Re:action Spring 2020

Spring 2020 | Issue 14 Research and Enterprise Newsletter

Cultural Collaborations

We delve into some fascinating research partnerships that explore the worlds of art, music and literature FEATURE: Bringing the sounds of people’s homes from past generations back to life

FEATURE: Can jazz music be created by a machine? Artificial intelligence and music fuse to find out

FEATURE: Musician and virologist work together to create an audible representation of the journey of a virus through a human cell

FEATURE: Local children design colourful walkways in Street Art project celebrating Southampton in full colour

Introduction

WELCOME TO RE:ACTION I am constantly astounded by the breadth and quality of the research conducted across the University. Great research comes in all shapes and topics.

The theme for this issue of Re:action is Arts and Culture, and as a result we have a bumper collection of fascinating research stories of exceptional diversity.

Subjects range from Jane Austen’s music books to explorations of slavery, through to ‘Jazz as Social Machine’. All are extraordinary, and thought provoking. It is also great to note the high level of interdisciplinarity represented in the work, examples include linking cultural studies of Ethiopia to public health, and developing musical and artistic expressions for research into HIV and the circular economy.

We should all be reminded that arts and culture are fundamental expressions of the human condition and have the potential to make important contributions to other quite disparate areas of research.

It is also great to see three projects represented involving the John Hansard Gallery, as well as an overview of the Connecting Cultures project. As we work closely with the City and other partners on Southampton’s bid to become the UK’s City of Culture for 2025, this is a great opportunity to remind us all that arts and culture are activities that we can all participate in, and benefit from. For the purpose of the City of Culture competition, culture is very broadly interpreted, and is expected to have a strong research component. Based on the evidence of this issue of Re:action, we should be able to make a very strong contribution to the bid.

As ever, many thanks to everyone who has contributed and I look forward to further interactions that arise from colleagues reading and reacting to the work presented.

Best wishes

Professor Mark Spearing Vice-President (Research and Enterprise)

PLEASE SEND US YOUR FEEDBACK We are keen to receive your feedback about Re:action. If you have any ideas, comments or suggestions, please send them to reaction@southampton.ac.uk

2

For further information, visit: www.southampton.ac.uk/ris

4

6

8

IN THIS ISSUE

Connecting culture

The sweet tooth with a bitter aftertaste

Taking the sounds of home around the world

FEATURE

FEATURE

FEATURE

10

12

Smoke signals

Jazzing it up with AI

FEATURE

14 FEATURE

Voices in the gallery

FEATURE

16 FEATURE

The virus within: Hearing HIV

18

24

Making children instrumental in reducing our eWaste

Haroon Mirza: On the crest of a wave

FEATURE

FEATURE

20

22

26

Community takeover

Up your street

The lure of the sea

FEATURE

FEATURE

FEATURE

28

Spotlight on: Public Engagement with Research

30

News in brief

32

Research award highlights

3

Feature

Young people from across Southampton are at the heart of Connecting Culture, a new ground-breaking research project focused on addressing the question of how the city’s thriving Cultural Quarter can enrich the lives of those aged five to 25.

CONNECTING CULTURE 1

“ We’re very excited to be launching Connecting Culture which will place strategic cultural development at the centre of our work.”

Louise Coysh Project Manager and Associate Director (Arts and Culture)

Children are central to our culture – they are its future. A new research project is embracing this by recruiting young people as Cultural Connectors and inviting them to take part in a Creative Consultation in order to build a new future in the arts.

adopted by Southampton City Council’s ‘ChildFriendly Southampton’ policy and create a sustained cultural programme that reflects their needs. In addition the project will align with major cultural developments in the city such as Southampton’s UK City of Culture bid.

Led by the University of Southampton, Connecting Culture is a two-year project supported by a £75,000 grant from Arts Council England and involving a large consortium of arts organisations and childfocused services.

Louise Coysh is Project Manager and Associate Director (Arts and Culture) here at the University of Southampton, said: “We’re very excited to be launching Connecting Culture which will place strategic cultural development at the centre of our work whilst enabling the voice of children and young people across the whole city of Southampton to be heard and acted upon in such a positive way.”

The aim is to enable young people to produce a Young People’s Manifesto and Map to be 4

For further information, visit: https://generic.wordpress.soton.ac.uk/connectingculture/

2

3

The project will involve: • Over 350 children and young people from across Southampton taking part in an artist-led ‘Creative Consultation’ • The recruitment of 10 young people aged 16 to 25 as ‘Cultural Connectors’, a dynamic cohort of young researchers • A series of ‘Young Peoples’ Commissions’: new public artworks that will be commissioned and led by young people, including a new Young People’s Manifesto and Map • Working with the project partners to embed a culture of knowledge exchange, learning and CPD at the heart of the project • A vibrant programme of Events providing a chance to share learning and project outcomes, including artwork commissions • A Research Programme including the development of a new Cultural Mapping Tool enabling the capture and use of quantitive data across Southampton.

This tool builds upon the existing work of the University of Southampton’s Software Research Group (SRG) and its Engagement Activity Mapper.

The research programme underpinning the Connecting Culture project – led by Dr Ronda Gowland-Pryde, Public Engagement Spectrum Manager – will employ innovative, creative approaches.

These include using workshops, journal entries, drawing, photography, blogs, vlogs and mapping to embed cultural democracy within the research, evidencing individual experience through a variety of means.

With the Research Team, the Consortium and young people will utilise the qualitative and quantitative data gathered throughout the research project to trial, develop and shape

1 Turner Sims and Southampton Music Hub Schools Concert 2 SÓN Orchestra and SocoMusic, Tales of the Young Persons Orchestra workshop 3 Art Asia, Mela performance, 2019

cultural activities and future provision for children and young people in Southampton.

The research process is intentionally open, collaborative and iterative, providing opportunities for the Consortium partners, children and young people to co-develop new models of knowledge exchange and practice for creative programming.

5

Feature 1

THE SWEET TOOTH WITH A BITTER AFTERTASTE Combining historical research with thought-provoking performance art has brought the physical and emotional turmoil of British colonial slaves to life.

Life on 18th century Caribbean sugar plantations was brutal. Human life was nothing but a commodity. Transported across the notorious ‘Middle Passage’ from Africa to the Caribbean, many of the enslaved people destined for such exploitation died before reaching their destination. Those who made it were worked to an early death.

Christer Petley, Professor of Atlantic History, has dedicated his recent research to trying to understand that system by studying Simon Taylor, the owner of Jamaican sugar plantations and one of the wealthiest and most influential slaveholders of the 18th century British Empire.

6

Born in Jamaica, Taylor was educated in Britain before returning to Jamaica to take over his late father’s fortune to build his own sugar plantation business.

Christer has recently published his book White Fury, which tells Taylor’s story through the many letters he wrote to friends, family, business connections and political allies in Britain. By the time of his death in 1813, Taylor was one of the wealthiest men in the British Empire, with an extraordinary fortune of £1 million built on the backs of the enslaved men, women and children who laboured on his sugar estates. He ‘owned’ 2,248 slaves when he died.

But he died an enraged and bitter man, due to the abolition of the slave trade in 1807, hence the book title White Fury.

Christer explained: “The book reflects the story of someone who was once quite optimistic about the future, but by the end was apoplectic with fury and rage. The tone of the letters changes quite markedly.

“Taylor’s income and fortune was based on slave labour, so when that came under scrutiny and attack he was gobsmacked – he could not understand how this trade, which was so good financially for Britain, could be questioned.”

For further information, visit: www.blog.soton.ac.uk/slaveryandrevolution 2

3

1

Further elaborating on Taylor’s perspective, Christer added: “To a slaveholder like him, some people were slaves, and some were masters, and that was the way of Taylor’s world. He had also lived through the American Revolution and remained fiercely loyal to Britain, so when he was presented with abolition he was furious – he had been loyal to Britain, so why wasn’t Britain being loyal to him?

1

“There is a complete failure in Taylor’s letters to recognise the arguments of the abolitionists. Slavery was not only built into Taylor’s business model but also into his sense of how the British Empire should be.”

Creating Sweet Tooth Christer’s research has been brought to life through London-based vocal and movement artist Elaine Mitchener. Through her work exploring her family’s links back to the Caribbean, Elaine came across Christer’s research.

Under the working title of Sweet Tooth, Elaine used Christer’s material to develop and shape a piece of performance art exploring the issues of slavery and the longstanding connections between Britain and the Caribbean.

“It was good to use some of the material I had developed in my research,” said Christer. “In Sweet Tooth, Elaine reads from the sources I used for my own work.”

Elaine added: “Christer was invaluable for being able to state, ‘this is how it was’ and ‘this is what happened’. We had to face some difficult facts and find a way to convey them and communicate it to everyone.”

Elaine and Christer, along with three other performers, ran a workshop and performance at the Turner Sims concert hall to further develop Sweet Tooth. Elaine then had a 1

residency at Aldeburgh Music, which was when Sweet Tooth was most fully developed, with Christer as the historical consultant.

In 2017, Sweet Tooth was premiered in Liverpool and has since been performed in Southampton and London, and has since been performed in Southampton, London and at the 2020 Borealis Festival in Bergen, Norway. The full audio has also been broadcast on BBC Radio 3.

“Sweet Tooth tells the story of the experiences of slaves from the Middle Passage being transported across the Atlantic, to being on plantations and trying to make sense of that bewildering new experience and of their brutal treatment on each step of that journey,” explained Christer.

Elaine added: “One of the key things from reading and talking to Christer about this period was the feeling to never feel comfortable. Enslaved people were never comfortable. Even when they were allowed to

1 Elaine Mitchener performing Sweet Tooth 2 White Fury by Christer Petley 3 Professor Christer Petley

entertain themselves, there was always a fear it could all change.”

But Christer is also at pains to emphasise how it is more than just a tale of torture and defeat. “Drawing upon some the archival material I used for White Fury, there is a section of the piece where enslaved people are listed—their names read out—which is really powerful,” he said. “And the piece ends on a strong note of rebellion and resistance.”

Elaine also staged a chapter from Sweet Tooth, called [Names], at the John Hansard Gallery in Southampton as part of the 2019 Being Human Festival. The sound installation featured Elaine’s recital of names and given monetary values of some of the thousands of enslaved African men, women and children who were recorded as part of Taylor’s ‘property’ when he died.

“These people, part of my ancestry, existed under the very worst conditions imaginable to profit a country that they would never see,” said Elaine. “Somehow their spirit was not broken and they created their own AfroCaribbean culture.

“These were people. Those weren’t even their names. Their names were taken from them and they were given a name as a convenience, so that their owner could remember who they were. I thought about what that means in terms of our identity. There was a ‘Cuba’, who was a girl and who was valued at £100, and I’m wondering ‘what happened to her?’. What happened to Adam? What happened to Appa, who was ‘sickly’ and ‘of no value’?

“So when Christer gave me those names I had to do something, I had to honour those people.”

7

Feature

TAKING THE SOUNDS OF HOME AROUND THE WORLD

Our enjoyment of music at home has been revolutionised.

Sound is fundamental in our homes. If you closed your eyes and walked into your home, you would likely recognise it from its sounds. Maybe it’s the radio or television in the background, maybe it’s children playing, maybe it’s the buzz of the oven, the heating, someone playing a musical instrument, or the sound of rain on the roof.

Sound is integral to our homes. It sounds obvious, and it is obvious.

8

But that sound has got lost in history. It is harder to imagine what a typical home sounded like hundreds of years ago. Fires crackling perhaps. People chatting. Kitchens clanging. But what about the music? Without radios or smart speakers, what did people listen to, and what did it sound like?

Jeanice Brooks, Professor of Music, has been addressing this question and bringing the sounds of people’s homes from past generations back to life. Her focus for this

has been British homes in the Georgian period of the 18th and early 19th centuries.

“The big difference in domestic music making is that it’s music that people are doing for themselves – that’s one reason it’s so interesting,” she said. “People engaged with music in a very different way from today. There was no radio or recorded sound in the home. But music became an increasingly important part of the ideal home, and people who were educated

For further information, visit: www.sound-heritage.ac.uk 1

1 Matthew Stephens and Jeanice Brooks at the Songs of Home exhibition in Sydney 2 A portrait of Jane Austen 3 The Songs of Home exhibition in Sydney

learned musical skills so that they could provide it.”

Through her research as part of the Sound Heritage project, funded by the Arts and Humanities Research Council, Jeanice has worked with historic houses to explore how music featured in domestic spaces.

She explained: “I have worked with historic house museums as they are the spaces that are still at least partly intact. It’s been important to investigate the physical spaces and think about the interactions between music senses and historical culture. I have looked at how to bring experiences of music back to life in a way that’s meaningful to modern day audiences.”

At home with Jane Austen Jane Austen’s House Museum has proved integral in Jeanice’s research. The Hampshire cottage where Austen penned her novels gives a different perspective from the grandeur of many of the preserved historic houses.

“Unlike some of the really grand places I have worked in that are like palaces, the Austen house where she lived for the last 10 years of her life gives a more modest perspective,” explained Jeanice. “She was living in the steward’s house on the estate of her wealthy brother. It gives you a different perspective on a different kind of domestic life.”

read music and play music at home. Austen’s music books are mostly solo voice and solo piano. She didn’t play for others in the way the picture is often painted in her novels.

Mostly she played in the mornings, by herself, for pleasure.”

Heading Down Under Jeanice is recently back from Australia where she co-curated an exhibition in Sydney about music at home in the first 70 years of the colony.

In 2015, she began working with Dr Matthew Stephens, from Sydney Living Museums.

They worked together on the Sounds of Home exhibition.

“While lots of British domesticity gets exported, it changes as soon as it arrives,” said Jeanice. “Matt and I decided to do the Sounds of Home exhibition to explore this process.

How did the sounds of home change to adapt to new surroundings? What other sounds were integrated or displaced?”

The exhibition started with the story of Woollarawarre Bennelong, a musician and a

2

senior Aborigine at the time of the first British settlement in Australia in 1788. Bennelong visited London shortly after the First Fleet arrived in New South Wales.

As part of the exhibition, Austen’s music books travelled to Sydney to demonstrate music in the British home at the time, as an example of what women of her class and education would have experienced and of the kinds of music that went to Australia in the minds and luggage of British immigrants.

“We displayed Austen’s music books next to instruments and objects belonging to Elizabeth Macarthur, who went out to Australia with the first governor,” explained Jeanice. “The exhibition was about taking our understanding about what young women played at home, and moving it to the other side of the world.”

The Songs of Home exhibition ran from August to November last year.

Jeanice is now putting her research on music in the home in the Georgian era into a new book, called At Home With Music.

3

As part of her research, Jeanice has worked with the Hartley Library to digitise all 18 of Austen’s family music books, making them freely available online. They provide an insight into some of the music Austen knew and performed for pleasure at home, bringing the sound of her home to life.

Jeanice added: “Austen was not a virtuoso pianist but she was competent. That was widespread among her class – to be able to

9

Feature

SMOKE SIGNALS

3

The smoky cultural phenomenon that’s being called into question.

Smoke is bad. Smoking cigarettes is bad for our health. Smoke pollution is bad for our health and for the environment. In the modern Western world, there is little positive to be said for smoke.

1

The opposite, however, is true in the country of Ethiopia. Here, whilst cigarette smoking is not prevalent, smoke that is produced from burning a number of long recognised plant substances is engrained in the culture. It is used for healing, cleansing, purifying, scent, the daily ritual of the coffee ceremony, and even exorcism.

It’s a fascinating cultural phenomenon that is attracting the attention of two Southampton researchers from two very different areas of expertise – Dan Levene, Professor of Semitics and the History of Religion, and David Phillips, a professor from the Department of Medicine.

2

Thanks to a mutual interest in Ethiopia and through their respective areas of interest, Dan and David have joined forces to better understand the significance of smoke within Ethiopian culture, as well as its impact on citizens’ health. The work also involves several Ethiopian collaborators and universities.

Having both spent a lot of time in Ethiopia, they found the use of smoke in everyday life is impossible not to notice.

David explained: “There are a lot of cultural misunderstandings and clashes between modern medicine and traditional beliefs.

There are also many areas where there is an intersection between culture and tradition, and modern medicine. This is a unique

10

collaboration – Humanities and Medicine coming together to better understand the culture of smoke and its impact.”

The power of culture Prior to investigating the impact of smoke on health, David’s medical research has focused on the health problems in Ethiopia.

“While medicine has made great strides in controlling the major infectious diseases typical of the tropics, the country now faces an increasing problem from the emergence of Western diseases such as diabetes and heart disease,” he said.

Although people in Ethiopia are beginning to get better access to treatments for these diseases, attendance at outpatient clinics is still poor, and a major problem is something called Loss to Follow Up, or LTFU. This is when a patient seeks initial advice and treatment, but then fails to attend any follow-up appointments or to take the prescribed treatment. Although there are a number of reasons for this, Dan and David have found that the communities’ cultural beliefs are a major contributor.

Dan, who spent two years of his childhood living in Ethiopia, explained further: “A big issue that David and I found common ground on was poor patient engagement and high rates of LTFU. So, in a typical rural population, only about 15 per cent of the affected patients find their way to a clinic. Of those 15 per cent who get there and get a diagnosis, 65 per cent of them stop treatment within a short time.

The problem is a whole panoply of alternative indigenous treatments that are often more available, are deeply culturally embedded and which they get involved in instead.”

For further information, visit: www.southampton.ac.uk/history

4

1 A market stall selling materials to burn for smoke 2 Local Ethiopian artwork depicting smoke 3 In a coffee shop near Addis Ababa 4 A domestic kitchen in a private home

The Force of Faith https://youtu.be/8xgKhQQUrbo

5 Making the traditional equivalent of bread, known as injera

Smoke and Fumigation in Ethiopia https://youtu.be/MK0nZ5x08Fw

capital city, Dessie, where they have so far surveyed 300 people.

“If someone comes to a clinic and is told ‘you need to take pills for the rest of your life’, they will say ‘but the traditional healer said that he can cure me in two weeks’,” added David.

“The local word for ‘pill’ also means ‘cure’, so they expect to take a pill and be cured. So, instead, people turn to holy water, witchcraft, herbal medicine or the use of smoke.”

In 2015, David and Dan won a grant from the Wellcome Trust to research the issues of LTFU and Ethiopians turning to alternative medicine and treatments.

Dan said: “It’s not just Ethiopia not understanding modern medicine, it’s modern medicine not understanding indigenous ways of thinking.”

Using their Wellcome Grant, David and Dan published a paper exploring the impact of traditional beliefs on the success of modern medical care in Ethiopia, and made a film called The Force of Faith.

“ This is a unique collaboration – Humanities and Medicine coming together to better understand the culture of smoke and its impact.”

Professor David Phillips Department of Medicine

Seeing through the smoke Since their work on LTFU, their focus has shifted to the subject of smoke. Smoke is not regarded as a health hazard in Ethiopia – in fact it’s seen as the polar opposite.

“Smoke is used as a purifying or cleansing agent in Ethiopia,” said David. “If there is a sick child, or someone has a sore throat, they will light a fire and fill the room with smoke. Fever is regarded as something you have to smoke out.

“At the moment there is a big push in Africa to reduce air pollution. As few people have cars, the main focus has been on reducing involuntary exposure from the use of open fires in homes. However, being in Ethiopia, we realised there is a big cultural dimension that people have ignored.”

The country has a wide spectrum of materials that are burned to produce smoke for a whole variety of reasons – fumigation against insects, treating illness or skin problems, burning incense, for exorcism, or to promote health and beauty in women.

They have also collected a variety of materials from the Ethiopian markets back to the UK that include barks, grasses, leaves and incense.

These are being examined at a specialist laboratory where the equipment is available to burn materials and examine exactly what is coming off them.

“Smoke is pervasive,” said David. “Seventy per cent of households use smoke – it’s part of their culture. They refer to ‘smokes’ in the plural, as they use smoke for different purposes. It has taken us a long time to get our heads around it, because we are so conditioned in the West that smoke is bad.”

Dan and David are in the process of writing an extended paper on their findings so far, and are also working on another short film.

David concluded: “This issue has historically been ignored. We want to learn more about it, as it’s a cultural phenomenon that is potentially impacting people’s health. We want to bring it to people’s attention, whilst bearing in mind that it’s culturally very sensitive.”

5

“But the potential health impact of creating smoke is completely ignored – the mindset is that it’s part of the way of life,” added David.

The pair have recently been awarded a grant of £10,000 from the Association of Physicians to research the prevalence and use of smoke in markets and private homes. They have visited the Wollo province of Ethiopia and its 11

Feature

JAZZING IT UP WITH AI Can jazz and computers ever truly see eye to eye?

Jazz is the ultimate improvisation. It’s complicated, it’s clever, it’s steeped in history and it relies heavily on the musician’s experience and memory. So, could it ever be created well by a machine?

In an unusual research project that fuses jazz music with computer science, Dr Tom Irvine is hoping to get to the bottom of the question.

If the answer is ‘yes’, it could open up a whole world of possibilities for the music industry.

Tom, Associate Professor and Director of Programmes in Music, said: “Jazz is a really historical type of music, it comes from its roots in African-American culture. It’s very much the passing down of knowledge from one generation to the next. Jazz musicians learn history: the tunes and the different versions of the tunes.

“I wanted to know if computers are able to do that yet too – and it turns out they don’t, or at least not so well. An investigation of jazz has turned into an investigation of computers.”

The project, called Jazz as Social Machine, is supported by an Alan Turing Fellowship from the Alan Turing Institute, with which 12

Southampton became affiliated in 2018.

Tom also works closely with the University’s Web Science Institute, of which he is a NonExecutive Director, as well as the AI (Artificial Intelligence) and music lab at the Academia Sinica in Taiwan, and the Arts Council Supported initiative Jazz South, which is based at the Turner Sims Concert Hall.

When AI meets music The meeting of music and data is a hot topic.

“The music industry is really interested in how music works – how to understand it as data,” explained Tom. “If it can do that, it can understand what you like and give you more of that.

“The last decade has seen a lot of effort go into how music works as data, which has led to exploring AI composition.”

Tom is applying this to the specifics of jazz music.

“This project is about how machines pretend to be creative,” he said. And it’s particularly interesting from the jazz point-of-view, as jazz is so unique.

“People don’t improvise jazz music, or any music, note by note,” added Tom, who has taught jazz history at the University for 14 years. “Jazz musicians

For further information, visit: www.turing.ac.uk/research/research-projects/jazz-social-machine

Dr Tom Irvine

He then applied for, and won, a Turing AI Fellowship worth £70,000. Through this he has brought on board Dr Valentina Cardo, from Winchester School of Art, and electroacoustic composer Dr Brona Martin.

improvise in melodies, and a lot of history and memory comes into that.

It’s not just the data in the moment, it’s the memory of the history of jazz. And because jazz’s global history is so tied up with ideas of freedom and resistance, it’s often political too.”

To understand the possibilities, Tom is researching music composed by AI. He won funding from the Higher Education Innovation Fund in 2019 to visit Taiwan’s Academia Sinica, where they have a large music and AI lab, to learn more about AI and its possibilities with music.

Their project will see Brona, a Research Fellow in the Department of Music, create an interactive sound art to explore the possibilities of AI-improvised jazz. Alongside this, Tom and Valentina are working on various publications outlining what happens when a computer tries to make jazz and what that means for the AI and music industries, how AI interacts with questions of politics (such as gender and race) and our understanding of jazz itself as a practice.

All that jazz Thanks to the AI element of the project, it’s not just musical notes – which Tom is pretty comfortable with – that dominate this work.

Numbers are an equally important element.

“I am trying to understand machine learning techniques,” said Tom. “The maths are hard, but not impossibly hard for someone like me with an arts and humanities background, I hope! Because my project is about the notes and the numbers, it’s forcing us into conversations that are sometimes not that easy.”

He is working with a team at Academia Sinica on this, and a second visit to Taiwan to develop the project is planned for the autumn.

Ultimately, Tom’s research could have lasting repercussions for the music industry.

He explained: “Big players such as Spotify and Apple Music are waiting for machines to understand music better. Teaching a computer to tell the difference between a samba and a rumba, for example, is trickier than you’d think. But, once computers can do that, the promise is that people will get what they want faster from the service – the computer will be able to help you find what you like really quickly.”

Tom believes the possibilities are almost endless, and impact such areas as the Internet of Things. “Imagine walking into your house, your house sensing your mood and therefore knowing what lighting and music you’d like at that moment,” he said. “This could be possible, with a really sophisticated understanding of music as data.”

Ironically, despite his expertise and all his research, Tom steers clear of playing jazz music himself. “I’m not good enough!,” he laughed. “I play the classical violin and the viola, and I’ll be sticking to those!”

13

Feature

VOICES IN THE GALLERY Giving art a voice. “ Voices in the Gallery was born out of an interest in the prevalence of voices in contemporary art right now.”

Dr Sarah Hayden Associate Professor in Literature and Visual Culture

Have you ever given much thought to your voice? What does it sound like? How is the voice used in art? How do other people interpret voices? Sarah Hayden, Associate Professor in Literature and Visual Culture, is exploring these questions through her work.

Voices in the Gallery is her first largescale externally funded project, and one she is thrilled to be leading. As part of Voices in the Gallery, Sarah recently curated an exhibition for John Hansard Gallery, Many voices, all of them loved. The project is funded by a Arts and Humanities Research Council Innovation Leadership Fellowship (2019–2021). The John Hansard Gallery is project partner on Voices in the Gallery and has been deeply involved in the project since its inception.

“My research and teaching centre on modern and contemporary literature and visual culture, and especially on their intersections.

1 Willem de Rooij, Ilulissat (2014), installation image, John Hansard Gallery, 2020. Courtesy the artist and Galerie Buchholz, Berlin/Cologne/New York 2 Many voices, all of them loved, installation image, John Hansard Gallery, 2020. Photo: Steve Shrimpton 3 Lawrence Abu Hamdan, Conflicted Phonemes (detail), 2012, installation image, Kunsthaus Hamburg.

Courtesy the artist 4 Liza Sylvestre, Captioned: Twentieth Century, film still, 2018. Courtesy the artist

14

1

In my work, I often consider how ideas and aesthetics are translated and transformed as they pass between media, across cultural scenes and among artists and writers.

“Voices in the Gallery was born out of an interest in the prevalence of voices in contemporary art right now.

“The project investigates the voiceover as a phenomenon that exists simultaneously as art-form, literary genre and sonic intervention in the contemporary gallery space. At the University of Southampton we are incredibly fortunate to have the fantastic John Hansard Gallery, and when I approached them about a potential collaboration they were more than keen.

“By bringing together ideas and perspectives from art, literature and sound studies, this project explores how voices and voiced writing

For further information, visit: www.voicesinthegallery.com 2

3

operate in art practices today. Although I’ve worked with arts institutions and artists in various ways, I had never curated an exhibition before this, and the team at the John Hansard Gallery were fantastic to work with in terms of explaining the pragmatics and technicalities of curation, teaching me new skills and they provided access to extremely high profile, exciting artists and partner organisations that as an academic I otherwise wouldn’t have had. I’ve gained insights about how exhibitions come into being, and how galleries address and engage their publics.”

The exhibition explores the range of ways in which contemporary artists are activating the voice as sonorous, conceptual, metaphorical and political material. It looks at the use of voice in contemporary art and in galleries and asks, ‘How do audiences experience these voices in the gallery?”.

Stretching the voice to encompass much more than just humans talking, the exhibition aims to amplify the sounds of inanimate materials, and other-than-human species, as voice. In the works brought into conversation here, vocality is made present as rhythm, as visibly discernible pattern, and as carrier of meaning that extends from, and exceeds speech.

Sarah continued, “The John Hansard Gallery was the ideal partner in this project because it provides the unique combination of having a reputation for presenting internationally esteemed exhibitions, a long-established commitment to research, and strong civic engagement principles. Which for me was so important because I wanted to ensure a high level of public engagement.”

This research will culminate in a book, as well as articles and talks. A programme of public

4

events such as workshops, screenings and study sessions is being staged in conjunction with the John Hansard Gallery and Nottingham Contemporary gallery, and all of these are feeding back into the research process.

Sarah concluded, “When I first had the idea for this research and a potential exhibition, I engaged with the team at the John Hansard Gallery and they came on board immediately.

That has been one of the keys to its success, because we have been able to work together and collaborate throughout the entire process which has formed and shaped the project in a unique way.

“Partnering with the gallery has enabled me to work with major artists and diverse publics in ways that wouldn’t otherwise have been possible, and I hope that visitors to the exhibition enjoy what they see and hear.”

15

Feature

The Workers Union Ensemble perform Hearing HIV. The ensemble initially came together in 2008 whilst studying at the Guildhall School of Music and Drama.

They have gradually evolved into a seven-piece line-up of oboe, saxophone, piano, double bass, two percussionists and conductor.

THE VIRUS WITHIN:

HEARING HIV Imagine an audible representation of the journey of a virus through a human cell, hearing through a piece of music the processes and passages it takes and the intricate biological reactions involved.

That is exactly what Dr Ben Oliver, Head of Music at the University of Southampton and Dr Chad Swanson, Lecturer in the Department of Infectious Diseases, School of Immunology & Microbial Sciences at Kings College London (KCL) have created.

Ben has always had a keen interest in linking science and music. A lecturer here at Southampton since 2011 and Head of Music since the summer of 2019, one of his first arts-science collaborations was the Arts and Humanities Research Council-funded ‘Compositions for Cochlear Implants (CI)’ project which explored aspects of music that 16

can be appreciated by CI users. Through the creative process of composition and the development of new software, researchers worked with CI users to gain a better understanding of specific music styles and structures that were readily appreciated and enjoyed through a CI. ‘Hearing HIV’ was first conceived when Chad attended a concert featuring one of Ben’s compositions, Zeros & Ones, in which several musical signals and triggers were used that provided clear reference points for the listener.

For example, the piano has a musical gesture in the opening part of the piece that ‘turns

on’ musical layers and a high note cluster that ‘turns off’ musical layers. Dr Swanson saw a real connection between these musical techniques and cellular processes.

As soon as they started collaborating, the two realised they had the potential to fulfil a dual purpose. At the core was the aim to facilitate through music the understanding of how HIV infects a cell and replicates its genes and how cutting-edge research aims to move from lifelong treatment to curing an infected person. And the use of music to help nonacademic audiences to engage with virology research also offered the potential to provide

For further information, visit: www.benolivermusic.com

insights into practice-led research themes in contemporary composition.

The Hearing HIV project was funded and supported by: • Medical Research Council Public Engagement in Science Activities Seed Fund • Public Engagement with Research unit, University of Southampton • London Teaching Centre of Immunology, King’s College London • Department of Music, University of Southampton • Turner Sims and Guy’s Chapel

Ben explained, “The Virus Within: Hearing HIV’ is a three-movement composition that musically depicts the biological processes involved in HIV integration, gene expression and how innovative ‘Shock and Kill’ treatments might provide a cure for HIV. The musical materials undergo conceptually similar processes or transformations that occur at the molecular and cellular level. The music features disjointed grooves, whistles and duck calls, complex systematic musical processes developed from biological principles, whimsical chords, sirens and gnarly electronics!

“Chad and I wanted to ensure the composition created was both biologically correct and musically accurate. Our work together led to us gaining an in-depth understanding of each other’s fields of work to a point where I once found a cut and paste error he had made in a DNA base sequence.”

The music was premiered at Guy’s Chapel at King’s College London by Workers Union Ensemble, of which Ben is the conductor,

‘HIV Integration’: David Goodsell, the Scripps Research Institute

in February 2018. It was performed again at the University of Southampton Science and Engineering Festival 2019 and will be performed later this year in London as its reach and relevance continues to grow.

Following its London debut the piece received some fantastic audience reviews including: — Novel, exciting and inventive, complex piece — Brave, cool, excellent — Intriguing, insightful and thought provoking — Head on crash with virus — Interesting but slightly anxiety inducing!

— Mystery discovering creativity and hope!

— Brilliant translation: science to music Thank you! One of the best pieces of scientific performance art I’ve ever seen/ heard. Incredibly intellectually rewarding.

Wonderful!

— Top science/music mash-up — A structurally chaotic masterpiece!

Ben is continuing to pursue his interest in artsscience collaboration through a new project called Pythagoras’s Toolkit, led by Ensemble Paramirabo (Montréal). In this project, Rachel Warr, co-created and director of Dotted Line Theatre, and Ben will bring to life, through puppetry and live music, a modern-day Pythagoras who will explore sound, space, rhythm, harmony and dissonance, instrument making/design, dance, musical textures and ways of constructing music.

Aimed at children aged three and above, as well as adults, Pythagoras’s Toolkit will encourage the audience to be interested in experimentation, in making mistakes to find answers, and to think about how music is made and can be manipulated in time.

The production will feature musicians from Ensemble Paramirabo (Canada), Workers Union Ensemble (UK) and two musically literate puppeteers working with a specially created Pythagoras puppet.

“ The Virus Within: Hearing HIV musically depicts the biological processes involved in HIV integration, gene expression and how innovative ‘Shock and Kill’ treatments might provide a cure for HIV.” Dr Ben Oliver Head of Music

17

Feature

MAKING CHILDREN INSTRUMENTAL IN REDUCING OUR eWASTE

Electrical and electronic waste – also known as eWaste or WEEE – is the fastestgrowing single waste stream in the world.

By the end of this year, there could be as many as 50 billion electronic goods produced annually. This will lead to a tsunami of eWaste, estimated to be over 50 million tonnes globally in 2020. This is enough to fill the Eiffel Tower 5,000 times.

An innovative new project exploring themes of eWaste through music, songs and imagery is underway, led by Ian Williams, Professor of Applied Environmental Science and an expert in the eWaste field.

Featuring a plethora of collaborators, Transitioning to a Circular Economy with creative artists (TRACE), includes the SÓN Orchestra (Southampton’s professional orchestra and Turner Sims Orchestra in Association), professional artist Susannah Pal, Robin Browning, composer and artistic director, musician Anca Campanie, 18

Otterbourne CE Primary School students and teachers and University of Southampton scientists. Ian has brought them all together to capitalise on the topical issue of eWaste and its global impact.

Ian has spent his career as a specialist in the area of waste management, particularly the idea of designing waste out a system before it’s even created. The idea for this project comes from his previous work on intergenerational influence, also known as pester power.

Ian explained, “Back in 2008-11, with environmental charity Wastewatch, I worked on the THAW project, which was the first serious attempt to measure the intergenerational influence of an education programme on behaviour at home. Focusing on primary-age children, the study found that

the school-based waste education programme led to increased household participation in recycling as well as declining levels of residual waste. The study recently inspired researchers to show that teaching children about climate change in school significantly increased their parents’ concern over the issue.

“I have continued this intergenerational influence work. One purpose is to actively demonstrate how the thinking, characteristics, skills and attributes of engineers can be integrated in the real world of busy schools and colleges to engage the next generation. An example is my work with the Primary Engineer Programme illustrated by the successful development of ‘The Fun Noisy Bin’. I am currently working with infant, primary and secondary school children in Southampton, and with Southampton City Council, to encourage

For further information, visit: https://ewaste.thesonproject.com

TRACE was supported by the Engineering and Physical Sciences Research Council Impact Acceleration Account (EPSRC IAA 2017-2020). Impact Acceleration Accounts (IAAs) are strategic awards provided to institutions to support knowledge exchange and impact from their EPSRC funded research.

For more information please contact impact@soton.ac.uk.

parents to travel to school via active transport, such as walking or cycling, in order to improve air quality in the city.

“So, TRACE has been borne out of all that previous work in this area. The project involves working with leading creative artists to raise public awareness of the need for sustainable resource management.

We are using art and music to showcase firstly the socio-economic and technical challenges of waste management, and secondly ideas generated by research that may provide solutions.

“We are developing a co-composed musical performance piece pairing

professional musicians with schoolchildren as a creative response to themes of waste and recycling, with a legacy of deeper understanding of environmental issues, catalysing societal change.

“Working with Otterbourne CE Primary School students, musicians from the SÓN orchestra and myself have run workshops looking at discarded or unused electronic items – from mobile phones to cameras, Casio keyboards to speak-and-spells. We developed songs using lyrics written by the children. They have been extremely creative, some of the names of the pieces include Bob the iPhone and Monster Electric Robot Rap. It truly is their reaction to an absorbing global issue.”

A 20-minute-long piece, combining all the children have created, was performed by the children and musicians as part of Southampton Science and Engineering Festival (SOTSEF) 2020, involving instruments fashioned from waste, sampled sounds from multiple sources, all sharing the stage with live string, percussion and keyboard instruments.

Running along this musical element to the project, artist Susannah Pal is working collaboratively, creating emotive art that inspires active public participation in the circular economy. Her blog gives an overview of her ideas. This was on display at the SOTSEF performance and throughout Science & Engineering Week, in the Hartley Library on Highfield Campus.

19

Feature

The team at John Hansard Gallery spoke to Re:action about the venue’s wide-ranging project to reach out culturally across the city of Southampton.

COMMUNITY TAKEOVER John Hansard Gallery (JHG) moved from Highfield campus into the city centre and reopened in Guildhall Square in May 2018. In early 2019, we appointed a new Engagement and Learning Team to open out, renew and strengthen our relationships with the local community. Community Takeover (CTO) is a result of this ongoing quest to evolve, be responsive to and expand our understanding of our place within the community and the city.

During May and June 2019, we invited a selection of different groups and organisations to take over our main gallery space for a few days each. These important partnerships included Skate Southampton, Southampton Women’s Integration Group, Fashion Fest, Art Asia and local children who were involved in Street Art, alongside University researchers and departments.

Over nine weeks, our main gallery was transformed into a welcoming space where anyone could be creative. We employed 17 professional artists, who provided space for visitors to experiment and learn through making with clay, batik on silk banners, zine making, recording their voices or photographing skateboarders on ramps. There were demonstrations and talks celebrating skateboarding culture, promoting the South Asian Mela Festival, as well as a serious debate about the impact of fashion and textiles on the environment.

Fourteen members of the Women’s Integration Group – mostly based in Southampton’s Northam district and of Black, Asian and minority ethnicity – worked over several weeks with the artist Suna Imre creating beautifully handmade ceramics as part of Shaping Clay.

was a young family leaving excited that the artwork they painted on a skateboard was going to be ridden and seen by others during the summer, or an elderly lady feeling excited that a typically marginalised movement was given the spotlight to showcase its true colours.”

CTO expanded the gallery’s role and partnership with other departments within University of Southampton.

Events included Pint of Science, Unesco International Day of Light, Women in Science, Engineering, Technology and Humanities+ (WiSET+) Women in Academia exhibition, and presentation by Professor Olivette Otele as part of the Decolonising Knowledge seminar series organised by the Centre for Transnational Studies and Centre for Imperial and Postcolonial Studies. These events brought the University of Southampton into the heart of the gallery and the city, attracting new audiences and participants to debate theoretical and practical academic approaches.

A significant highlight has been the collaboration with Dr Sarah Hayden on her AHRC-funded research project, Voices in the Gallery detailed on page 14. Over the course of two days, we hosted three focussed sessions. Firstly, to explore voice, vocality and listening, which offered participants a space to tune into the aesthetic, social and political dimensions of voice and voicing. The second workshop explored how language makes itself heard in art and in the gallery today through the exploration of works by the artist

Communities explored concepts and issues such as sustainability, environment, diversity and inclusion and how they want to see and use their public spaces.

Steve Bega, from Skate Southampton, said: “Takeover gave us the opportunity to exhibit and engage with not only such a wide variety of our own community but also with a much wider audience. Visitors seemed to have a wide variety of reactions to the exhibit and were all-positive. Whether that 20

1

2

For further information, visit: www.jhg.art

“ It was an amazing experience for us and for our ladies as well. Our ladies were very proud of their achievements.

As a group, I know our ladies were pleased how welcomed they felt while at the Gallery. For some of them it was their first time to visit. We got amazing responses from the community, how people enjoyed seeing the work we have done together with JHG. Definitely we would love to do something with JHG again in future.”

Feedback from a Women’s Integration Group member

Laure Prouvost. Thirdly, we held a family friendly session with the sound artist Hannah Kemp-Welch who worked alongside Dr Hayden to imagine and record – in audio and as a zine – participants’ visions of their ideal gallery. The zines can still be enjoyed here: www.bit.ly/jhg-hkw Community Takeover attracted over 6,500 visitors and over 1,020 people took part in talks, workshops and events.

We have received overwhelmingly positive feedback from everyone who experienced and participated in the programme which attracted new visitors as well as excited our established audiences who were new to this way of presenting work.

So what’s next? We are planning two more Community Takeovers, and this time we are co-creating them with a community steering group, including members of the communities who are taking part.

Community Takeover #2: City of Sanctuary Later this year, our main gallery will be transformed by a vibrant series of activities, displays and workshops by local groups, artists and partners. This takeover responds to our forthcoming exhibition Mariner: A painted ship upon a painted ocean that is part of our contribution to Mayflower 400 and explores Southampton’s status as a City of Sanctuary.

Above: Skate Southampton, Community Takeover.

Photo: Darren Tate 1 Shaping Clay, Community Takeover, 2019 2 Skate Southampton, Design Your Own Board workshop, Community Takeover, 2019

3

3 (WISET+) Women in Academia exhibition, John Hansard Gallery, 2019

Community Takeover #3: Environment and Sustainability From 26 September to 17 October 2020 our main gallery will again be a transformed by a series of activities, displays and workshops in response to the exhibitions Seaside: Photographed (31 October 2020 to 16 January 2021) and Derek Jarman: Queer Nature (Spring 2021) through the theme of Environment and Sustainability.

We hope you can join us. Evaluation and feedback from these projects will feed into the ongoing Connecting Cultures research project led by Louise Coysh, Associate Director (Arts and Culture) and Dr Ronda GowlandPryde, Public Engagement Spectrum Manager and Senior Engagement Fellow. More on that project on pages 4 and 5.

21

Feature

Have you wondered where the bright and colourful street art across Above Bar Street, in Southampton city centre, came from?

UP YOUR STREET Installed in 2019 in the heart of Southampton’s Cultural Quarter, the Street Art project consists of three colourful walkways designed by children from primary schools across the city celebrating Southampton in full colour.

The project, called Street Art, was developed

by John Hansard Gallery (JHG), Southampton City Council and GO! Southampton. Working with the city council’s Highways and Planning department, JHG envisioned a walkway being installed on the busy Above Bar Street which could act as both a traffic calming method and a way to bring art outside of the organisations in the Cultural Quarter and into the public realm, Guildhall Square itself.

Elspeth Williams, Engagement Curator at JHG, explained: “In order to involve communities from all areas of the city we decided to invite primary school aged children to submit their designs for the walkway as well as contribute ideas to different locations for public art in Southampton. We took the opportunity to create an exciting activity pack for schools to share with their pupils which encouraged children to creatively respond to what they see in their city every day such as road markings, buildings, the sea and the parks, to create abstract and colourful artworks.

Working with designer Joseph Ménage, a Winchester School of Art BA Graphic Arts graduate, we developed a playful and engaging booklet which included activities exploring modern and contemporary artists.

“To make sure as many children in Southampton could take part as possible, we

1

22

For further information, visit: www.jhg.art 2

1 Street Art entries.

Courtesy John Hansard Gallery 2 Winners of the Street Art competition.

Photo: Sam Laughlin 3 Street Art, installation image.

Courtesy John Hansard Gallery

sent out a total of 14,076 activity packs to schools, every library in the city and various community centres and groups. Children worked on their designs together at school, at home, and during two free artist led workshops here at the gallery involving up to 40 participants. We wanted the activity to reach further than our usual audiences and hoped to get designs which reflected the varied and diverse experiences of children living in the city. We received 289 submissions which brilliantly engaged with our brief and came from participants living in all areas of the city.”

To celebrate the creativity of participants, in May 2019 all entries were displayed as part of the Community Takeover programme. Over three weeks 2,582 visitors saw the exhibition which took pride of place in the largest gallery space, and 89 young artists and their families visited the gallery for a celebration event.

Visitors who saw the exhibition or participated in the workshops, including

children and families, contributed their thoughts about Southampton including the places where they would like to see public art in the city. Over 80 locations in Southampton were identified as spaces where people would like to see public art projects take place. Some of the top suggestions for locations included the harbour, Bitterne Park, West Quay, Shirley High Street and the Common.

The JHG team, Southampton City Council, and GO! Southampton collectively selected six artworks to create the final designs, which artist Gemma Gore brought together and prepared for the road in consultation with construction company Balfour Beatty.

Installed in November 2019, the final Street Art outcome now sits permanently on Above Bar Street and vibrantly depicts different aspects and areas of Southampton. The six artists whose work was chosen for the final design were aged from five to 10 at the time they submitted their designs and were each from a different primary school in the city.

Jess Harrison, the Art Lead at Oakwood Primary School, commented: “The Street Art competition and exhibition has been an inspiring way to see children of Southampton engaging in abstract and contemporary art, as well as what they see around their city.”

The sibling of one of the young artists who took part said: “I would like to take this opportunity to thank you for shortlisting my sister’s work, she is a very keen budding artist and this has really boosted her confidence in her abilities. It is so important to foster creativity in children and I appreciate the work the JHG do in cultivating this.”

Councillor Satvir Kaur said: “This is a great project and an amazing example of how art can be used to transform our public spaces, reminding through traffic this is shared space for people and families to use and enjoy.”

Anna O’Neill, Director of Library Services and Arts Strategy at the University, said: “Amazing work by the children of our city, showing how John Hansard Gallery is part of our cultural ambition for the city and the civic role of our University of Southampton.”

Woodrow Kernohan, Director of JHG, commented: “This project created opportunities for children to think and talk about what they love about their city, take pride in their creativity, and see it celebrated alongside internationally recognised artists at John Hansard Gallery. The project has already been an opportunity for us to start and continue exciting relationships with schools and families, and has made us inspired to develop more public art projects like this.”

3

23

Feature

HAROON MIRZA: ON THE CREST

OF A WAVE Waves – whether sound or light, electrical or in water – are captivating. Their beauty has fascinated artist Haroon Mirza, who devoted his latest exhibition to them.

From October to January, John Hansard Gallery (JHG) presented a major solo exhibition by Mirza, an internationallyrenowned artist and a Winchester School of Art alumnus.

The exhibition, called Waves and Forms took over all of the gallery spaces and highlighted the artist’s ongoing exploration of waveforms. Mirza addressed how waveforms are perceived, the emotional and physical responses they create and the various ways in which we relate to them.

Mirza has won acclaim for installations that test the interplay and friction between sound and light waves and electric current. He devises kinetic sculptures, performances and immersive installations.

One example is The National Apavillion of Then and Now (2011) – an anechoic chamber with a circle of light that grows brighter in response to an increasing drone, and completely dark when there is silence. This installation won the Silver Lion award at the 54th Venice Biennale in 2011.

Mirza was born in 1977 in London where he lives and works. His connection to the University of Southampton was established when he studied BA Fine Art at Winchester 1

School of Art (1999–2002). He then studied MA Design Critical Practice and Theory at Goldsmiths University of London (2006) and MA Fine Art at Chelsea College of Arts (2007). His links to the University, and particularly the Institute of Sound and Vibration Research (ISVR), have had a lasting impact and influence on his artistic practice.

Mirza describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently.

Waves and Forms filled JHG’s spaces with new and reconfigured artworks focussing on sound, light, electricity and water, and the interaction between these varying waveforms.

Another of Mirza’s installations to explore waves was entitled /\/\/\ /\/\/\ (2017). This installation was composed of four channels of video, 12 channels of audio, 8 channels of LEDs, a chamber housing a water feature and a chandelier – which all came together to make a single artwork. The zigzag form of the title /\/\/\ /\/\/\ is a typographic 2

Main photo: Dreamachine 2.0 (2019), installation view, Waves and Forms, John Hansard Gallery. Courtesy hrm199 (Siobhan Coen and Haroon Mirza). Photo: Thierry Bal 1 Haroon-Mirza, The National Apavilion of Then and Now (2011), installation view, Venice Biennale 2011. Courtesy hrm199 and Lisson Gallery. Photo: Kiki Triantafyllou

24

For further information, visit: www.lissongallery.com

“ Winchester School of Art and the University of Southampton is a very good place to study for an undergraduate degree.

In particular, it has good proximity to the ISVR which was my first encounter with an anechoic chamber when I first started working with acoustic space. Anechoic chambers have been used in some of my works since.”

Haroon Mirza

interpretation of the astrological sign Aquarius and translates as a geometric version of a wave. This artwork responds to both the constellation and astrological sign, as well as the ‘Age of Aquarius’, which the earth is about to enter and signifies a time of rediscovered harmony. Through the videos and installation structures of /\/\/\ /\/\/\, Mirza highlights ideological conflict, science, shamanism and artificial intelligence. These channels are combined with electrical signal illuminating LEDs and generate sound simultaneously to create a live and immersive audio-visual installation.

Another of Mirza’s pieces, entitled Pavilion for Optimisation (2013), centred around a purpose-built reverberation chamber – a room with hard surfaces and nonparallel walls that is designed to create maximum reverberation and disperse sound. Through this artwork, Mirza explores the relationship between seeing and hearing, and highlights the relativity of our perceptions. Pavilion for Optimisation represents the natural systems that inspired optimisation algorithms used in science, mathematics and technology to maximise efficiency. Amplified analogue sounds from flowing water and an ant colony are heard in the reverberation chamber. Linked with the intensifying LED lights, sound and light are isolated from their origins, challenging our auditory and visual perceptions.

2 /\/\/\ /\/\/\ (2017), installation view, Waves and Forms, John Hansard Gallery.

Courtesy hrm199. Photo: Thierry Bal 3 Pavilion for Optimisation (2013), installation view, Waves and Forms, John Hansard Gallery. Courtesy hrm199.

Photo: Thierry Bal

3

A new commission at JHG was Dreammachine 2.0, an audio-visual system created to induce dreamlike states devised by Siobhan Coen and Haroon Mirza. This artwork was developed in homage to the Dreamachine, a device that induces hallucinations, originally created by Brion Gysin, William S. Burroughs and Ian Sommerville in 1961.

The original Dreamachine was composed of a cylindrical form, with holes cut out of its surface, rotating on a turntable. A light bulb suspended in its centre radiated flickering light around the room, causing hallucinations when viewed with closed eyes. Siobhan Coen, initially reimagined this historical device using computer driven LEDs. During a residency at hrm199, Mirza’s studio platform, Coen and Mirza introduced sound into the LED system, working with frequencies relating to the brain’s electrical activity. In consultation with neuroscientists at Imperial College London, the pair developed an audio-visual version of the Dreamachine in which constantly changing frequencies of light and sound waves produced increasingly complex images in the mind of the viewer.

The exhibition Waves and Forms was made possible through support from the Barker-Mill Foundation and University of Southampton’s Public Engagement with Research unit (PERu) (See page 28 for a Spotlight piece on PERu). Waves and Forms is subsequently touring to Aberdeen Art Gallery later this year.

Following his exhibition at JHG, Haroon Mirza and Dr Nikhil Mistry, Research Fellow in Underwater Acoustics, are working together towards a new installation specifically for the ISVR’s Audio Lab. The installation will explore the use of sound for therapy, as well as the interaction of different sounds and light and the effect on how we perceive them, sparking discussion on the relationship between the sounds we hear and our wellbeing.

25

Feature

1

Southampton’s history and culture is fundamentally intertwined with the sea on its doorstep. The city’s relationship with the sea has long fascinated the author Philip Hoare. He is an internationally renowned, award winning author who is currently Professorial Fellow in English in the Faculty of Arts and Humanities at the University of Southampton.

THE LURE OF THE SEA Positioned on the coast, Southampton’s relationship with the sea and what this means for society and culture has influenced exhibitions at the John Hansard Gallery (JHG) for years.

The Ship to Shore exhibition was followed by a publication of the same name, for which Philip wrote an essay. He also participated as a guest speaker at one of the regular poetry events that invited Southampton-based poets to present their responses to the exhibition’s themes.

such event was a panel discussion during the Southampton Science and Engineering Festival in 2018, entitled The City That Lost Its Sea: reconnecting Southampton with its watery past, present and future. This discussion examined the disconnection felt by many in the city to the sea, the waterfront and the city’s history and dependence on the ocean. Alongside Philip, this event brought together a number of panelists, including Professor Rachel Mills and Professor Meric Srokosz from the National Oceanography Centre (NOCS), and artist-photographer Simon Roberts. More recently, in November 2019, Philip again participated in a University festival event, this time as part of the Hands on Humanities/Human Worlds events held throughout the University. In an event entitled The Haunted Sea, Philip explored how we are all haunted by the notion of the sea, a queer place in which identities, species and culture swirl and change. Inspired by the Haroon Mirza exhibition Waves and Forms (detailed on page 24) that was showing at JHG at the time, Philip conjured up a personal response to the equivocal, enigmatic lure of the deep.

Philip has taken part in many events with JHG relating to these themes over the years. One

Upcoming collaborations between Philip and JHG are planned for this summer and

The JHG and Philip Hoare partnership dates back many years and one early connection was in relation to the exhibition Ship to Shore: Art and the Lure of the Sea, shown across both JHG and SeaCity Museum in Southampton in 2014. The exhibition, curated by Professor Jean Wainwright, University for the Creative Arts, brought together works by contemporary artists alongside archival material from Southampton’s heritage collections, in order to bring to life the subjects and feelings that inhabit our collective experiences and imagination in relation to the sea.

26

1 Linder Sterling, Post-mortem: Yura (2019), photomontage. Courtesy the artist and Modern Art, London. Included as part of Mariner: a painted ship in a painted ocean at John Hansard Gallery.

2 Derek Jarman’s Prospect Cottage in Dungeness, Kent. Photo: Howard Sooley.

3 & 4 I was a dark star always (2018), film still.

Written by Philip Hoare and directed by Adam Low. A Lone Star/John Hansard Gallery Co-Production 5 Philip Hoare in the cellar of the Forester’s House, Ors. Photo: Martin Rosenbaum 2

For further information, visit: www.philiphoare.co.uk

5

Professor Philip Hoare was born and brought up in Southampton, where he still lives. He is the author of several works of non-fiction, including biographies of Stephen Tennant and Noël Coward, and historical studies including Wilde’s Last Stand, Spike Island, and England’s Lost Eden. His book Leviathan or, The Whale won the 2009 BBC Samuel Johnson Prize for non-fiction. His book, The Sea Inside, was published in 2013 and his most recent book, RISINGTIDEFALLINGSTAR, was published in 2017.

3

4

are to be confirmed, as Ros Carter, Head of Programme, explained: “We are currently working towards an exhibition entitled Mariner: a painted ship in a painted ocean, an exhibition co-organised and presented by us, The Arts Institute at the University of Plymouth, and The Edge at the University of Bath. Philip is one of the co-curators of this exhibition, along with Sarah Chapman from The Arts Institute, and artist Angela Cockayne.

Mariner is an exhibition that explores the connection between history and the present day, and is inspired by the poet Samuel Taylor Coleridge’s (1772–1834) highly influential poem, The Rime of the Ancient Mariner.

“By bringing together a series of new commissions and existing artworks by contemporary artists, this exhibition considers the contemporary resonance of the

poem. The exhibition also marks the 400th anniversary of the journey of the Mayflower in 1620 from the UK to the shores of what was to become the United States of America.

Alongside Mariner, we will also host a focus on Philip’s wider project, The Rime of the Ancient Mariner Big Read, which will bring the poem to new audiences through artworks and recorded readings of the poem by well-known actors and cultural figures.”

However, Philip’s research interests extend beyond the subject of the sea. Another strand of his research and writing examines key historical figures and their personal histories.

One such subject was the poet Wilfred Owen.

Philip collaborated with JHG on the short film I was a Dark Star Always, directed by Adam Low, which premiered in 2018 to mark the 100th anniversary of Wilfred Owen’s death, followed

later by the end of the First World War. The focuses for the film were the writings of Wilfred Owen and some key locations in his life, including the beach in Torquay where he swam as a child and the canal in northern France where he died in 1918, aged just 25. The Centre for Modern and Contemporary Writing, based within the Faculty of Arts and Humanities, held an event at JHG which examined the film and invited Philip and the public to join them for an open discussion around its subject and themes.

Ros added: “We are delighted to be continuing our work with Philip and are also currently developing an exhibition to celebrate the work of another key figure in recent cultural history, Derek Jarman. We are planning to stage a unique exhibition dedicated to the work of Jarman which will focus on his fascination with, and relationship to, landscape. With a particular focus on Prospect Cottage, the iconic home and garden that Derek Jarman created at Dungeness during the late 1980s until his death in 1994, the exhibition will include some of the lesser known works and treasures that shed new light on the remarkable life and achievements of one of the country’s most influential and important figures of the late 20th century.”

27

Spotlight on…

SPOTLIGHT ON… PUBLIC ENGAGEMENT WITH RESEARCH The Public Engagement with Research unit (known to many as PERu) and Public Policy|Southampton have joined Research and Innovation Services (RIS).

This brings the teams together under the RIS umbrella, enabling better planning and results when it comes to boosting the impact of our research.

Here, we put the spotlight on PERu to find out how they can support your research.

For more about Public Policy|Southampton refer back to our Winter 2019 edition.

Public Engagement with Research Development Fund PERu’s annual funding call – opening in July – supports researchers to develop and run research engagement activities with the potential for maximising twoway interaction with a targeted audience.

That could be trialling an innovative approach, or adapting an existing method to a new setting or context.

All proposals should aim to capture the learning and development of participating researchers, as well as the impact on those they are engaging with. Importantly, once projects have run, teams are able to share their work and experiences with the University community at PERu’s annual Showcase.

The projects are also featured in a bank of case studies which everyone can access online.

The next Development Funding Call will open in July 2020, for projects to run from November 2020 to July 2021. More detail about the fund are at southampton.ac.uk/per/support/ funding.page.

28

The Public Engagement with Research unit is a team that, as a researcher, you probably want to know. They work with all disciplines and are extremely well connected across the University – in fact, we think the Exams Office might be one of the very few teams across the entire University that PERu doesn’t connect with.

Explaining the crux of public engagement, Steve Dorney, Director of PERu, said: “We are interested in dialogue between researchers and the public, in particular what comes back to the researcher from the public interaction. The most important aspect of good public engagement is to maximise mutual benefit.”

1

He added: “Almost all research funders have an expectation that if you are applying for their funding you will do some form of public engagement, so we are encouraging people to think about public engagement as something you don’t just tack onto the end of your research. The most engaged researchers are those who are thinking about collaboration and engagement right from the start.”

The words ‘public engagement’ inevitably conjure up images of public speaking or of organising and taking part in big public events, but there are actually many different ways of engaging – as diverse as the people and groups that researchers may want to engage with.

2

For further information, visit: www.southampton.ac.uk/per 3

“Public engagement, at one end, can be an opportunity for natural extroverts,” said Steve. “But at the other end there are countless examples of excellent public engagement from behind a desk or computer screen with no face-to-face aspect.”

The most important consideration is to identify your purpose(s) for engaging, as this will define how you should engage and who with. PERu supports researchers in coming up with the most effective engagement for their own research context and objectives.

“We do have some platforms already there and people can take part if they wish, such as the annual Human Worlds Festival, the Southampton Science and Engineering Festival, and our Public Engagement community hubs,” elaborated Steve.

The Public Engagement Hubs galvanise around themes, currently Health and Wellbeing, Nature and Biodiversity, and Future Cities. They enable connection and interaction between members of the University and the wider community around a common interest. Through the hubs, new partnerships, ideas, activities and projects are generated.

Human Worlds Festival The University’s humanities festival, Human Worlds, takes place each November at venues in the city’s Cultural Quarter. It’s an ideal engagement opportunity for researchers working in the humanities and increasingly extending to a broad range of disciplines and interdisciplinary research.

Human Worlds 2020 will, as usual, coincide with the Arts and Humanities Research

Alongside practical support and guidance, PERu contributes at a strategic level via membership of the Engaged University Steering Group, chaired by Professor Mark Spearing, Vice President (Research and Enterprise). The group oversees and connects the various strands of engagement activity within the University, providing strategic direction and connectivity to senior leadership.

PERu will also be leading on key aspects of the first Knowledge Exchange Framework return later this year.

Council’s Being Human Festival (12–22 November) but exact dates have not yet been set. For a flavour of last year’s events, and for this year’s details in due course, go to southampton.ac.uk/per/university/ humsfest.page.

It’s not too early to start planning an event or activity. Silvia Lanati, PERu’s Operations Lead, will be happy to discuss ideas via festival@soton.ac.uk.

1 The Bringing Research to Life roadshow at the New Forest Show 2019 2 The Southampton Science and Engineering Festival (SOTSEF) 2019 3 Chinese Calligraphy for Wellbeing at Human Worlds 2019

You can get in touch with the PERu team by emailing peru@soton.ac.uk.

29

News in brief BROADENING OUR BRAZILIAN CONNECTIONS Our long-standing relationship with the Universidade Federal de Minas Gerais (UFMG), in Belo Horizonte, is deepening thanks to a funding win that is being leveraged for new initiatives.

NEWS IN BRIEF

As one of seven UK universities to win a ‘Universities for the World’ grant from the British Council in Brazil, we are engaged in capacity building and internationalisation for higher education UK-Brazil.

The £9,500 grant, match-funded by the University, will contribute towards shared best practice in digital education, promoting blended learning at UFMG. As part of the grant-funded activity, a delegation from UFMG visited Southampton in November and met over 50 colleagues University-wide, as well as a dozen Brazilian students and researchers. The intention is for a multidisciplinary delegation from Southampton to visit UFMG in 2020.

UFMG 1 & 2: UFMG Vice Chancellor Professor Almeida and Dean International Professor Saliba, with Maria Norton and Professor Themis Prodromakis

we are building connections –remotely initially – on the three identified areas of shared expertise: data science, nanotechnology and neuroscience.”

Maria Norton, Senior International Partnerships Manager, said: “With the capacity-building award we are sharing tools for internationalisation efforts. Alongside this,

The University’s relationship with UFMG stretches back to 2003, predominantly in the bio-medical arena. The University of Southampton and UFMG produced 94 joint publications between 2014 and 2019, mostly in Medicine, Materials Science, Engineering and Physics and Astronomy.

SOCIAL SCIENCE RESEARCHERS – SAVE THE DATE

FUNDING OPPORTUNITIES TO BOOST YOUR IMPACT

RESEARCHER TO INNOVATOR PROGRAMME SET TO RETURN!

The 18th annual Festival of Social Science will be returning in November, so now is the time to get your thinking caps on.

The call is now open for academic staff to apply for the next round of funding from the ESRC IAA. This funding is via the Economic and Social Research Council’s Impact Acceleration Account.

After a two-year hiatus, the hugely successful SETsquared Researcher to Innovator Programme is coming back and you can register your interest now.

The festival offers a fascinating insight into some of the country’s leading social science research and how it influences our social, economic and political lives – both now and in the future.

The event is an excellent opportunity for researchers to take part in the biggest celebration of social science research and engage with a wide range of non-academic audiences including young people, the public, third sector, business or government.

Applications for sponsorship of up to £1,000 per event can be made. The funding call for event proposals will follow in the coming weeks.

All queries and expressions of interest can be sent to foss@soton.ac.uk.

For more information visit www. esrcfestivalofsocialsciencesouthampton.org.

30

The ESRC IAA is an award to Southampton of £1.05 million, running from April 2019 to early 2023 and is managed by the Impact Funding Team in Research and Innovation Services.

The aim of the funding is to maximise the practical application of our social science research outputs, especially with external stakeholders.

The three-day programme for early career researchers and PhD students is aimed at developing entrepreneurial thinking and business skills. Using academic and industry best-practice from the SETsquared Partnership and its University Partners, participants will come away inspired, connected, and armed with the skills to develop a more impactful career and research.

More information and the application form are on the RIS SharePoint site: https://sotonac.sharepoint.com/teams/RIS/ SitePages/Impact-Funding.aspx

The programme is open to any early career researchers from across the SETsquared Partnership universities in any academic discipline.

The deadline for submission is Tuesday 9 June 2020.

https://www.setsquared.co.uk/programme/ researcher-to-innovator-programme/

For further information, visit: www.southampton.ac.uk/ris

SCIENCE MEETS ART FOR CORAL EXHIBITION

PRESTIGIOUS STEPHEN HAWKING FELLOWSHIP FOR PARTICLE PHYSICS RESEARCHER

The beauty and vulnerability of coral reefs is in the spotlight – literally – in a new exhibition coming to Southampton.

A former Southampton researcher will return to the University as one of the first winners of a prestigious Stephen Hawking Fellowship for his exciting theoretical particle physics work.

The exhibition, called Bleached, combines art and science to explore the threat of climate change to the survival of coral reefs.

Using a light controlled gallery with examples of living and bleached corals, Bleached demonstrates that corals’ stunning fluorescing may be a distress call rather than a sign of health, and can lead to the bleaching and death of coral.

Research by Professor Jörg Wiedenmann and Dr Cecilia D’Angelo, from the Coral Reef Laboratory at the National Oceanography Centre Southampton, has inspired and driven the exhibition, which has been curated with the Vulgar Earth artists collective.

Jörg said: “Our work explains how disturbing natural levels of nutrients in the water can reduce the capacity of corals to resist coral bleaching caused by elevated summer temperatures. We conclude that the necessary global action against climate change required to save coral reefs needs to be underpinned by maintaining the best possible water quality.”

For more information follow @TheCoralReefLab.

Ömer Gürdoğan will spend the next four years investigating questions about how nature works at microscopic scales.

His area of focus will be ‘scattering amplitudes’ in Quantum Field Theory.

These are the quantities that predict the probabilities of the interactions of elementary particles in nature. Research in scattering amplitudes is a very active area, with a potential to revolutionise the way we formulate particle physics. Ömer is one of the first nine Stephen Hawking Fellows, selected by UK Research and Innovation to continue Professor Hawking’s legacy through furthering our understanding of the universe and communicating the wonders of science to the public.

His research is at the boundary between physics and maths. He will be using new ideas in maths to help develop a better description of scattering amplitudes and Quantum Field Theory.

Also through the £511,508 fellowship, Ömer will conduct outreach activities including art exhibitions inspired by the geometric nature of his research, and interactive demonstrations using virtual reality.

He said: “I am extremely pleased that the importance of my ambitions for understanding the universe, and the level of my research to date, have been verified by such a prestigious fellowship. I am very excited for the opportunity to work on this subject and continue to be fascinated by it for a further four years.

“This special fellowship scheme also gives me the chance to share my enthusiasm with nonphysicists. I am planning to hold exhibitions showcasing the geometries that describe the workings of nature and I am confident that everyone will be able to appreciate their beauty as much as I do.” Ömer, who left Southampton last year to work as a post-doctoral researcher at the Mathematical Institute at the University of Oxford, will return to Southampton in October to embark on his fellowship within the School of Physics and Astronomy.

THE NEW PURE PORTAL: EASY ACCESS TO RESEARCH The new Pure Portal has officially launched, improving access to research and researchers at the University.

A huge wealth of data is captured in Pure, the University’s research information system. The new Pure Portal will improve access to this data. Via the portal, you can view researchers’ Pure profiles and their related content, search for research outputs and even search for experts in a particular field.

The portal also features a ‘Fingerprinting’ tool that can be used to find people, outputs and projects based on research themes and keywords. This tool is particularly useful for identifying potential collaborators or researchers with a particular expertise.

Lorna Colquhoun, Director of Research and Innovation Services, said: “The Pure Portal is a very welcome addition to the University’s expanding range of discoverability platforms.

We have an enormous amount of research content in Pure and with the Pure Portal we are now able to surface that data to our University colleagues and students.”

The portal is only available to University staff and students, as ePrints and our University staff profile pages provide the public with information about our research.

Access the portal at https://pure-portal.soton.ac.uk/ VPN/SVE is required for offsite access.

31

Research award highlights

RESEARCH AWARD HIGHLIGHTS FACULTY OF ARTS AND HUMANITIES Prof Laura Dominguez; School of Humanities Vulnerable native grammars: the effects of limited input in grammatical attrition AHRC; £578,950 over 36 months Dr Ying Zheng; School of Humanities Towards a new Psychometric model for a test of general English proficiency (2019-2020) Pearson Education Limited; £15,000 over 8 months FACULTY OF ENVIRONMENTAL AND LIFE SCIENCES Prof Roger Ingham; School of Psychology Australian Research Council Discovery Project Extension Australian Research Council; £5,500 over 12 months Prof Stephen Roberts; School of Ocean and Earth Science Copper Basin Exploration Science Natural Environment Research Council; £165,212 over 36 months Mr Jason Sadler; School of Geography & Environmental Science Research support for FlowMinder GridSample – a user-friendly tool to generate household survey sampling units using gridded population data Flowminder Foundation; £17,081 over 43 months Prof Phillip Warwick; School of Ocean and Earth Science NNUF Phase 2 – Next Generation Accelerated Characterisation Technologies (NNUF-EXACT) facility EPSRC; £1,095,314 over 42 months Project PI Prof Catherine Pope, University of Oxford.

Co-investigators Dr Joanne Turnbull and Dr Jane Prichard, School of Health Sciences, University of Southampton Ethnographic study of patient pathways and workforce implications of NHS 111 Online.

National Institute of Health Research; £268,161.20 over 18 months.

Prof Stephen Darby; School of Geography & Environmental Science Hydro-meteorological Hazards in SE Asia Programme Integration Call – Linking floods, droughts and blue-green infrastructure solutions in the Mekong delta.

Natural Environment Research Council; £18,544 over 22 months Prof Paul Wilson, Dr Anieke Brombacher; School of Ocean and Earth Science Understanding diachroneity: Palaeoenvironmental controls on dispersal of planktic foraminifera in the Plio-Pleistocene oceans Natural Environment Research Council; £50,496 over 18 months

32

Prof Damon Teagle and Dr Judith Coggon, School of Ocean and Earth Science Engaging UK Communities in Scientific Ocean Drilling: A proposal for Knowledge Exchange and Coordination for UK IODP Natural Environment Research Council; £185,790 over 30 months Prof Maria Stokes, Paul Muckelt, Dr Martin Warner and Dr Jo Fallowfield; School of Health Sciences Implementation of a prehabilitation neuromuscular training programme within Royal Navy Phase-1 training for musculoskeletal injury risk mitigation Ministry of Defence; £9,998 over 6 months Prof Jadunandan Dash; School of Geography & Environmental Science PAWAS (Aerial Water Stress) tool for optimizing irrigation Research England via the SPRINT Programme; £20,147 over 6 months Prof Jadunandan Dash; School of Geography & Environmental Science Satellite monitoring of ground motion for open pit and underground mining Research England; £29,369 over 6 months Dr Clive Trueman; School of Ocean and Earth Science Mapping spatial distributions in stable isotope compositions in ecosystems of the Peal River Estuary and adjacent South China Sea Hong Kong University of Science and Technology; £67,272 over 30 months Dr Clive Trueman; School of Ocean and Earth Science Combining Geochemical and Molecular Methods for Catch Location Verification and Traceability Marine Stewardship Council; £13,250 over 3 months Dr Cheryl Metcalf; School of Health Sciences An innovative approach to the introduction of sustainable and affordable P&O services in Myanmar Innovate UK; £15,874 over 6 months Prof Gavin Foster; School of Ocean and Earth Science The Time Of flight Isotopic and elemental Concentration (TOPIC) Facility for nano- to micrometer scale analysis of Earth and anthropogenic materials Natural Environment Research Council; £300,000 over 5 months Dr Samantha Sodergren; School of Health Sciences with Mitsumi Terada (National Cancer Center Hospital, Tokyo Japan) and Vasilis Vasiliou (Bank of Cyprus Oncology Centre, Nicosia, Cyprus); Phase I-II of the update of the EORTC Quality of Life Gastric module QLQ-STO22 European Org for Research & Treatment of Cancer; € 85,771.34 over 15 months

For further information, visit: www.southampton.ac.uk/research

Prof Peter Griffiths; School of Health Sciences Consequences, costs and cost-effectiveness of different workforce configurations in English acute hospitals: a longitudinal retrospective study using routinely collected data National Institute of Health Research; £684,000 over 30 months

Prof Antony Bird; School of Physics and Astronomy 3D gamma-ray camera using coded-aperture imaging for tumour detection Research England via the SPRINT Programme; £84,690 over 12 months

Prof Peter Griffiths and Prof Jane Ball; School of Health Sciences Magnet4Europe: Improving Mental Health and Wellbeing in the Health Care Workplace European Commission; £390,123 over 48 months

Prof Gill Reid; School of Chemistry Next generation molecular imaging and therapy with radionuclides EPSRC; £406,949 over 60 months

Prof Peter Griffiths; School of Health Sciences Safe staffing in ICU: development and testing of a staffing model National Institute of Health Research; £15,009 over 12 months Dr Thierry Fonville; School of Geography & Environmental Science Siberia on fire – How extreme was the 2019 summer?

Natural Environment Research Council Artic Office; £3,000 over 1 month Prof Andrew Tatem; School of Geography & Environmental Science Novel Bayesian time series regression methods for estimating national immunisation coverage Bill & Melinda Gates Foundation; £137,253 over 12 months Prof Andrew Tatem; School of Geography & Environmental Science Population modelling in support of polio eradication efforts Bill & Melinda Gates Foundation; £148,252 over 12 months Prof Andrew Tatem; School of Geography & Environmental Science Mapping vaccination coverage in Nigeria Bill & Melinda Gates Foundation; £247,041 over 13 months Dr Marc Rius Viladomiu; School of Ocean and Earth Science H2020 climate change and future marine ecosystem services and biodiversity European Commission; €249,303 over 48 months FACULTY OF ENGINEERING AND PHYSICAL SCIENCES Prof Tim Morris; School of Physics and Astronomy New Frontiers in Particle Physics, Cosmology and Gravity Science And Technology Facilities Council; £1,498,601 over 36 months Prof Neil White; School of Electronics and Computer Science TriagED – Decision support algorithms for Emergency Departments Alan Turing Institute; £73,817 over 12 months

Prof David Thompson; School of Engineering H2020-Innovative train pass-by noise source separation tools for costeffective vehicle certification-TRANSIT European Commission; £152,600 over 36 months Prof Hugh Lewis; School of Engineering Collision Modelling for Future Debris Removal Services. Astroscale Ltd. Research England via the SPRINT Programme; £29,977 over 8 months Prof Periklis Petropoulos; Zepler Institute for Photonics and Nanoelectronics Silicon-rich silicon nitride Nonlinear Integrated Photonic ciRcuits and Systems EPSRC; £1,123,975 over 42 months Prof Gilberto Brambilla; Zepler Institute for Photonics and Nanoelectronics Underwater high resolution monitoring of vast areas by Distributed Optical Fibre Acoustic Sensors Natural Environment Research Council; £241,890 over 12 months Prof Anna Peacock; Zepler Institute for Photonics and Nanoelectronics Fiberised Platforms for Integrated Nanosheet Materials EPSRC; £509,489 over 36 months Prof m.c. schraefel; School of Electronics and Computer Science, wellthLab makeNormalBetter: Developing Health Resilience INteractive Technology to Transform UK Health and Wellbeing at Scale EPSRC; £1,585,890 over 60 months Prof Simon Spearing; School of Engineering EPSRC Capital Award for Core Equipment at University of Southampton EPSRC; £449,518 over 18 months Mr Louis Le Pen, Mr Geoff Watson; Infrastructure Research Fellows, School of Engineering Horizon 2020 funding for an In2Track2 linked third party project with Network Rail.

Investigation into the performance of composite bearers at Newark Flat Crossing.

European Commission and Network Rail; £80,756 over 20 months

33

Research award highlights Dr Giuseppe Pileio; School of Chemistry Theory and Methodology for Nuclear Spins Diffusing in Porous Media Leverhulme Trust; £279,170 over 36 months Prof Liudi Jiang; School of Engineering Starworks Child Prosthetics Project STWK-018 D4D/National Institute of Health Research; £2,500 over 8 months Prof Jonathan Preston; School of Engineering Data-Driven Robust Timetabling RSSB (Railway Safety and Standards Board Limited); £119,115 over 12 months Prof Tomas Polcar; School of Engineering Simulation-based design of ultra-low friction materials Royal Society; £57,000 over 24 months Dr Xize Niu; School of Engineering Collaborative Research: SitS NSF UKRI: Decoding Nitrogen Dynamics in Soil through Novel Integrated in-situ Wireless Soil Sensors with Field Modeling Natural Environment Research Council; £569,434 over 36 months Prof Graham Reed; Zepler Institute for Photonics and Nanoelectronics Cornerstone 2 EPSRC; £1,175,410 over 24 months Prof Graeme Day; School of Chemistry H2020-ERC-2019-Synergy-Autonomous Discovery of Advanced Materials-08-Nov-18 European Commission; €3,493,039 over 72 months Dr Martynas Beresna; Zepler Institute for Photonics and Nanoelectronics Optical fibres with enhanced acoustic signal feedback: exploring commercial opportunities Royal Academy of Engineering; £49,953 over 12 months Dr Geoffrey Hyett; School of Chemistry Layered copper oxychalcogenides for next generation p-type transparent conductors EPSRC; £394,165 over 36 months Dr Nuria Garcia-Araez; School of Chemistry Faraday Institution Beyond Li ion call EPSRC; £439,965 over 48 months Dr Andrea Da Ronch; School of Engineering H2020 – Aircraft rear end and empennage optimisation enhanced by anti-ice coatings European Commission; £120,010 over 36 months Prof Themistoklis Prodromakis; Zepler Institute for Photonics and Nanoelectronics Memristive Technologies for Lifelong Learning Embedded AI Hardware (AI MeTLLE) Royal Academy of Engineering; £2,780,000 over 120 months Dr Francesco Shankar; School of Physics and Astronomy A Hierarchical Bayesian approach to optimising hypertension management strategies Science And Technology Facilities Council; £112,652 over 12 months

34

Dr Adriane Chapman; School of Electronics and Computer Science Provenance and Anonymisation Alan Turing Institute; £93,698 over 12 months Dr Min Kwan Kim; School of Engineering Feasibility of Failsafe Deorbiting System using a Thin-layer Vacuum Arc Thruster UK Space Agency; £10,000 over 3 months Prof David White; School of Engineering Offshore Renewable Energy Supergen Hub – expansion phase 2 EPSRC; £189,219 over 36 months Dr Leonardo Aniello; School of Electronics and Computer Science Operational CyberspaCe Attack Modelling in Real-Time (OCCAM-RT) Defence & Security Accelerator; £180,915 over 12 months Dr Sergio Maldonado; School of Engineering Small, ultra-low head hydropower in irrigation canals British Council; £4,947 over 10 months FACULTY OF MEDICINE Prof Donna Davies; Clinical and Experimental Sciences AAIR – Modulating the activities of Hypoxia Inducible Factors (HIF) to restore normal collagen fibrillogenesis in a human lung fibrosis model AAIR Charity; £9,800 over 2 months Prof Mark Hanson; Human Development and Health Effects of extreme weather events on human development and health: systematic review and evidence to inform disaster preparedness policy Royal Society; £11,920 over 24 months Prof Benjamin Macarthur; Human Development and Health Mapping biology from mouse to man using transfer learning.

Alan Turing Institute; £83,426 over 12 months Dr Jane Cleal; Human Development and Health Could climate change developmentally programme lifelong health in Caribbean farming communities?

Royal Society; £12,000 over 24 months Prof Jane Lucas; Clinical and Experimental Sciences NIHR RfPB: Parent Reported Quality of Life Measures for Young Children with Primary Ciliary Dyskinesia: QOL-PCD National Institute of Health Research; £117,445 over 26 months Prof Diana Baralle; Human Development and Health The PURA Global Network. Understanding PURA syndrome. PURA Syndrome Longitudinal Natural History Study The Pura Syndrome Foundation; £20,000 over 13 months Dr Francesco Forconi; Cancer Sciences Developing next generation DC-SIGN antibodies for the treatment of follicular lymphoma Cancer Research UK; £252,942 over 36 months Dr Francesco Forconi; Cancer Sciences Early Cancer Research Initiative Network on MBL and MGUS models (ECRIN- M3) Cancer Research UK; £1,928,214 over 60 months

For further information, visit: www.southampton.ac.uk/research

Prof Gareth Griffiths and Dr Simon Crabb; Southampton CTU; Cancer Sciences BL13 – A ramdomised phase II trial assessing trimodality therapy with or without adjuvant durvalumab to treat patients with muscle-invasive bladder cancer Canadian Cancer Trials Group; £577,616 over 84 months

This list encompasses a selection of awards logged with University of Southampton Finance from October 2019 to January 2020 that are not considered commercially sensitive.

Dr Savannah Lynn; Clinical and Experimental Sciences MacuSIM: A microfluidic, in vitro model of the outer retina as an experimental platform for macular disease and therapeutic trails National Centre for the Replacement, Refinement and Reduction; £121,593 over 24 months Dr Ka Ng; Clinical and Experimental Sciences Uterine natural killer cells, their expression and function through peptides and impact on reproductive success.

MRC; £254,265 over 36 months FACULTY OF SOCIAL SCIENCES Dr Charis Voutsina; Southampton Education School Cultural rules and uses of written numerals in children’s everyday environments Leverhulme Trust; £107,347 over 26 months Prof Joerg Fliege; School of Mathematical Sciences Collaboration with SmallSpark Ltd on Sprint Funding Application Research England via the SPRINT Programme; £99,931 over 8 months Dr Giles Richardson; School of Mathematical Sciences Next Generation Electrodes: Nextrode EPSRC; £473,760 over 48 months Dr Matthew Ryan; School of Economic, Social and Political Sciences UKRI Future Leaders Fellowship – Rebooting Democracy: Democratic Innovation for the Information Age UK Research and Innovation; £1,221,557 over 48 months Dr Ruben Sanchez Garcia; School of Mathematical Sciences Automatic detection of genetic oscillators Alan Turing Institute; £84,701 over 12 months Prof Rosalind Edwards, SPSS; School of Economic, Social and Political Sciences Parental social licence for operational data linkage and analytics to identify families for service intervention’ ESRC; £435,522 over 30 months Dr Efstratios Ramoglou; Southampton Business School EURAM -Entrepreneurship, Diversity, and Discrimination: An Experimental Study EURAMET – EMRP-MSU; £3,121 over 12 months Dr Erengul Dodd; School of Mathematical Sciences Predictive modelling for medical morbidity risk related to insurance Society of Actuaries; £13,586 to UoS over 36 months

35

Find out more: www.southampton.ac.uk/ris reaction@southampton.ac.uk +44 (0)23 8059 4694 Research and Innovation Services (RIS) facilitates academic collaborations, research funding bids, industrial interactions and knowledge exchange activities, including commercialisation and business acceleration. RIS also supports research ethics and integrity, research contracting and the REF.

Please recycle this publication when you have finished with it.