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.

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.

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.

London is a complex environment for Knowledge Exchange and cultural and creative interactions. It faces distinctive challenges as it attempts to sustain global competiveness in the Creative Economy, particularly in terms of digital innovation. Creativeworks London builds on the London Centre for Arts and Cultural Exchange (LCACE), a seven year partnership of nine London-based Higher Education Institutions: Birkbeck College, City University, the Courtauld Institute, Goldsmiths College, Guildhall, King's College London, Queen Mary University of London, Royal Holloway and University of the Arts. We will be joined by smaller specialist organisations such as the University of London's Centre for Creative Collaboration, Central School of Speech and Drama, Roehampton, SOAS, Kingston and Trinity Laban Conservatoire of Music and Dance and by major cultural organisations such as the BBC, the British Museum,the V&A and the British Library. We will be liaising with the London Mayor's office and the Tech City Investment Company (part of UK Trade and Investment), and UK-wide groups such as the Creative and Cultural Skills Council. We will also be working closely with industry partners, both large and small, including IBM, Playgen/ Digital Shoreditch, Mediaclarity and Bellemedia. This enables the Hub to provide a step-change in the multiple and often fragmented approaches to London's Creative Economy and to provide crucial Arts and Humanities interventions into the sector. Crucially, the Hub will also ensure that the importance of these interventions are widely recognised by business, policy-makers and government. To do so, it will undertake research into London's previous and current attempts to implement creative economy strategies; investigate the special requirements of London's digital economy and the relationship that London's audiences have between the live and the digital experience of performances and artefacts. The Hub's Knowledge Exchange programme focuses on 'Creative Vouchers' where Arts & Humanities researchers will offer a range of services (such as historical information that the Media would like to access, policy overviews, IP advice, digital solutions, alternative approaches to business models or practices) which can be accessed by SMEs. The scheme will also allow us to track the sector's changing needs, feeding back into our research into London's distinctive creative economy. There will also be a 'People Exchange Scheme' for both postgraduate researchers who want to experience industry and entrepreneurs who would benefit from a period of time within an HEI environment. The combination of excellent research and innovative KE will ensure that Creativeworks London provides a strategic overview and network support. This will be essential if London, and hence the UK, is to cultivate entrepreneurial capacity and facilitate new routes to markets in inter-related fields such as digital media, music, fashion and the visual arts.