James Baldwin was globally esteemed as an author and activist in the 1960s, renowned as the most eloquent voice of the civil rights movement. However, by the 1970s, Baldwin's reputation as an artist and activist had dwindled. Critics accused him of being out of touch, and he had retreated to Europe, far from the maelstrom of the Black Art and Black Power movements in the USA. Yet in the last two decades, and particularly since the growth of Black Lives Matter after 2013, Baldwin has again become a global icon. However, studies of Baldwin's international profile ignore his notable presence in British culture, and his influence on generations of British artists and activists. Similarly, they elide Baldwin's insights into Britain's colonial past, and what he reveals about the relationship between African American and Black Diasporic cultures. At the centennial of his birth, this project proposes a reappraisal of how James Baldwin has influenced British-based artists and activists from the 1960s to the present, and what his life and work say about the connections between structures of global racism, imperialism, and colonialism. Baldwin visited the UK on numerous occasions between the 1960s and the 1980s. A sharp commentator on British race relations, he was the subject of a major documentary and several interviews; he gave high-profile speeches in support of black prisoners, and won a televised debate at the Cambridge Union. In his final years, when Baldwin's reputation was at a low ebb elsewhere, his play The Amen Corner became the first Black British production to reach the West End. Baldwin has also been cited as a source of political and aesthetic inspiration by generations of British-based artists, critics, and activists, from CLR James, Hanif Kureishi, and Leila Hassan Howe to Black Lives Matter UK and the black British female collective, gal-dem. The project is led by an experienced international team of scholars from Literary Studies, Politics, and History, and is supported by an advisory team of academics, artists, and activists. It aims to reflect Baldwin's status as a global writer and activist, a literary and public figure whose work cuts across genres and disciplines. It also asks how we might interpret engagement with different aspects of Baldwin's work as a means for understanding the shifting priorities of black British arts, activism and politics. Work will proceed in three strands, each combining research, dissemination and impact activities: First, an oral history project will collect testimonies from Black British artists and activists who knew and/or have been influenced by Baldwin's life and work. High quality recordings and transcriptions of these interviews will be made freely available, and an accessible edited collection that mixes interviews and essays by participants will be produced to target a wide audience. A second strand will profile James Baldwin as an activist in British public life. A comprehensive database of Baldwin in British national print media from the 1960s will be complemented by a two-day symposium of academics, artists and activists who will discuss Baldwin's wide-ranging impact. This event will result in an edited academic volume which will further scholarship on Baldwin as a transnational author and activist who transcended Black, queer, and transnational identities, as well as documenting his relationship to Black British feminism. Finally, a third strand on visual culture will analyse Baldwin the 'celebrity', a new voice at the dawn of televisual culture. Collaborations with the Barbican in London and HOME in Manchester will create a filmic archive of Baldwin's connections to Britain. Public screenings and talks will further understanding of Baldwin in the popular imagination, while a programme of events - including creative programmes for young people - will engage diverse audiences.

Technologies of artificial intelligence are an increasing part of our everyday lives. Neural networks and deep learning find application in vast areas such as the financial markets and weather prediction. We are told that many traditional kinds of jobs may be in danger of being replaced by automation. Artificial intelligence can emulate human decision making, and software programmes can now beat chess masters. AI research in the UK and Japan are at the forefront of international advancement in the field. Programmes by London companies like DeepMind take the chess example to the next level of complexity by playing the ancient Japanese game of Go. In Japan, advanced robots that take on humanoid form have been deployed in healthcare settings such as minding older people. While AI and automation might better human chess players or risk to replace jobs, they can be seen as a partner in dialogue with human activity. This is seen in a compelling way in the world of art. While computer programmes have been created to generate visual images and algorithmically compose music, it is in partnership with a human artist that new forms of art can emerge. If an AI algorithm becomes part of the creative palette of an artist, what kinds of new work emerge? For an artist to be able to harness these advanced technologies, how do they need to be configured? Is the human artist a partner, master, or mere operator? How do these new techniques change our aesthetic sense and challenge what might constitute a work of art or piece of music? The Art, Artifice & Intelligence project brings together leading research labs from the UK and Japan to foster new partnerships to explore the creative potential of artificial intelligence in art and music. The Embodied Audiovisual Interaction (EAVI) unit from Goldsmiths, University of London, will lead the project in partnership with the SACRAL artificial life laboratory of the University of Tokyo and the Faculty of Design at Kyushu University. The project will facilitate exchange of academics, young researchers, and students between the UK and Japan to share knowledge and best practices in harnessing AI technologies in creative settings. The project activities will take place in a series of workshops - two in Japan and one in London - and in a 3-month residency for a young UK researcher to develop a new project in Japan. The results of the project will be presented to general audiences in public exhibition/performance events in London, and in Japan. We will work with cultural institutions such as the Barbican in London and the Yamaguchi Center for Art & Media (YCAM). The project will be a trigger for future large scale collaborations in art and AI between the UK and Japan, and bring to the public eye the rich histories, technologies, and critical perspectives that underpin our present-day fascination with artificial intelligence.

Many constructions of the creative economy are celebratory. The creative economy is lauded as a provider of economic growth and good, well paid, jobs. This is alongside the role of the creative economy in a whole range of policy and practice areas, including education, regeneration, and diplomacy. However, as the research giving rise to this proposal has demonstrated, the creative economy is also the site for significant exclusions and inequalities. These include the gender, class and racial character of both production and consumption in the creative economy. Who is missing? follows on from several AHRC funded research projects to consolidate work on the creative economy that has focused on the question of inequality. Moreover, the consolidation of this research will aim to offer approaches to challenge and change the structures of the creative economy that act to exclude. This follow on funding proposal aims to strengthen existing partnerships between academic experts on inequality and campaigning organisations; to disseminate the existing findings of research developed as part of several AHRC funded projects; to co-create new knowledge with organisations working to transform the unequal character of the creative economy; and to exploit existing research activities that will develop organisational, policy making, and practitioner capacity to respond to creative economy inequality. The project consists of three distinct, but complementary, work packages that address the dissemination, co-creation and research exploitation objectives detailed in this outline. The roots of the project are based in two longstanding and successful partnerships between academic researchers working on AHRC funded projects and organisations within the Creative Economy. The first partnership, between the PI and Co-I and Create London, an arts development organisation, resulted in the Panic! Whatever Happened to Social Mobility in the Arts? Project. The second partnership is between the PI and Co-I and Arts Emergency, a charity that supports young people aged 16-19 from disadvantaged backgrounds to pursue careers and education in the arts and then into the creative economy. This has been a four year working relationship informing Arts Emergency's use of academic research for media and public campaigning, as well as shaping their use of data and research in their practice. The project starts by thinking through the needs of the partners for data and research. Work Package 1 (WP1) is focused on co-creating a set of approaches to disseminate the existing research findings in ways that are understandable to public, policy and, most crucially, practice audiences. The second work package (WP2) responds directly to the needs of these organisations for data and research. WP2 will work with Arts Emergency to understand those aspiring to be part of the creative economy, along with re-interrogating existing research data to understand how current inequalities within the creative economy have changed over time. This latter point was the focus of the Panic! Project and Create London, alongside the academic team, are keen to develop and disseminate these findings more widely, particularly to audiences at Arts Council England and Creative Scotland (who have offered letters of support) and the UK's Department for Culture, Media and Sport. Work package 3 (WP3) takes up the dissemination activity for the project, with a PDF publication from Arts Emergency called Who is missing from the Picture: The problem of inequality and what we can do about it. This will be launched at a series of events, delivered by Create London, and produced by the young people working with Arts Emergency (paid as part of the research project), thus taking the research base beyond the academy whilst developing the skills, and the profile, of those aspiring to be part of the creative economy.

The richness and diversity of Brazilian culture is matched by the dimension of its social crises. In response to histories marked by violence and exclusion, participatory arts practices have developed as a means of survival and resistance. Lives that have been devalued have been celebrated in adversity. Identity, respect, resilience, visibility and self-esteem have been strengthened where they were most vulnerable by popular cultural traditions which draw on Brazil's unique mix of European, African and Indigenous roots. In the last 2 decades, these traditions have been re-enforced by more active initiatives that forge culture as a legitimate weapon in the fight against the forces that devastate Brazil's poorest communities. Where state provision in healthcare, education, public security and environmental protection has been most absent, the arts have been most actively engaged. \nPeople's Palace Projects [PPP], a research centre in applied arts at Queen Mary, University of London, has been developing programmes in Brazil for over a decade under the directorship of Professor Paul Heritage. With support from the AHRC, British Academy and National Lottery, PPP implemented arts-based human rights projects in Brazil's prison service for over 20,000 prisoners and guards across 12 states from 1996-2005. Projects were also established with young people who had recently left juvenile detention or deemed at risk of being in conflict with the law, within communities devastated by the impact of gun/gang crime. PPP researched, created and evaluated projects in partnership with a range of Brazilian arts and non-arts agencies including the Centre for the Theatre of the Oppressed, Grupo Cultural AfroReggae, Centre for the Study of Public Security and Citizenship, UN Latin American Institute for the study of crime and delinquency, Department of Prisons [Brazilian Ministry of Justice]. Since then, PPP has concentrated on researching how the experience and expertise learned in Brazil can be applied in related contexts in the UK. With funding from Arts Council England, PPP has worked in partnership with a range of British agencies and arts institutions to investigate how to 'translate' socially-engaged Brazilian cultural strategies into specific actions in London and Manchester. This practice-based research focused on how effective Brazilian arts-based interventions into gun/gang crime culture can be understood at a local and institutional level in the UK. A series of workshops, seminars, performances and publications have demonstrated the power and validity of the Brazilian experiences beyond their immediate context. During 3 years of research and consultation, PPP has constructed a network of partners that will enable the knowledge to be transferred to the UK in ways that reflect the lessons learned from the Brazilian research experiences. This partnership includes: Barbican Centre [Barbican Bite/Barbican Education], Bigga Fish [urban youth music/enterprise organisation], Guildhall School of Music and Drama, Theatre Royal Stratford East, Contact Theatre Manchester, Newcastle/Gateshead Initiative, Learning Trust [Hackney's education service], Shoreditch Trust [regeneration agency] and the Metropolitan Black Police Association. PPP will facilitate this multi-disciplinary partnership so that knowledge is transferred from Brazilian cultural practices to the UK, and between arts and non-arts agencies here. Under the direction of Professor Paul Heritage, the Knowledge Transfer programme of FAVELA TO THE WORLD [2009-2012] will increase capability and capacity by training and supporting a network of organisations and individual practitioners, by reaching the young people and broader audiences with whom they work, and by engaging with wider debates to enable maximum learning opportunities for communities of interest and policy making.

The CDT in Media and Arts Technology will train PhD students to become skilled researchers and practitioners at the intersection of science, technology, digital media and the arts. The proposed CDT builds on the outstanding success of Queen Mary's current Media and Arts Technology (MAT) programme, introducing new training elements in Design, Innovation and Materials and expanded industrial and international partnerships. It addresses all 3 of EPSRCS's Digital Economy themes, particularly Digitally Connected Citizens and many ICT themes, especially Next Generation Interaction Technologies, Data to Knowledge and ICT for Manufacturing; Digital Healthcare. MAT is firmly grounded in Britain's Digital Economy (DE), which contributes the biggest share of GDP in any g20 nation and is projected to increase by a third by 2016. The Creative Digital sector in East London, on Queen Mary's doorstep and known as Tech City, is the fastest growing DE cluster in the UK, outstripping Greater London and the UK for jobs growth since 2001. It now accounts for 48,500 jobs in over 3200 companies, ranging from micro-business and SMEs to global players like Ustwo and Last.fm, and is attracting inward investment from international players such as IBM, Facebook, and Google. The Creative Digital sector demands workers with a high degree of technical skill coupled with creative skills, able to work in multi-disciplinary teams: exactly the type of graduate MAT will produce. The MAT CDT has an established network of over 40 external partners including: large companies (BBC, IBM, Orange, Sony and Procter & Gamble) health organisations (Royal Hospital of Neurodisability) and Tech City SMEs (Cinimod, Lean Mean Fighting Machine, Ustwo, Playgen, United Visual Artists, Hide&Seek, Troika), cultural institutions (Barbican, Science Museum and V&A), and governmental bodies (UKTI, TCIO, DSTL and London & Partners). Many partners host students' Advanced Placement Project, provide data sets and technical resources, supervision and mentoring, and exposure to a wide range of markets and audiences. The CDT acts as a focus bringing together otherwise disparate external bodies who discover shared interests and values. Because DE is a key strategic area for QML, the university invests heavily in the area. The existing MAT CDT catalysed the formation of qMedia, a cross-Faculty Research Centre based in the School of Electronic Engineering and Computer Science, and continues to be at its core. qMedia includes the world leading Centre for Digital Music, the newly formed Cognitive Science Group, the Multimedia and Vision Group, and members of the Networks, Vision and Antennas Groups. In EECS alone, qMedia has >40 academics, 41 RAs, 102 PhD students and a portfolio of grants with a current value of over £21 million. The CDT led to a major expansion in Digital Media research and teaching at Queen Mary. It inspired the creation of both a MSc in Media and Arts Technology and a BSc(Eng) in Multimedia and Arts Technology. The University invested around £3M in 200m2 of facilities for the MAT CDT, including Media and Arts Technology Studios, CDT hub (work/meeting space), 'maker' workshops, and a multimedia IT suite for audio/video editing. In conclusion, the existing CDT and its proposed renewal brings value nationally, locally and to the university. It is also a major international beacon of excellence that has led to several international partnerships, particularly in USA and China.