This follow on project 's key aim is to identify one or more pilgrimage trail in the Isle of Man and in collaboration with stakeholder groups, trails will be supported by low-impact digital interpretation resources which will facilitate individuals and groups' exploration of the Island's faith heritage, with the potential to attract new and returning cultural and faith-based tourists. This builds on the original research project on Pilgrimage and Landscape. The Isle of Man was one of three case studies for this project, when annual prayer walks to the remains of medieval chapels known as keeills were studied as there is no designated pilgrimage route on the Island. This original research project evidenced the demand for and appreciation of current occasional opportunities for residents and visitors to engage with the faith heritage of the Island, as well as a significant potential audience and appetite for: i) accessible resource-based interpretation material which would allow year round self-led engagement with the keeills; ii) a desire to identify one or more permanent pilgrimage routes on the Island; and iii) that these could provide a foundation for developing faith-based heritage tourism. Working with an established network of collaborating groups on the Island, such as Manx National Heritage, Cathedral Isle of Man and Praying the Keeills, this project will identify one or more pilgrimage routes, utilising existing footpaths and heritage sites, including the keeills; and will create a guide to these pilgrimage trails, with links to maps and historic interpretation material. These resources will be available online via a dedicated website and smartphone apps (hence it being described as a virtual trail) with minimal low-impact signposting. Print copies of resources and an audio guide will also be available via Manx National Heritage for those without internet access. Building on previous research project findings, existing heritage resources and recent church-led initiatives, this project will provide a resource for locals and tourists to explore the intertwined faith heritage and landscape of the island, primarily through the activity of walking, with alternative route information provided for those of limited mobility who may need to travel by vehicle. It is also hoped that the trail/s will act as a catalyst for the Isle of Man's recent cross-organisation initiative to develop faith-heritage tourism as well as attracting other long-distance walkers.

Music has always been highly mobile and musicians have been crossing cultural and physical borders for centuries, both voluntarily and as a result of inhospitable ideological, economic and environmental forces in their homelands. This project investigates the relationships that develop between migrants and their adopted host society, and how they manifest in their own creativity, each crucial to evaluating the cultural impact of migration. However, our understanding of the role of mobility and migration in shaping musical culture as a whole is as yet limited. This project brings fresh methodological approaches to the study of the experiences, musical lives and subsequent impact on British musical culture of musicians who came from Nazi-ruled Europe in the 1930s and '40s. Many of them went on to make major contributions to the successful reinvigoration of art music in the ensuing decades. The project will investigate and map the journeys and careers of approximately 30 musicians as they negotiated and helped to form aspects of British musical life in the post-war period as influential teachers, composers and performers, and in major institutions such as opera houses, the BBC, and higher education. It will explore how musical skills, traditions and values were transported and exchanged, and how these interactions affected the migrants themselves, local musicians, and public musical life at large. The project also probes the practical challenges of performing and mediating their compositions-which are defined by multiple trans-national cultural influences and traditions-through a programme of experimental open rehearsal workshops. Selected works by migrant musicians that for various reasons have remained hidden will be explored by professional and student musicians, and contemporarily relevant approaches to their presentation in performance will be tested in public. Through practice-based research, we aim to bring a fresh dimension to conventional musical analysis, highlighting the cultural value of this music for contemporary audiences interested in its broader historical context. The project includes a structured programme of research in a dozen major archives in the UK, Germany and Austria pertaining to this history, and in particular two key institutions, Glyndebourne Festival Opera and the Anglo-Austrian Music Society in London, both critical in different ways to the impact of this group of migrants on the shaping of post-war British music. Archival and historical research combined with images, oral history interviews and recorded performances will form the basis for the creation of a series of on-line 'story maps' that use geo-visualisation software to present multi-perspective narratives combining text, images, video and audio, and dynamic links to a host of relevant additional resources. From the start of the project we aim to facilitate dialogues between scholars and artists working within the context of mobility and migration today. The project team will develop a theoretical understanding of the relationship between musical cultures, mobility and migration that can benefit future research. A symposium co-hosted by the Austrian Cultural Forum will set out the scope and direction of a cross-disciplinary debate; a series of scholarly journal articles by the PI, Co-Is and RAs will develop specific themes; and an international conference co-hosted by the German Historical Institute will extend debate to other examples of music, migration and mobility. Public exhibitions at three partner institutions will complement the project's website, which will integrate the c.30 story maps, institutional case-studies, videos of workshops, performances and oral history interviews, textual commentary, and free-to-download music editions into a rich resource for the benefit of school students, musicians, educators and scholars who wish to find new approaches to our culture, characterised as it is by migration and mobility.

The UK Marine Area extends over some 867,400 km2, an area equivalent to around 3.5 times the UK terrestrial extent. The UK's marine heritage is extraordinarily rich and exciting. Wrecks on the sea bed range in date from the Bronze Age to the World Wars and bear testimony to Britain as an island nation, a destination for trade and conquest, and in past times, the heart of a global empire. Communities along the coast have been shaped by their maritime heritage and monuments and stories recall losses and heroes. Much further back in time, before the Bronze Age, a great deal of what is now the North Sea was dry land, peopled by prehistoric communities who lived in lowland landscapes, some on very different coastlines. The British Isles would have been distant uplands above hills and plains and rivers. This arc of heritage, stretching over 23,000 years, is represented by an abundance of collections. Charts and maps, documents, images, film, oral histories, sonar surveys, seismic data, bathymetry, archaeological investigations, artefacts and objects, artworks and palaeoenvironmental cores all tell us different things about our marine legacy. But they can't easily be brought together. They are dispersed, held in archives, unconnected and inaccessible. This matters because it is clear that the story of our seas is of huge interest to the UK public. In 2019 alone, there were 2.9m visits to Royal Museums Greenwich, home of the National Maritime Museum; 1.1m visits to National Museum Royal Navy; 837,000 visits to Merseyside Maritime Museum, and 327,000 visits to HMS Belfast. It is also clear that our exploitation of our seas is increasing dramatically. Windfarms, mining, dredging for aggregates, port expansions, leisure and fishing are all placing tensions on the survival of our heritage. If we are to unlock new stories and manage our past effectively and sustainably, we need to join up all our marine collections and get the most of them. UNPATH will bring together first class universities, heritage agencies, museums, charitable trusts and marine experts to work out how to join these collections up. It will use Artificial Intelligence to devise new ways of searching across newly linked collections, simulations to help visualise the wrecks and landscapes, and science to help identify wrecks and find out more about the artefacts and objects from them. It will deliver integrated management tools to help protect our most significant heritage. And it will invite the public to help co-design new ways of interacting with the collections and to help enhance them from their own private collections. The methods, code and resources created will be published openly so they can used to shape the future of UK marine heritage.

The project's objective is to harness digital tools from different fields to transform scholarly and popular understanding of Ogham - an ancient script unique to Ireland and Britain. At a more general level, it provides a potential model of collaborative ways of working to ensure the long-term sustainability, continued development, and inter-operability of diverse digital resources for multi-disciplinary humanities research. It addresses the challenge of giving continued and renewed life to existing digital resources beyond the end of individual funded projects by integrating them with new data created using subsequent technological and intellectual advances. Through collaborative working, resource-sharing and skills-exchange the project will strengthen partnerships between academia, museums, libraries, and state heritage agencies across all 6 nations in the UK, Ireland and Man. It will also contribute to Europe-wide collaboration in digital epigraphy and place Ogham in the vanguard of global epigraphical studies. Ogham is highly unusual among world writing systems. It entirely lacks iconicity: like a barcode, it consists solely of a succession of straight lines. It is read vertically and is written in 3 dimensions across the edge of a solid object (using letters which consist of bundles of 1-5 short parallel lines, their value depending on their position relative to a baseline). Its heyday was the 1st Millenium CE, but knowledge of it never died out. Texts written in this ingenious script are of international significance to historical linguists as the earliest evidence for the Gaelic languages. We will digitally document all c.640 examples of Ogham writing in all media, from its origin in the fourth century CE until the dawn of the modern revival c.1850. We will build on the success of the 'Ogham in 3D' website (2012-15, 2016-17), created by our partner organisations, the Dublin Institute of Advanced Studies, the Discovery Programme, and the National Monuments Service which covers c.25% of surviving ogham and provides detailed supporting information, photographs, & 3D models. We will upgrade its data and metadata, enhance its searchability, and greatly expand its thematic, chronological & geographical scope by including Oghams from the whole island of Ireland (i.e. including Northern Ireland) and from outside Ireland. The latter - from Scotland, Wales, Man, England, and Continental libraries - comprise almost a third of the total surviving. We will also move beyond stone monuments to include portable objects, graffiti, and manuscripts. We will document in 3D all Ogham in the collections of the national museums (the British Museum; the National Museums of Scotland, Ireland, Northern Ireland, Wales; and the Manx Museum), with the support of state heritage agencies in 4 countries. Additional joint fieldwork in all six nations will allow us to more than treble the number of 3D models available to nearly 80% of the corpus. Uniting this scattered evidence will transform Ogham studies, and connect local communities with their heritage. We will work with the Discovery Programme to evaluate the effectiveness of different methods of 3D recording and visualization, and use for analysis techniques hitherto used only for documentation. We will refine new methods of digital groove analysis (to identify the work of individual carvers and establish the contemporaneity of different carvings) and digital reconstruction of worn detail. We will conduct analysis based on the new documentation, using analogue and new digital techniques, including computational corpus linguistics. The enduring social value of Ogham is reflected in its increasing popularity for decorative, symbolic, and creative functions. The project will support this use of Ogham in contemporary culture by responding to the need for authoritative guidance on writing accurate and authentic Ogham, and by inspiring new & innovative applications and artistic responses.