Methods and 'best practice' for the documentation (recording) of classical music are well established, as is the understanding that access to that documentation is a vital part of education and research. For music involving non-sonic elements, there is neither an established 'best practice' for documentation nor any reliable archive. This interdisciplinary network will explore the problems raised by, and solutions for, documenting and disseminating exemplars of this type of music. Music where the focus is on "the visual and theatrical energy that lies implicitly in the performance itself, in the creation and bringing forth of single sounds and music on instruments, and in the communication and relationship between musicians and the audience" (Håkon Thelin, 2011, section 3, http://haakonthelin.com/multiphonics/zab) has roots in experimental and avant-garde practices across the visual and performing arts in the Twentieth Century. It has been historically described with terms such as "Musiktheater", "Instrumental Theatre", "Fluxus", "Performance Art" or "Intermedia". Recent attempts at codification of this practice include New Conceptualism and New Discipline, but these are partial, theoretical, and do little to advance the practical considerations when engaging with this work in performance. This type of work has been particularly marginalised within music institutions, often finding sanctuary in the visual arts (Robert Filliou quoted in Relational Aesthetics by Nicolas Bourriaud, 2002, p. 102). Despite its 70-year history it has struggled to gain a footing in serious musical discourse. This is in no small part due to the lack of suitably documented works. For music containing only sonic elements there is a clear and well established pathway for its documentation. However, this is not the case for works that contain non-sonic elements. This is not only because video is essential alongside audio, but also because the pieces have so many variables which make successful audio and video recording an order of magnitude more complex than making an audio recording alone. The lack of high-quality, easily available documentation has had a number of significant detrimental effects on the development and performance of compositions with non-sonic elements: - Musicians are uncomfortable performing such pieces, and so they are rarely programmed. - Composers and performers lack an understanding of their historical contexts. - Educators lack the resources to demonstrate best practice in composition and performance. - Researchers struggle to find material on which to base further academic study. As a result the compositional and performance practices have not matured at the same rate as other forms of experimental music. For the first time there are enough academic and professional practitioners specialising in music with non-sonic elements for it to be feasible to explore ways to rectify this situation. To do this, an interdisciplinary network is required. Music with non-sonic elements is 'boundary work' that is intrinsically slippery. While practitioners in different (but related) fields implicitly know how to recognise and produce this type of work, recent attempts to explicitly define its parameters have been incomplete. This is because those attempts have come from music alone. What is required is a network of people from music, dance, theatre, visual art and documentation. Once assembled the network will create rigorous parameters for examining, codifying and finally documenting historic and current works of music involving non-sonic elements; something never previously attempted.

Rufopoly is a participatory learning board game enabling players to undertake a journey through a fictitious rural urban fringe called RUFshire, answering questions and making decisions on development challenges and place-making; those answers then inform each player's vision for RUFshire. The encountered questions are determined by the roll of a die and based on primary data collected for a Relu project (2010-2012) about Managing Environmental Change at the Rural Urban Fringe. Rufopoly has been used extensively in early stages of projects and plans such as the pioneering Greater Birmingham and Solihull Local Enterprise Partnership spatial plan and has been used by government, EU project groups, local authorities, business, community groups, universities and schools. It has exposed audiences to issues associated with the delivery and trade-offs associated with planning and environmental issues at the fringe but crucially without the use of complex jargon. We believe that the full potential and impact of Rufopoly has yet to be fully realised. There are several reasons for this: 1. Rufopoly was developed towards the end of our Relu project as an unplanned output for a conference run by Relu in 2011 on 'Who Should run the Countryside?'. Its success prompted its inclusion as an output. 2. There were insufficient funds for it to be successfully tested and integrated with policy and practice communities to maximise its utility as a learning tool as this was never the original intention of the project. 3. It is currently presented as a one size fits all board game of a hypothetical place. More time is needed to explore the potential of Rufopoly to become a generic platform for stakeholders wishing to develop their own versions of the tool to meet their own needs and to fill a widely recognised gap in the effectiveness of participatory tools for improved decsion making. This knowledge exchange project addresses these deficiencies by drawing together the shared knowledge and previous experiences of designers and users of Rufopoly. This informs a series of interactive workshops in Wales, England and Scotland to identify how this kind of game-format can be enhanced into a more effective and multifunctional tool. This will help extend and embed the impact for a range of policy and practice partners in the form of a Rufopoly Resource Kit. By working collaboratively with end users we can identify how Rufopoly can be reconfigured across different user groups and organisations in tune with their agendas and needs. There are four stages to this project: WP1: Review and learn lessons from previous Rufopoly experiences. This involves (1) an assessment of the actual results and findings from past games that were written up and the results analysed. (2) critical assessments of the strengths and weaknesses of Rufopoly from facilitators and core participants. We will draw priamirly from our UK experiences but are also able to secure insights from the international adaptations of Rufopoly from Nebraska (November 2013) and Sweden (2014). WP2: Conduct a series of interactive workshops with different policy and practice audiences. These workshops will be held in England, Scotland and Wales using members of the research team and other participants. The purpose of these workshops is to (1) share results of WP1; (2) assess how the tool could be reconfigured to address the principla needs and challenges facing participants; and (3) prioritise feasible options for a Rufopoly Resource Kit. WP3: Using WP1 and WP2 outcomes, we will design and trial (across our team) the Rufopoly 'Mk2' resource kit and associated materials/guidance. WP4: Launch the Rufopoly Resource Kit and guidance in a live streamed global workshop event. This would; reveal the basic resource kit as co-designed by the team and enable testers of the resource kit to share their experiences maximising knowledge exchange and its range of potential applications.

Doctoral Training Partnerships: a range of postgraduate training is funded by the Research Councils. For information on current funding routes, see the common terminology at https://www.ukri.org/apply-for-funding/how-we-fund-studentships/. Training grants may be to one organisation or to a consortia of research organisations. This portal will show the lead organisation only.

When Calvin Klein launched his men's underwear campaign, in 1982, shot by Bruce Weber with the now iconic image of a muscular male model (and ex-pole vaulter) wearing nothing more than a pair of y-fronts he created a storm of publicity. The billboard images, displayed in 25 bus shelters in New York were all stolen in the first night. Three years later Tim Lyon's advert for Levi's 501 jeans featuring the model Nick Kamen stripping to his boxer shorts in a launderette was similarly met with a media furore and a public reception veering between amusement, excitement and embarrassment. Sexualised representations of the male body were to become key to the success of the advertising campaigns and pillars of the marketing strategies of both companies (and several imitators) from that moment onwards. These images presenting masculinity as sexual spectacle were beginning to emerge within a wider culture where, what was then described as, 'body consciousness' was gaining popularity and becoming a mainstream interest. Nonetheless, these eroticised, and in some cases overtly homoerotic, images were still something of a rarity, indeed their scarcity was key to their frisson and appeal. Now in the 21st century images of sexualised masculinity that were relatively unusual less than 30 years ago have become part and parcel of media culture from the margins to the mainstream. Gossip magazines to charity calendars, pop videos to cosmetics commercials, Soap Opera to Reality TV, Hollywood cinema to internet pornography all routinely present images of men and masculinity as invitations for sexual pleasure. Images that might once have been described variously as homoerotic, pornographic or obscene are now routinely deployed in media products and inform the way that men think of their bodies and represent themselves online. Whilst such images have become increasingly commonplace and the rapid shifts in media technologies that have taken place in the 21st century have meant that access to representations of sexualised of masculinity have become ever easier there remains a paucity, or at least an inconsistency, in the extent of scholarly research in this area. In part this is to do with a perennial embarrassment that can often overshadow the discussion of sexual materials more generally, especially those that represent men. It is also perhaps that such representations are often regarded as seeming so obvious in their intent that they are beneath critical attention. This absence has meant that important questions around the evolving cultural construction of masculinity, aligned to debates around the so called 'sexualisation' of culture remain unanswered and this is precisely why this topic is of crucial importance and needs to be investigated. This 24-month research network, emerging out of a recently commissioned Routledge book series edited by the PI and CoI, will bring together scholars of international standing, early career researchers and experts and commentators from outside of academia to explore the debates around the contemporary sexualisation of masculinity and to set an agenda for subsequent research. The network will organize three meetings across three European cities with an associated public engagement event at each site. We will develop a website to share the findings of our research and to foster dialogue, we will commission new monographs and an edited collection and will prepare and publish a report on sexualized masculinity that can be used by cultural industries, educators, health professionals, policy makers and the media.

The proposed thesis examines how women and gay men are invited to watch contemporary slasher cinema in similar ways, identifying with characters and narratives in accordance to their cultural experiences. This suggests that spectatorship is not necessarily determined by gendered and sexual identity, as film theory assumes. Rather, spectatorship is influenced by the heteropatriarchal discourse that dictates the cultural experiences of women and gay men. Critiquing the seminal work of Carol Clover (1992) regarding slasher's heteronormative gaze extends later feminist criticism on female audiences and their identifications (Pindeo, 1997; Miller, 2014). This feminist criticism will be extended by examining its relevance to the parascholarship of online blog posts that analyse gay male audiences (Liaguno, 2008; Bingham-Scales, 2017). Subsequently, the thesis develops a conceptual framework that methodologically enhances the criticism of slasher cinema via feminist and queer theory, demonstrating how gay male audiences might identify with female characters. This offers an innovative perspective on characterisation and identification by conceptualising how gay male audiences might identify with screen images when gay representation is absent. This conceptual framework will be evidenced with an online reception study and autoethnographic account, situating the theorisations made in textual analyses.