MUTE’s main objective is to investigate for the first time empirically and theoretically the use of music and sound in situations of confinement and displacement from the Cold War to contemporary times. It explores their weaponization in light of transnational developments in technologies of terror. At the same time, it carefully attends to how music/sound can become a tool of survival, even in the same setting in which they are weaponized. Also explored are ethical challenges of such research, and of music programmes for prisoners and refugees, highlighting their shortcomings and providing alternative models. MUTE innovates through a theoretical framework that investigates the interlocking of politics, ethics, and aesthetics, focusing on the ethics of sound and ethics of witnessing. Its comparative approach extends to (post)colonial Cyprus, Greece, Serbia, Germany, Soviet Union and contemporary Russia, Iraq, Argentina, Chile, Uruguay and Paraguay. MUTE will critically analyse this complex phenomenon across the disciplines of (ethno)musicology, social anthropology, history, critical theory, human rights law and sound art, since it cannot be fully grasped through the methods of any one alone. The PI’s extensive immersion into all disciplinary components over the last decade, evident in her novel approach, ensures the successful implementation of research objectives. MUTE’s findings and results will transform scientific discourse, changing current perceptions about music’s social function. This historical recovery is important in revisiting and assessing detention-related policies and current definitions of torture. Given recent mass asylum seeking in Europe and the growing number of music research projects with refugees, it will offer the needed ethical, methodological and theoretical foundations for present and future research, ensuring the well-being of participants and researchers, research excellence, and critically nuanced scholarship.

Interdisciplinary research shows that our lineage survived while all other human species went extinct because our ancestors used their creative capacity to reshape the threats and opportunities of their environments, in turn reshaping themselves. As our world and working environments become increasingly dynamic, uncertain, and knowledge based, organizations and social challenges depend on creative ideas and creative resilience from employees, young people and entrepreneurs. As Teressa Amabile posits “only by using multiple lenses simultaneously, looking across levels, and thinking about creativity systematically, will we be able to unlock and use its secrets. What we need now….is to tie together and make sense of the diversity of perspectives found in the literature – from the innermost neurological level to the outermost cultural level”. A growing body of empirical work suggests that giving to others and perceiving that we, as humans, have positive impact though our work is beneficial for own resilience, well-being and creative nature (Martela & Ryan, 2016, Eshel et al., 2017). MUSES is aiming to moving away from the cognitive-behavioral dichotomy and by adopting a more systemic approach focus on the rewarding/motivational effect of perceived social impact and aims at capturing patterns of proactive & creatively resilient behavior of different samples where rewards are not absolutely institutionalized and thus are of lower importance whereas motivation is the key & dominant element. Thus, MUSE aims to research the relationship between prosocial & autonomous motivation (perceived social impact & affective commitment to the welfare of the beneficiaries), and resilience creativity in different contexts (employees, students, doctors, artists & volunteers). Our research aims at offering insights and important practical implications on how contextual factors can boost autonomous and prosocial motivation and thus lead to a more creatively reliant workforce/organisation

ROCK aims to develop an innovative, collaborative and circular systemic approach for regeneration and adaptive reuse of historic city centres. Implementing a repertoire of successful heritage-led regeneration initiatives, it will test the replicability of the spatial approach and of successful models addressing the specific needs of historic city centres. ROCK will transfer the Role Models blueprint to the Replicators, adopting a cross-disciplinary mentoring process and defining common protocols and implementation guidelines. ROCK will deliver new ways to access and experience Cultural Heritage [CH] ensuring environmental sound solutions, city branding, bottom-up participation via living labs, while increasing liveability and safety in the involved areas. ICT sensors and tools will support the concrete application of the ROCK principles and the interoperable platform will enable new ways to collect and exchange data to facilitate networking and synergies. The added value is the combination of sustainable models, integrated management plans and associated funding mechanisms based on successful financial schemes and promoting the creation of industry-driven stakeholders’ ecosystems. A monitoring tool is set up from the beginning, running during two additional years after the project lifetime. Main expected impacts deal with the achievement of effective and shared policies able to: accelerate heritage led regeneration, improve accessibility and social cohesion, increase awareness and participation in local decision making process and wider civic engagement, foster businesses and new employment opportunities. Involving 10 cities, 7 Universities, 3 networks of enterprises, 2 networks of cities and several companies and development agencies, a foundation and a charity, ROCK is able to catalyse challenges and innovative pathways across EU and beyond, addressing CH as a production and competitiveness factor and a driver for sustainable growth.

"The World Health Organisation called for mental health to be treated as everyone's responsibility. It does not only affect the lives of people living with mental health problems, and their carers, but also the productivity of society as a whole. In many countries, mental illness is the leading cause of disability, responsible for 30-40% of chronic sick leave and costing some 3% of GDP. More common than diabetes, cancer or heart disease, mental illnesses fill up to 21% of all hospital beds at any given time. The need for effective approaches to treating people with severe mental illness is often a matter of life or death. 1 in 10 people diagnosed with schizophrenia and 1 in 5 with bipolar illness will end in suicide. People suffering from mental illness and especially those who live in mental health structures are in the forefront of socially disadvantaged groups, suffering more over from social stigmatization and marginalization. These people have also been suffering from societal injustices.Although art's healing effect on mental health is being acknowledged more and more, it is not an optional therapeutic approach for most of mental health structures in many European Countries. Moreover, even though, there is an obvious need of more contemporary approaches which will possibly reduce the use of medicines, most of the structures are being stuck to old protocols avoiding trying alternative methodological approaches and routines, as a result of ignorance or being afraid to try something new. The potential and benefits of combining therapeutic art with restorative justice are still not translated into educational material and programmes leaving many adult learners and professionals in the field unaware.Mental Health Matters through Restorative Art (MHM) aims to respond to this gap by bringing together a cross-sector, strategic partnership of 6 familiar and not so familiar with Erasmus organisations to support innovation in the adult education field by creating, piloting and disseminating educational material and tools tailored to the needs and realities of mental health professionals, restorative justice practitioners and artists in the participating countries (the UK, Cyprus, Greece, Spain, Hungary) and across Europe. MHM will also design and accredit e-courses that will enhance the skills and knowledge of adult learners, supporting in this way the setting up of, and access to, upskilling pathways.The project consists of 4 Intellectual Outputs designed to meet its long-term goals:1 Training Manual on the use of Restorative Art in Mental Health, encouraging cooperation between the participant countries. It will provide us with a local and comparative picture of the use of restorative art in mental health structures among the participating countries as well as the ways in which art is exploited in these structures. 1 Training programme and CPD accredited e-course on the inclusion of restorative art in mental health structures (for mental health professionals, mental health structures' coordinators, mental health carers and restorative justice practitioners). It will give to our target group the knowledge skills, competences and attitudes to include art in mental health structure's routine in order to improve the lives of mentally ill people living in these structures 1 Training programme and CPD accredited e-course on the use of art as a relief and restorative tool for people living in mental health structures. The programme is expected to give emerging artists the knowledge, competences and attitudes to be included in the routine of mental health structures and also to use these skills and competences in order to find new career prospects 1 ""Mental Health Matters in Action"" E-book that will include and present the artworks that will have been emerged during the piloting phase and throughout the project. IO4 serves the broader planning of MHM and as a result will further involve emerging artists and healthcare and restorative justice practitioners with mentally vulnerable groups.These are supported by a well planned LTT and various horizontal, dissemination and communication activities including 6 multiplier events.MHM is expected to have considerable local, national and international results and impact including improving the knowledge, competences and attitudes of mental health professionals, emerging artists and restorative justice practitioners. Over 10,000 individuals and organisations are expected to be reached through the project's IOs, 6 multiplier events and 1 LTT. The online availability of all training materials and tools for at least 5 years after EU funding, as well as their translation in 4 languages will ensure sustainability of impact in the long run. Finally, MHM aims to use its findings to inform EU integration, healthcare and other relevant policies. Thus, the achievement of the project objectives will lead a step towards WHO/Europe priorities for mental health."

Rationale The CrD Consortium identified the need for higher arts education (HAE) to fully use the potential of all cycles of the EQF especially with regard to the alignment and interaction of graduate, post-graduate and doctoral studies. Currently, in over 30% of the European Higher Arts Education (EHAE) sector, this is not possible in the 3rd cycle due to the lack of instruments and models that will allow learning, teaching and research to enhance each other within these schools. ObjectivesCrD facilitates the implementation of level 8 (PhD or equivalent) in those countries in the EHEA in which no such provision current exists. It facilitates the development of models of good practice in artistic research in partner institutions in conjunction with professional practice partners. CrD enables staff to enhance the currency of the curriculum at all levels by means of their own professional development.CrD has developed a COMPLEMENTARY offer that addresses an omission in the Bologna Process caused by binary systems and the various speeds in which HAE is aligned with the overall university system across Europe. CrD also addresses the need for recognition of artistic research. CrD supports parity in recognition of degrees, comparability of achievements and mobility of students, teachers, researchers and research outcomes across Europe. Participants Over a million individuals (arts students and staff) and 790 institutions in Europe and beyond will benefit directly and indirectly from the project activities. They come from the following target groups: - Academia: Postgraduate art students, mid-career artists, teaching staff at art institutions/universities, researchers, research supervisors - Professional Practice institutions: cultural, social, municipal and economy partners, curators, policy makers, artists ActivitiesCreator Doctus (CrD) developed a model for a new European 3rd cycle award for HAE that runs parallel to the existing Doctor of Philosophy (PhD). CrD focuses on embedding 3rd cycle education in the academy: within learning, teaching, career development and links with social/urban partners in order to make research an integral part of all aspects of education. CrD is a partnership between arts institutions in their various forms and professional arts organisations that represent the social, cultural and economic field. These partners will become educational providers whilst academia will implement their educational and research efforts against labour market requirements. With this partnership both partners bring their unique expertise and enhance one another towards relevance of their offers as well as social and economic impact. Results • A framework for a 3rd Cycle award or model for Higher Arts Education • Seven national adaptations of the proposed model • An international database of best practice in 3rd Cycle awards in HAE: www.3rdcycleinthearts.eu • A book with various case studies and examples of practice-based 3rd cycle models in the arts • A position paper for research in Higher Arts Education ImpactCrD empowers Higher Arts Education institutions across Europe to further develop their research programmes as an integral part of their institution and curricula living up to the standards set out during the Bologna Process, making full use of the European Qualifications Framework. Strong long-term co-operations will be built between education and the world of work and the developed model will serve as practical example for other institutions to develop similar co-operations. As a second target group artists and researchers themselves will profit from the possibility to use their practice as research and teaching and develop professionally. Further to that staff of societal partners will learn how to apply artistic research to support their institutions’ missions.