The proposed project seeks to explore the ways in which the power of social media and social interactions-whether online or in the real world-can be harnessed to create digital music. The core methodology of the project is to develop a mobile app, Pet Sounds, which will be used to study these interactions. Pet Sounds will enable users to create a musical self-portrait or 'musical selfie', a musical representation of the user that reflects social experiences. In order to modify this composition, users must engage in different kinds of social interactions. These interactions might take place via social media like Facebook or Instagram. For example, chatting with another user might result in one kind of musical outcome, while tagging friends in a photo might result in another kind of musical outcome. The composition can evolve only through these kinds of social interactions, as well as by undertaking real-world social activities with friends. The musical selfie logs these interactions via different kinds of compositional transformations. For example, the composition might grow longer or shorter in duration; it might add a new voice or voices; it may change timbral qualities, tempo, rhythms, harmonies, and so on. The sounds and music will be generated almost entirely via social activities. Users will be able to share their musical selfies with each other, and collaborate with other users in developing their compositions. This study entails an interdisciplinary collaboration that spans musicology, ethnography, and composition and software design. The researchers will develop Pet Sounds in the context of workshops with diverse groups of participants who have varying backgrounds in music, music technologies, and social media use. The app will be designed to appeal to specialist and non-specialist users alike. While the app itself will not be released as an output during the lifespan of the project, its prototyping will provide the basis for studying socially-based musical interactions. These interactions will be studied via critical perspectives in musicology, sound studies, composition, and interaction design. The outputs of the project will include a co-authored journal article, conference paper, public presentations and performances that will examine the many creative, critical/theoretical and technical dimensions of the research. The research team will be based at the Sonic Arts Research Centre at Queen's University Belfast, the University of Oxford, and the University of Bristol. Workshops will take place at the Pervasive Media Studio at Watershed, Bristol. This non-academic partner will be important in attracting a diverse community of creative practitioners, technologists, and general audiences. At Watershed, the research team will conduct a series of Design and Play Workshops, and a Lunchtime Talk. In Belfast, the research team will partner with the Junior Academy of Music to reach music educators and young people aged 12 to 17 years in the context of workshops on 'App-ifying Music'. Other key elements of impact will include hosting a panel for media artists and technologists at an international media arts centre, and a presentation for creative industry professionals at a major industry event. The aim of the research is to show how music making can evolve as a social activity using new digital technologies. The proposed project will be playful, collaborative, interactive, participative and fundamentally social. In this way it diverges from projects in music technology that either require a great deal of skill on the part of the performer or expertise on the part of the listener. Pet Sounds will show that 'new music' and digital music cultures can be inclusive, engaging, and friendly. It will further show that users or participants themselves can play a large role in collaboratively creating compositions that are musically interesting and that draw upon users' own experiences in meaningful ways.

Artists Extending Realities will convene, commission and support a new inclusive wave of artists to make and share extraordinary immersive work. Our proposal brings together two universities, four producing venues and UK-wide expertise from organisations with specialist expertise around inclusion, training, showcasing and research. The partners - Pervasive Media Studio (Watershed, UWE Bristol, University of Bristol, England), Wales Millennium Centre (Wales), Nerve Centre (Northern Ireland), Cryptic (Scotland), Crossover Labs (Sheffield), Unlimited, XR Diversity Initiative and Immerse UK - are united by an ongoing commitment to support artists and reach audiences while building equity in the sector. Collectively we bring the practical experience needed to successfully deliver this programme. In three years, we will commission over 200 artists to engage, experiment and explore the possibilities of immersive technology. We will create inclusive opportunities for artists of all backgrounds, from across the four nations and multiple languages of the UK to bring their creativity to the fore. Through an integrated programme of research, we will capture and share insight and learning about what works best for the wider sector. We will establish a powerful network of practice and exhibition within which a distinctive UK immersive arts sector can emerge and flourish. The UK made early investment into first immersive content production, then XR infrastructure and skills. This programme will offer joined up support for artists to make work that integrates content and technology with purpose and audience in mind. To realise the potential of existing investment, artists (especially those currently underrepresented in the sector) need access to tools, training and expertise for experimentation, support from producers who understand the field, better distribution routes and showcasing opportunities, and audience development that builds confidence and criticality into the immersive arts. We believe that the unique characteristics of XR technologies create opportunities for artistic, cultural, economic and societal impact. Immersive tools allow artists and audiences to inhabit fluid personas and shape rich storyworlds alongside one other. Embodied experiences can have a profound effect on people; engaging them with each other, with their environment and with stories in visceral and long lasting ways. This sparks new forms of imagining, desperately needed in a divided and endangered planet. Hybrid and social XR enable new ways of being together in physical and digital space. People who are isolated from the arts through geography, a lack of economic opportunity and/or disability can find meaningful ways to create and connect with cultural experiences. If carefully supported, new business models emerge, attracting audiences who may not have otherwise participated in 'mainstream' arts and generating new distribution routes while minimising carbon impact. Through a responsible approach to research and development, in which inclusion, sustainability and ethics are considered at every stage, we will unleash this latent potential of XR to build a sector that can thrive in regenerative partnership with the wider ecosystem. Artists Extending Realities will act as a creative catalyst, raising profile and ambition, and generating a culture in three years that becomes the foundation for the next twenty.

As European Green Capital 2015 and one of the Rockefeller 100 Resilient Cities, Bristol has challenged itself to transform by 2065 into a place where citizens 'flourish' by working together to create wellbeing, and achieve this equitably and sustainably. The Bristol Urban Area can legitimately claim to be in the vanguard of such urban transformation, and yet its development pathway remains characterised by paradox, and the need to deal with some stark realities and to challenge a 'business-as-usual' mind-set if progress towards aspirational goals is to be sustained. This proposal addresses a fundamental issue: what is stopping Bristol from bridging the gap between its current situation and the desired future as encapsulated in the City's various visions and aspirations? We have forged a partnership focused on the contiguous City of Bristol and South Gloucestershire urban area. We have secured the full backing of the two local authorities, Bristol Green Capital Partnership and Bristol Health Partners, the LEP, the local business community, citizen groups, and academics from across both Universities, with tangible commitments of support. Dissolving siloes through partnership, and a genuine interdisciplinary and cross-sectoral collaboration, is core to our approach, and hence both Universities have committed to share equally the financial resources with external partners in a three-way split. It is a key strength of this project that we are able to leverage extensively on internationally leading research assets, including: 'Bristol is Open', the FP7-funded Systems Thinking for Efficient Energy Planning (STEEP), the Horizon 2020 REPLICATE project, ongoing work at the £3.5m EPSRC/ESRC International Centre for Infrastructure Futures (ICIF) and co-produced and co-designed research such as the AHRC/ESRC Connected Communities and Digital Economy funded projects including REACT Hub, Tangible Memories and Productive Margins. We also have access to a wealth of highly valuable data sources including the 2015 State of Bristol Report, Bristol's Quality of Life Survey, and the Avon Longitudinal Study of Parents & Children that has followed the health of 14,500 local families since the 1990s. We intend to build on the ICIF cognitive modelling approach which identifies the importance of challenging established mental models since these entrench a 'business-as-usual' mind-set. At the heart is co-creation and co-production, and an acknowledgement that citizen behaviour and action are essential to the delivery of desired societal outcomes such as wellbeing, equality, health, learning, and carbon neutrality. The work programme synthesises existing domain-specific diagnostic methodologies and tools to create a novel Integrated Diagnostics Framework. We believe strongly that unless an integrating framework is developed to bring together multiple viewpoints, the diagnosis of urban challenges will remain fragmented and understandings will potentially conflict. We will apply this framework in this pilot project to diagnosis complex problems across four 'Challenge Themes': Mobility & Accessibility, Health & Happiness, Equality & Inclusion and the 'Carbon Neutral' city. We have appointed 'Theme Leaders' who are all 'end users' of the diagnostics, ensuring that the process of investigation is cross-sectoral, interdisciplinary, participatory and grounded in real-world context and application. The legacy of the project will be threefold: firstly innovation in the diagnostic framework and methods needed to address urban challenges; secondly its application to the Bristol urban area and the resulting diagnostics synthesise across the four Challenge Themes; and finally the formation of an embryonic cadre of cross-sector city leaders with the capability to apply integrated diagnostics and challenge the prevailing 'business as usual' approaches.

This transnational study explores histories and representations of wet-nurses, migrant domestic workers and sex workers in Latin(x) American photography, film, literature and digital culture from the late nineteenth century to the present day. It explores the similarities and differences between these kinds of work by analysing them as forms of immaterial labour, which is work that creates immaterial products, including social relationships, emotional responses and bodily feelings -- also termed 'affects'. This project is the first to ask: what does an analysis of Latin(x) and Latin American cultural productions featuring these workers contribute to our understanding of the links between these forms of labour, and to a public appreciation of these kinds of work, which are often marginalised or denigrated. To answer this question, it responds to the following four interdisciplinary research questions: 1) Which creative techniques do artists use to explore the challenges faced by Latin American and Latinx migrant workers employed in these forms of affective and immaterial labour? 2) How does an analysis of these creative works enable us to compare and contrast between different forms of affective and immaterial labour, such as wet-nursing, sex work and domestic work? 3) How can artistic depictions of affective and immaterial labour raise awareness of exploitative employment practices and contribute to a public understanding of the economic, social and cultural value of care work? 4) How can artists, academics and activists collaborate effectively and ethically with individuals involved in forms of affective and immaterial labour? It is the first study to trace the historical, geographical and thematic continuities (and differences) between artistic representations of archetypal forms of immaterial labour in Latin(x) American culture including wet-nursing, domestic work, migrant labour and sex work. The research comprises four strands, which analyse: (1) photographs and paintings of Afro-descendant and indigenous wet-nurses produced in Latin America in the late nineteenth and early twentieth centuries; (2) documentaries and a literary testimony that record the experiences of Latin American women working as live-in nannies and domestic workers in modern-day Europe; (3) several films, documentaries and a novel that portray the experiences of female sex workers from across Latin America from the 1940s until the present day; and (4) a film, documentary and digital artworks that explore the invisibility and immateriality experienced by Mexican and Central American migrant workers in the US. These research questions will be answered by the following six outputs: 1. An open-access book that addresses the four research strands identified above and draws on my own analysis of the chosen primary texts, as well as on interviews with the artists who produced them. 2. A peer-reviewed journal article - authored by the PDRA - that analyses a series of photographs of Afro-descendant and indigenous wet-nurses taken between 1879 and 1913, which were found at an archive in Lima. 3. A video essay - made in collaboration with an experienced video artist - that explores and illustrates the connections between visual representations of Latin American wet-nurses, nannies and domestic workers from the late nineteenth century until the present day. This output will be submitted to a peer-reviewed open-access video essay journal. 4. A policy advisory document that serves as a blueprint for effective, ethical forms of collaboration between academics, artists and activists and paid domestic and sex workers. This will represent the key output of an online workshop that unites these stakeholders. 5. A series of public film screenings and expert Q&As on the theme of 'Labour in Latin American Film' held at Watershed cinema, Bristol (subject to Covid-19 regulations). 6. An online platform featuring blogs, photographs and the video essay.

Patterns in Practice will explore how practitioners' beliefs, values and feelings interact to shape how they engage with and in data mining and machine learning - forms of 'narrow AI'. Data and algorithms are becoming increasingly important resources for decision makers in organisations across sectors. Data mining and machine learning techniques allow analysts to find hidden patterns in the vast troves of data that organisations hold, producing predictive insights that can be actioned by others within the organisation or further afield. As applications of such techniques have become more common place, they have also become more controversial. The recent case of Cambridge Analytica mining Facebook data for political campaigning purposes is a recent example. Across sectors practitioners are asking what good data practices look like and how they can be fostered, and the UK government has recently launched the Centre for Data Ethics and Innovation to examine such issues. While many data scientists are excited by these techniques and their potential to overcome perceived limitations of human judgement, for other groups of practitioners they can be perceived as an intrusive threat to privacy, an unwelcome challenge to professional insight, or dismissed as overhyped methods that produce poor quality information. Beliefs, values and feelings such as these, influenced by the cultures that practitioners are embedded within, are crucial factors that shape how the adoption and application of this type of AI unfolds in different contexts of practice. They also shape how different groups of practitioners come to relate to one another and the subjects of their data. Ultimately, practitioners' beliefs, values and feelings shape how they come to understand what is desirable and ethical with regard to the application of such techniques in different contexts. In Patterns in Practice, we will use a combination of interviews, focus groups and observations to explore how the beliefs, values and feelings of different groups of practitioners shape how they engage with data mining and machine learning, and influence the evolution of cultures of data practice. We will examine the beliefs, values and feelings both of those developing and implementing applications that use data mining and machine learning techniques, and those being asked to use the outputs of such applications to inform their decision making. Since factors such as the novelty of application, individual and social implications, and the involvement of commercial interests can impact on people's beliefs and feelings about the application of such technologies, we have decided to explore practitioners' perceptions within three contrasting sectors in science, education and the arts: (1) mining chemical data to inform drug discovery in the pharmaceutical industry, (2) predictive learning analytics in UK universities, and (3) novel applications of data mining in the arts. Through exploring a diverse range of practitioners' perspectives, we aim to build a rich picture about what they believe and how they feel about the application of data mining in different contexts. Building upon this empirical foundation, we aim to engage different groups of practitioners across the sectors to enhance their understanding of the ways in which their own and others' beliefs, values and feelings can impact upon how they engage with data mining and machine learning applications and how this shapes how such applications become embedded, or not, into different organisational contexts. Drawing on this deeper understanding, we aim to empower practitioners in the sectors we work with and relevant stakeholders (i.e. members of the public, policy makers) to foster the development of critical and reflective "data cultures" (Bates, 2017) that are able to exploit the possibilities of data mining and machine learning, while being critically responsive to their societal implications and epistemological limitations.