Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

Translation may seem like a simple matter of transposition between languages, but the translation of poetry in particular reveals the fascinating complexity and richness that comes from the interface of different languages and cultures. Language itself is constantly changing, and experimental forms of poetry have embraced the complex relations between words, meanings and the spaces they inhabit. As twenty-first century poetry expands into the possibilities of different media through international readings, performances and festivals, it also expands possibilities for translation. Poetry has always circulated internationally. The network will challenge the widespread view of autonomously monolingual poetic traditions while discovering how exchange between languages works in artistic terms, and how it brings cultural particularities into view. This network will bring together practitioners and critics of poetry and translation with visual and sound artists to discover new ways of creating and interpreting language across art forms and cultures. It will analyse the impact of experimental traditions that continue to forge links between different languages, and will discover new ways of presenting poetry to multilingual audiences. Through its link with the Poetry Library in London's Southbank Centre, it will invite active involvement from readers and practitioners of poetry beyond academic contexts. Though located primarily in a UK and European context, with a special focus on Wales and France, the network will be attentive to non-European influences and the co-existence of diverse cultures and languages. At a time when technologies such as machine translation are enabling communication, the apparent untranslatability of poetry makes it a crucial site for the creative exploration and understanding of intercultural difference. The network will discover how poetry travels internationally, by examining international links and legacies that connect poetry across languages. Examples include the influence of early twentieth-century Dada performances on contemporary sound poetry or the adoption of mathematical procedures inspired by the 1960s French Oulipo writers by UK and American poets. How might these cross-currents engage with the multiple linguistic communities of contemporary Europe? How these exchanges in experimental practice shaped by race, class and gender? How does collaboration contribute to intercultural dialogue? What political questions are raised by a cross-border ethics of translation? How do visual forms contribute to transition between languages? The network will consider collaborations between poets and visual artists that explore equivalences of word, form and image in intersemiotic translation, that is, translation that substitutes sign systems or art forms rather than one language for another. How do these, as well as emerging hybrid forms enabled by new technologies, expand possibilities for intercultural dialogue? In a visual environment where there is much competition for attention, what is distinctive about the role of poetry? The closing conference will examine the role of sound in translation. What does it mean to listen to poetry in another language? In performance work that combines different media, what is the relation between translation and the political, physical or ecological dimensions of listening? How might considerations of noise open up new ways of listening to other languages? How can translation reveal different ways in which the poem 'listens'? How helpful is a musical comparison or vocabulary in discussion of the sound of a poem in translation? Conversely, what is meant when we talk about music as a language? Can the relationship between poet and translator be compared with that of composer and performer? The closing conference will investigate these and other questions, developing new knowledge about how to present poetry to contemporary international audiences.

The sustainable management of marine resources requires an understanding of the current condition of the marine environment, what good status does/should/could look like and what level and types of human activity are compatible with the achievement or maintenance of a good ecosystem state. Sedimentary seabed ecosystems provide a wide range of important functions. They can have a very high biodiversity, provide food for commercial fish and seabirds of conservation concern, and contribute to the biogeochemistry of nutrient cycling. The UK Marine Strategy (UKMS) and the EU Marine Strategy Framework Directive require the seabed to be in a good state. Although the effect of other human activities that disturb the seabed, such as bottom trawling and dredging, are well understood and included in assessments, the effects of anchoring, have so far been totally ignored, even though the area of seabed that is affected by anchoring is likely to be larger than the area used for aggregate dredging, and the intensity of disturbance is likely to be severe. Sustainable management of the seabed for anchoring therefore requires an assessment of the footprint of this activity and the disturbance that it causes within this footprint, and how this impact varies with the environmental conditions. Developing a sound understanding of the impact that anchoring can have on the seabed will support the prioritization of environmental management actions for habitats that may currently be affected by this disturbance. This project will be done in collaboration with Natural Resources Wales, and the findings will be of direct relevance to the United Kingdom's national Marine Strategy. The implication of this work has potential for impact more broadly, as the models built and validated by this detailed site-based work in Wales has the potential to be scaled up to understand anchor damage impacts globally.

This proposal is based on the utilisation of a low cost lignocellulosic feedstock for the production of specific target C3 and C4 platform chemicals for conversion to industrial feedstocks including PLA, polyols and succinic esters. The target feedstock is high sugar/ low lignin grass genotypes developed by IGER. Complementary expertise at The BioComposites Centre and IGER will explore chemical/ mechanical fractionation processes in combinations with novel enzyme and micro-organism treatments to develop the platform chemicals for conversion to a range of lactate, succinate and polyol based feedstocks. World class research expertise has brought together support from Frontier, Boots, Solvay, Fuchs and Industrial Co-polymers. This project will give the UK a significant advantage in affordable bioderived molecules for applications in coatings, plastics and cosmetics.