the rent payment on the anniversary of Edward’s death, the agreement turned a routine transaction into a yearly reminder of Æthelstan’s royal lineage.

“This wasn’t just about farming rights. It was a performance – a way of reshaping alliances, cooling tensions, and making a statement about the king’s rightful place in history. The document itself became a lasting reminder of that moment,” said Dr Tickle.

The research also suggests that monks kept their copy of the charter safe for generations, possibly consulting it at annual rent payments or during disputes – ensuring the king’s message lived on.

By looking at this 1,100-year-old parchment not just as a legal record but as a piece of political theatre, the study opens a new window into how early English kings built and maintained their power.

The full article, ‘’, is published in the Journal of Medieval History.

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 44,000 students, 12,000 staff and 550,000 alumni from 190 countries. Sign up for our e-news to hear first-hand about our international partnerships and activities across the globe.

Book by ԰�� academic shortlisted for Royal Society prize

Thu, 14 Aug 2025 14:44:39 +0100

A historian from The University of ԰�� has been named as one of six authors shortlisted for the 2025 Royal Society Trivedi Science Book Prize, which celebrates the best popular science writing from across the globe.

by Professor Sadiah Qureshi was named as one of the finalists at the Edinburgh International Book Festival by author and palaeontologist Steve Brusatte, following an event with the Prize’s 2024 winner Kelly Weinersmith.

The Royal Society Science Book Prize has championed non-fiction books that celebrate the collective joy of science writing for more than 30 years. Previous winning titles cover diverse themes, ranging from the sensory experiences of animals to the evolution of all life on earth, and a fresh perspective on human behaviour and relationships.

All of this year’s authors make the shortlist for the first time, with books that cover an array of important scientific topics through compelling and accessible storytelling. The shortlisted titles represent the judges’ pick of the most fascinating and relevant science writing over the past 12 months.

Professor Qureshi is a writer and historian of science, race and empire. Currently a Chair of Modern British History at the University of ԰��, she has written for the London Review of Books, Times Literary Supplement and New Statesman.

Vanished is a compelling exploration of how the modern concept of extinction has been shaped not just by science but by empire, racism and the politics of disappearance, and it urges us to reckon with extinction as both an evolutionary fate and a deliberate choice.

“This book shows us why science is not a neutral subject - from the human-driven extinction of the dodo to the justification of indigenous peoples being killed based on false racial hierarchy, politics has been woven into scientific decision-making throughout history,” said previous prize winner Roma Agrawal, who was on the judging panel. “This is an updated and refreshing perspective of a story we ought to know about. Qureshi’s writing is thoroughly readable, while being extremely well researched, opening up a new and important conversation about natural history.”

The winner of this year’s Prize will be revealed on the evening of 1 October 2025, where they will be presented with a cheque for £25,000. Each of the five shortlisted authors will receive a cheque for £2,500.

Project breaks the silence around death in primary schools

Wed, 06 Aug 2025 13:07:38 +0100

A powerful new initiative is set to transform how children talk about death, dying, and bereavement. The project - a collaboration between the universities of ԰��, Bradford and Wolverhampton, Child Bereavement UK and the Child Bereavement Network - features brand new poems by legendary children’s author and former Children’s Laureate Michael Rosen, whose work has helped generations of young readers explore life’s most profound emotions with honesty and humour.

Funded by the Arts and Humanities Research Council (AHRC), the 10-month pilot will work with primary schools to create age-appropriate, creative, and compassionate ways to explore life, death, and everything in between.

Led by Professor Karina Croucher, Professor of Archaeology, Heritage and Wellbeing at the University of Bradford, the project uses archaeology to start conversations around death and bereavement. “It’s about helping young people to talk about death, dying and bereavement, challenging what is almost a taboo in society,” said Professor Croucher. “We’re using archaeology and global practices to show how diverse our responses to death can be – and how we can celebrate life in the process.”

Dr Jane Booth, Senior Lecturer in Sociology and Social Policy at the University of Wolverhampton, is part of the team delivering weekly workshops in two primary schools – Wycliffe CE Primary in Shipley, West Yorkshire and St Joseph’s in Sale, ԰��. “The project is about normalising and validating feelings around death, dying, care-giving and grief resilience,” said Dr Booth. “It’s about saying it’s OK to talk about these subjects – and giving children the tools to do so.”

Beloved children’s author and poet Michael Rosen is writing new poems to accompany the project’s workshops, helping children explore their emotions through creative expression.

The project will run from September 2025 and is open to pupils aged five to 11 as part of their PSHE (Personal, Social, Health and Economic) education. Children will explore not only bereavement but other forms of loss – such as the death of a pet or a friend moving away – through archaeology-inspired art and poetry. Parents will be invited to information sessions and can choose whether their children take part.

‘Lost and Found’ builds on the success of previous AHRC-funded projects, including ‘Continuing Bonds’ and ‘Dying 2 Talk’, which used archaeology to support conversations about death in secondary schools. The new pilot will result in a workshop resource pack for other schools to replicate the approach.

This initiative also aligns with the UK Government’s recent inclusion of grief education in .

‘Lost and Found’ builds on nearly £100,000 in AHRC funding and follows two earlier projects: and . These initiatives explored how archaeology can support conversations about death, dying, and bereavement in non-medicalised, creative ways.

Continuing Bonds brought together archaeologists, healthcare professionals, and psychologists to explore legacy and loss, while Dying 2 Talk co-produced resources with secondary school pupils, using artefacts and workshops to help young people reflect on grief and caregiving through the lens of the past.

԰�� researchers help to uncover ancient Egyptian city

Tue, 24 Jun 2025 14:04:13 +0100

Archaeologists from The University of ԰�� have played a leading role in the rediscovery of the ancient city of Imet in Egypt’s eastern Nile Delta, uncovering multi-storey dwellings, granaries and a ceremonial road tied to the worship of the cobra goddess Wadjet.

The excavations at Tell el-Fara’in (also known as Tell Nabasha) are part of a joint Egyptian-British mission with the University of Sadat City in Cairo, directed by Dr Nicky Nielsen of The University of ԰��. By combining remote sensing with on-the-ground archaeology, the team has begun to transform understanding of the urban, religious and economic life of this city in the Nile Delta during the 4th century BC.

Using high-resolution satellite imagery, Dr Nielsen and his team identified clusters of ancient mudbricks prior to excavation. This approach led to the discovery of dense architectural remains, including substantial tower houses - multi-storey buildings supported by exceptionally thick foundation walls, which were designed to accommodate a growing population in an increasingly urbanised Delta region.

“These tower houses are mainly found in the Nile Delta between the Late Period and the Roman era, and are rare elsewhere in Egypt,” said Dr. Nielsen. “Their presence here shows that Imet was a thriving and densely-built city with a complex urban infrastructure.”

Additional discoveries include a paved area for grain processing and animal enclosures, pointing to an active local economy alongside its religious significance.

Elsewhere, excavators found a large building with a limestone plaster floor and massive pillars dating to the mid-Ptolemaic Period. This building was built across the processional road which once connected to the temple of Wadjet - the city’s patron deity. This ceremonial route appears to have fallen out of use by the mid-Ptolemaic period, offering insight into shifting religious landscapes in ancient Egypt.

Artefacts from the site reflect a vibrant spiritual culture. Highlights include a green faience ushabti from the 26th Dynasty, a stela of the god Harpocrates with protective iconography and a bronze sistrum adorned with the twin heads of Hathor, goddess of music and joy.

The University of ԰��’s involvement continues to shape global narratives of Egypt’s forgotten cities, bringing the ancient Delta back into view one discovery at a time.

In addition to Dr Nicky Nielsen, the excavation team comprised Dr Hamada Hussein (University of Sadat City), Dr Diana T. Nikolova (University of Liverpool), Matei Tichindelean (UCLA), Kylie Thomsen (UCLA), Omar Farouk, Jamal el-Sharkawy, Ahmed Fahim and Ali Bashir.

The University of ԰�� launches groundbreaking ‘Digital Dante Library’

Thu, 22 May 2025 15:40:08 +0100

The University of ԰�� is set to launch the ԰�� Digital Dante Library, a landmark digital collection which will make some of the rarest and most significant early printed editions of Dante’s Divine Comedy available freely online for the first time.

The first part of this digital library will go live on 29 May, coinciding with an international conference at the historic John Rylands Research Institute and Library where the collection is held.

Developed as part of the Arts and Humanities Research Council (AHRC)-funded project Envisioning Dante, c.1472–c.1630: Seeing and Reading the Early Printed Page, this digital library is one of the most significant scholarly resources ever created for the study of Dante’s works in print. It features 99 editions printed between 1472 and 1629, with 20 being made available in the first release. The full collection will be rolled out across 2025.

The conference on 29-30 May will bring together world experts in Dante studies, early print culture, and digital humanities. Attendees will explore groundbreaking interdisciplinary research, including the project’s pioneering use of artificial intelligence and computer vision to analyse page design and layout in early modern books - offering a new lens through which to view the evolution of print culture.

The JRRIL Dante Collection includes all but three of the known pre-1650 printed editions of the Divine Comedy, with highlights such as the very first Italian editions printed in 1472, richly illustrated editions from 1481 and 1487, and later translations in Spanish, French, English and Japanese. The collection also features 19th-century illustrations by Gustave Doré, and a giant hand-illuminated manuscript created in 1902.

The ԰�� Digital Dante Library is hosted on ԰�� Digital Collections, a state-of-the-art platform developed in partnership with Cambridge University Library and supported by the Research Lifecycle Project. It exemplifies a new model for digital scholarship, merging humanities research with advanced imaging techniques and setting a new standard for cultural heritage digitisation.

For more information on the conference, visit .

Expert unlocks truth of Stanford Prison Experiment in new TV show

Thu, 15 May 2025 12:00:00 +0100

National Geographic is set to premiere ‘The Stanford Prison Experiment: Unlocking the Truth’ in the UK this month, which features expert commentary from The University of ԰��’s .

The gripping new docuseries revisits the infamous , but with a twist. Through accounts from the original prisoners and guards, many of whom are speaking on camera for the very first time, the docuseries shares a groundbreaking look at one of history’s most notorious psychological studies.

The study, controversial yet influential, has shaped popular understanding of human behaviour for over half a century. Re-examining the experiment from a different perspective, the docuseries set out to challenge long-held beliefs around Philip Zimbardo’s ‘guards vs prisoners’ study.

Surviving participants confront the emotional weight they have carried for decades, alongside newly uncovered archive footage, dramatisation and contributions from leading scholars.

Professor Scott-Bottoms expresses the fine line between theatrical roleplay and real psychological trauma. Bringing a unique interdisciplinary perspective to the psychological, cultural, and theatrical dimensions of the original Stanford Prison Experiment, he noted:

Building upon his 2024 book, , the unsettling history of role-playing in ‘constructed situations’ is explored through his commentary on the performative dynamic of the experiment and its wider societal implications. Students from the School of the Arts, Languages & Cultures also feature in the reenactments shown in the series.

To mark the UK premiere, the , in partnership with , will be hosting an in-conversation event on Wednesday 4 June titled ‘’.&�Բ��;

Professor Stephen Scott-Bottoms will be joined by from the , who is also among the expert commentators featured in the series, alongside , Director of the docuseries. An internationally recognised expert on social identity, collective behaviour, intergroup conflict, and leadership influence, Professor Stephen Reicher co-led the BBC’s partial reconstruction of the Stanford Prison study,

The event will feature behind-the-scenes insights into the making of the series, a discussion on the enduring relevance of the Stanford study and a live audience Q&A. It is open to the public and promises a compelling dialogue on truth, myth, and morality in psychological research.

CreaTech Network 2025: Events series returns this year to explore Creativity + AI in Music, Publishing and Fashion

Thu, 24 Apr 2025 16:38:00 +0100

, and the (TIC) ԰�� are pleased to announce the return of the CreaTech Network Series, with three events taking place across ԰�� from May to June 2025.

Following on from a successful series in 2024, this year's events bring together University of ԰�� researchers, creatives from fashion, music and publishing and professionals from the technology industry for important conversations about emerging technologies.

Throughout this series AI will be the focus and approached via three different themes. The pace of development of this technology is rapid and leads the creative sector into previously unchartered territory, which may prove as much a threat as it provides opportunity to the future of the creative and cultural industries.

Please book your free place via .

Creativity + AI: Music
Monday 12 May, SISTER, M1 3NJ
How can creative businesses take advantage of emerging technologies and create opportunities for innovation and knowledge exchange? A panel of expert speakers will explore applications, challenges and opportunities of AI in the Music industry focussing on creative technologies for composition, inclusive economic development of regional and national creative clusters and more.

Creativity + AI: Publishing
Monday 16 June, Oddfellows Hall, M1 7HF
The rapid expansion of AI is impacting and changing the publishing industry. We will be asking a panel of publishers, authors and librarians to reflect on the pace of change in the sector, and where they see opportunities emerging for their work. We will be asking how best we can take advantage of new technologies and how new technologies are taking advantage of creatives.

Creativity + AI: Fashion
Thursday 26 June, Arbeta, M40 5BP
How can fashion businesses can take advantage of emerging technologies affecting design, materials, production and retail, and create opportunities for innovation and knowledge exchange?

Lemn Sissay OBE to judge University's 2025 Micropoetry Competition

Fri, 21 Mar 2025 11:51:05 +0000

Esteemed poet and former Chancellor of The University of ԰��, Lemn Sissay OBE, has been unveiled as a returning judge for the 2025 edition of the annual Micropoetry competition.

As the honorary chair of creative writing, Lemn will joined by fellow judges John McAuliffe, Professor of Poetry at The University of ԰�� and ԰��-based poet and critic, Maryam Hessavi.

The theme for 2025 is ‘Connections’ and the challenge is simple - write a ‘micro poem’ of no more than 280 characters, and submit using the official competition entry form.

Lemn said: “The Micropoetry Competition sets a wonderful yet challenging task of translating a theme into a short work of art. It’s a craft to tell a story in such a manner and I’m looking forward to reading the 2025 entries, centred around the chosen theme. As someone who published a book of tweets in the form of quatrains, I urge you to pen your poem and enter the competition.”

Entries must be submitted by 23:59 on Saturday 21 June 2025, with winners to be announced by Friday 25 July 2025.

Prizes will be awarded for first place (£500) and the two runners-up (£250), with a £25 book token for winner of the under-18s category.

Professor of Poetry at The University of ԰��, John McAuliffe, said: "World Poetry Day celebrates all that is fascinating about poetry and its manifold forms. Our Micropoetry Competition explores the art of translating a set theme into a condensed poem that captures attention and shares a story.”

For the full entry details as well as the terms and conditions,

Acclaimed author Sarah Hall joins The University’s Centre for New Writing

Mon, 17 Mar 2025 18:15:53 +0000

Internationally acclaimed novelist and short story writer Sarah Hall has joined The University of ԰�� as a Professor of Creative Writing.

Sarah joins a prestigious teaching team at the University’s Centre for New Writing made up of novelists, poets, screenwriters, playwrights and non-fiction writers, including Jeanette Winterson, Ian McGuire, Jason Allen-Paisant, Beth Underdown, Horatio Clare, Tim Price and John McAuliffe.

Hailed as a ‘writer of show-stopping genius’, Sarah is a two-time Man Booker Prize nominee and an award-winning author of six novels and three short-story collections. Notably, she is the only author to win the prestigious BBC National Short Story Award twice —first in 2013 with ‘Mrs Fox’ and again in 2020 with ‘The Grotesques’. Her new novel, Helm, will be published in August 2025 by Faber who describe it as a ‘wondrous, elemental new novel … about nature, people and the sliver of time we have left’.

Director of the Centre New Writing, Dr. Kaye Mitchell, said: “It feels like a tremendous coup to have Sarah Hall join the Centre for New Writing. Personally, I’ve been beguiled by her beautiful, sensuous prose since the publication of her debut novel, Haweswater, in 2002 and she is simply one of the absolute best short story writers working today. She’s also a writer rooted in the North and in northern landscapes, histories and peoples – a writer whose elemental evocation of natural environments feels passionate and timely. Our Creative Writing students will benefit enormously from her critical eye and creative influence.”

Sarah’s work has been published in more than 15 languages, worldwide. In the UK, she is a Fellow of the Royal Society of Literature, and has won a clutch of prizes – including the Society of Authors Betty Trask Award and Commonwealth Writers Best First Novel (for Haweswater, 2002), the John Llewellyn Rhys Prize (for The Carhullan Army, 2007), and the Portico Prize (for How to Paint a Dead Man, 2010). She has also served on the judging panels of The Booker Prize, The John Llewellyn Rhys Prize, The Northern Writers Awards, and the Commonwealth Short Story Award. In 2025, she is Chair of the judging panel for the Forward Prize for Poetry.

In addition to her fiction, Sarah frequently publishes journalistic reviews, op-eds and provocations; she has written feature length radio plays and scripts and adapted her own work for radio. She commentates for culture programmes including primetime shows on BBC Radio 3 and 4 and has presented radio and television documentaries for the BBC and Sky Arts. Currently, Sarah is working on a film adaptation of The Wolf Border with AC Chapter One/Climate Spring and an original TV series concept for Bonafide Films.

Sarah was previously Professor of Practice at the University of Cumbria, and has taught masterclasses and workshops for The Arvon Foundation, The Faber Academy, The Guardian, and universities including Cambridge and St. Andrews.

԰�� Professor named Archaeologist of the Year in public vote

Wed, 05 Mar 2025 09:00:00 +0000

Photo (C) Adam Stanford,

The University of ԰��’s Professor Joyce Tyldesley OBE has won the 2025 Archaeologist of the Year award, as voted for by readers of Current Archaeology magazine.

As Professor of Egyptology, Joyce has a career-long determination to make the past accessible to all. With support from the Egyptology team, Joyce has developed a pioneering suite of online programmes designed to reach students who, for various reasons, could not attend traditional, face-to-face lectures.

Joyce studied the archaeology of the Eastern Mediterranean at Liverpool University, then obtained a D.Phil in prehistoric archaeology from Oxford University. She holds an honorary doctorate from the University of Bolton and is a Research Associate of the ԰�� Museum. Joyce is also a Senior Fellow of the Higher Education Academy. In 2024, she was awarded the OBE in recognition of her services to Egyptology and heritage.

Dr Nicky Nielsen, Senior Lecturer in Egyptology at The University of ԰��, said: “This is a very well-deserved honour. Professor Tyldesley has shaped the study of Egyptian archaeology here at ԰�� for decades, as well as her extensive work in outreach and scholarly communication, and it’s wonderful to see her get recognition from the wider field.”

The Current Archaeology awards celebrate the projects and publications that made the pages of the magazine over the past 12 months, and the people shortlisted have made outstanding contributions to archaeology. The awards were voted for by the public, with Joyce being named the people’s winner at the ceremony on Saturday 1 March.

"Joyce’s work and its impact are highly valued by all her colleagues in the department, and the University as a whole," said Professor Peter Liddel, Head of Classics, Ancient History, Archaeology and Egyptology. “Congratulations Joyce on another hugely deserved recognition of your achievements and contributions.”

Reflecting her interest in outreach, Joyce has published a series of books and articles on ancient Egypt, including three television tie-in books and Cleopatra, Last Queen of Egypt, which was a Radio 4 "Book of the Week". Her book Tutankhamen: The Search for an Egyptian King, won the Felicia A Holton Book Award from the Archaeological Institute of America.

԰�� academic condemns Trump’s attacks on diversity initiatives

Thu, 20 Feb 2025 13:57:58 +0000

An expert from The University of ԰�� has strongly criticised US President Donald Trump’s recent remarks blaming a tragic aviation accident on diversity initiatives. Lecturer in Creative and Cultural Industries Dr Roaa Ali argues that these claims are not just factually baseless – they also serve to reinforce systemic racism under the guise of ‘neoliberal meritocracy’.

Following the mid-air collision between a passenger jet and a helicopter in Washington DC in January, Trump suggested that diversity programmes contributed to the crash. His remarks, which have been widely contested and refuted, reflect a broader pattern of right-wing rhetoric that Dr Ali says disguises racism as a defence of economic and social stability.

She warns that his comments are emblematic of a growing trend in which diversity is scapegoated for economic and institutional failures.

“Trump’s rhetoric is not just problematic - it is overtly racist,” she states. “His claims perpetuate the myth that racialised individuals are inherently unqualified and that diversity efforts undermine meritocracy - when, in fact, meritocracy itself is a neoliberal myth.”

She highlights that systemic barriers - not individual incompetence - shape access to education, employment and economic opportunities. “Capitalism has always been racial,” she explains, referencing Cedric Robinson’s analysis of racial capitalism. “The idea that economic decline is linked to racial equality is a dangerous falsehood that has been used time and again to justify discrimination.”

Dr Ali’s research challenges the assumption that diversity hires lack merit. In her interviews with ethnically diverse job entrants and organisations overseeing diversity initiatives in the UK, she found that these individuals are often overqualified. “They go through multiple rounds of stringent recruitment processes,” she notes, “yet their presence is still framed as a threat rather than a step towards equity.”

She further criticises the misconception that diversity schemes provide an undue advantage. “These schemes exist to address structural racism, but they do not go far enough in creating lasting change,” she says. “Instead of meaningful intervention, they serve as temporary solutions that do not dismantle the barriers faced by racialised communities.”

Dr Ali calls on policymakers, cultural institutions and the public to actively resist these harmful narratives and support genuine structural change.

University partners with ԰�� Literature Festival to launch 2024 events

Wed, 14 Aug 2024 15:46:23 +0100

An exciting programme of literature events returns this October, hosted by .

Celebrating a series of collaborations with The University of ԰��’s Centre for New Writing and Creative ԰�� research platform, the 2024 events programme will be held between 4 and 20 October.

The 2024 events begin on campus at the University’s Martin Harris Centre for Music and Drama as we welcome former Green Party leader Caroline Lucas who launches her fascinating book Another England: How to Reclaim Our National Story.

As Higher Education Partner, The University of ԰�� works closely with the festival team to co-host a variety of events that showcase and highlight the impact of literature across the city. Other partnership events showcase new publications by celebrated authors – including:

Former Scottish Makar and firm festival favourite,  performs poems from her new collection May Day and celebrates A Life in Poetry and Protest at a special event hosted by actor Julie Hesmondhalgh (Saturday 5 October, 7pm, Martin Harris Centre for Music & Drama)

Throughout her four decades as a foreign correspondent, has always carried a book of poetry with her as ‘a vaccination against despair’. She will share some of her favourite poems and reflect on her career as a war reporter (Sunday 6 October, 4.30pm, Central Library)

(The Damned United) explores the grief, the heartbreak and the resurrection of a club (԰�� United), a city and a country in his compelling new book Munichs (Sunday 6 October, 7pm, HOME)

, one of the world’s most prolific designers, talks about his mission to end soulless, boring buildings and put human emotion back at the heart of building design (Tuesday 8 October, 7pm, Contact)

Bestselling cook and Guardian food columnist  shares her passion for East and South Asian cuisine and reveals the dishes she creates when she wants to cook for herself, family and friends in her delicious new book Dinner (Wednesday 9 October, 7.30pm, Martin Harris Centre for Music & Drama)

Legendary music producer (White Bicycle) invites audiences to open their ‘minds and ears to a wider, richer musical world’ via his engrossing new book And the Roots of Rhythm Remain: A Journey through Global Music (Monday 14 October, 7pm, Central Library)

Scottish author  (Mayflies) joins us to discuss his epic, new state-of-the-nation novel Caledonian Road with host Dave Haslam (Wednesday 16 October, 7pm, Central Library)

Bestselling novelist  (Babel) visits ԰�� to discuss her number one global sensation Yellowface, a provocative satire set in the cut-throat world of publishing seen through the eyes of failed writer June. She also discusses navigating genres, creating characters and her literary influences (Thursday 17 October, 7.30pm, RNCM)

Post-Festival, Pulitzer Prize winner (The Overstory) makes a rare visit to the UK in support of his compelling new novel. Longlisted for the 2024 Booker Prize, Playground interweaves themes of science, technology, nature, the environment and our shared humanity beautifully (Friday 8 November, 7pm, Central Library)

Our annual Rylands Poetry Reading takes place on Thursday 10 October, 7pm and welcomes poet, playwright and educator, . One of the most acclaimed and widely read poets of recent decades, Gillian will also run a Poetry Masterclass, sharing insights into the craft of poetry, and how to bend language into original and musical verse.

Cathy Bolton and Sarah-Jane Roberts, Co-Directors of ԰�� Literature Festival said: “Over the last 200 years, The University of ԰�� has shown itself to be one of the most innovative and groundbreaking universities in the UK and we are delighted to have the Centre for New Writing and Creative ԰�� as our Higher Education Partner once again. New perspectives and reimagining are at the heart of this year’s ԰�� Literature Festival. Caroline Lucas asks us to reimagine a greener, more inclusive England. George Monbiot encourages us to reimagine the end of neoliberalism. Thomas Heatherwick invites us to reimagine our cities without soulless, boring buildings. David Peace reimagines the grief, heartbreak and resurrection of ԰�� United after the 1958 Munich air disaster. We also welcome a multitude of brilliant novelists, poets and artists to the city, and invite you to join us to revisit familiar narratives from a place of freshness, curiosity and hope.”

Find out more about ԰�� Literature Festival and view the full programme by visiting .

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