The aim of this project is to interrogate the relationship between tinnitus and the creative arts, with a view to enriching understandings of and diversifying dominant cultural tropes about the condition. Around 30% of people experience tinnitus at some point in their lives, with prevalence increasing with age. Clinical approaches rely on measurable, objectifying frameworks for discussing the condition, understanding it in terms of impairment and dysfunctionality. In humanities and popular discourse, descriptions of tinnitus rarely extend beyond evocations of ringing in the ears. Yet experiences of tinnitus are highly individualized and context-specific. The project proposes that the creative arts - as a field concerned with self-expression and sensory, subjective and contextual experience - may serve a key role in developing alternative methods, frameworks and terminologies that can effectively account for tinnitus' variations, resulting in better understandings of the diverse ways in which tinnitus is experienced by listeners. In this project, tinnitus is framed as a condition with diverse manifestations and a critical lens through which to re-evaluate understandings of auditory experience in the arts and humanities. The objectives are explored through four questions: 1) how can the creative arts generate and mediate knowledge about tinnitus? 2) How does tinnitus transform concepts of listening, embodiment, noise and soundscape? 3) How might practice-based arts research be used to develop alternative approaches to tinnitus, enriching understandings of the condition? 4) How might the creative arts be beneficial to the tinnitus community? This project offers an innovative response to RCUK's theme of Lifelong Health and Wellbeing. Consisting of three strands, it involves collaboration between academics, artists and two non-HEI partners: The British Tinnitus Association (BTA) and Oxford Visual Arts Development Agency (OVADA). The non-HEI partners' relationships with medical researchers, care professionals, clinicians and support groups (BTA); and artists and the general public (OVADA), will enable the project to engage with a wide range of stakeholders and benefit from the sharing of expertise. The project will also be aided by an advisory committee of two external collaborators: Professor of Hearing Sciences, David Baguley and Professor of Music, John Levack Drever. The first strand examines the aesthetics of tinnitus, critically reflecting upon aural, visual and rhetorical depictions in the arts. It involves a cross-disciplinary symposium, bringing together clinicians with arts, humanities and sciences academics, resulting in the development of a special issue of the journal The Senses and Society. The second strand explores how artistic methods adapted from soundwalking and sound-mapping can generate knowledge about the spatial, psychoacoustic and affective properties of tinnitus. It involves three one-day workshops with participants from the tinnitus community. These will be held in Sheffield, Oxford and London; and will offer a space to critically and creatively reflect upon how experiences of tinnitus are shared. The BTA and the advisory committee will help promote the workshops and offer practical guidance. Outcomes from the workshops will be hosted on an interactive, public-facing website, alongside work from the other strands of the project. The third strand involves the development of an art exhibition, facilitated by OVADA. Consisting of newly-commissioned work responding to the project's core themes, this will also interrogate how tinnitus and auraldiversity can inform curatorial and exhibition practice. Combining artistic methods, theoretical reflection and stakeholder engagement, this project makes an original contribution to discourses around health, medical science and the arts; and to important discussions about disability and accessibility in sound studies, arts theory and practice.