Same planet, different worlds: Environmental history conference comes to Bristol

By Professor Adrian Howkins, Department of History

In early July 2022, Bristol will play host to the European Society for Environmental History (ESEH) conference. The conference – which usually takes place every two years – will have the overarching theme of ‘Same planet, different worlds: environmental histories imagining anew’.

This is only the second time the ESEH conference has taken place in Britain, and the first time it is happening in England – the first ever ESEH conference took place in St Andrews in Scotland in 2001. The decision to hold the conference in Bristol reflects the strength of environmental history research at the University of Bristol, as well as the city’s strong environmental reputation. More broadly, it reflects the strength of the University of Bristol in the wider field of environmental humanities, which includes environmental history research.

“Environmental humanities are interdisciplinary areas of research, combining the traditional humanities – such as literature, music, history and languages – with areas including science and technology to better understand the relationship between humans and their surrounding environment, both social and natural. Environmental humanities can help us learn about the environmental challenges of the past, address those of the present, and plan for the future.”

The University of Bristol’s Centre for Environmental Humanities (CEH) in the Faculty of Arts is firmly established as one of the leading centres for environmental humanities research in the UK, and there is a wide range of exciting projects taking place. Do follow our CEH blog to keep up with everything that is going on.

Group of researchers look out across a waterway towards a stone bridge in the distance. The area is grassy with trees in full leaf.
Centre for Environmental Humanities field trip

In preparation for the ESEH coming to Bristol, Adrian Howkins – one of the co-directors of the CEH – spoke to Marianna Dudley and Andy Flack who are organising the conference.

What is the European Society for Environmental History?

[Marianna] The ESEH is the leading scholarly organisation for people interested in environmental issues from a humanities perspective. It is European, but that doesn’t exclude people in other parts of the world working on this topic. It is very inclusive, and has grown to include a wide range of scholars. It offers networking, mentorship, peer-to-peer support, and a discount on the Environment and History journal. It also has by far the best academic conference going, which moves around Europe and is coming to Bristol this summer!

Why is it important that the conference is coming to Bristol?

[Andy] It recognises Bristol’s status as an environmentally aware and activist city as well as recognising that the University is involved in environmental issues through the Centre for Environmental Humanities, the Cabot Institute, and other research centres and clusters. It is the first time the ESEH has been in the UK since the first meeting in 2001 (St Andrews), and the first time in England. The decision to come to Bristol shows that despite political developments like Brexit, the United Kingdom is still at the heart of the European scholarly community studying environmental change. We love living and working in Bristol – it’s a fun, vibrant, welcoming city and we want to show our colleagues from around the world what a great place Bristol is.

What impact do you hope to have as a result of the conference?

[Marianna] It felt more important than ever to have an in-person conference after such a long hiatus due to the Covid-19 pandemic. We’re looking forward to bringing our scholarly community together and reforging the connections that are so important to our work. In terms of academic legacies, we want to spotlight Bristol as a place to study environmental history and environmental humanities. We hope that other scholars around Britain will seek us out for postgraduate research, postdoctoral fellowships, and academic collaborations, maintaining and building the exciting work that is already taking place.

What opportunities are there for our students to get involved in the Centre and/or the Conference?

[Andy] There will be opportunities for students to get involved in the running of the conference. This will put our students in touch with scholars from all around the world. Please get in touch if you might be interested in joining our conference team. If anyone would like to attend the conference to see what it’s all about, we’ll be offering day rates for University of Bristol staff and students to come to talks and meet with conference attendees. There will be interactive environmental art installations, a talk on wildlife film, science and humanities conversations, and a poet in residence.

If you would like to register for the conference, you can find further details here.

A tale of two cities: The historical links between Bristol and Dublin

By Professor Brendan Smith, Professor of Medieval History

When we think of British cities with strong Irish links it is likely to be Liverpool, Glasgow, Manchester, Birmingham and London that first come to mind. In terms of historical longevity, however, no city on this island can match Bristol’s connections with Ireland.

The medieval connections

2021-2 marks the 850th anniversary of the conquest of Ireland by King Henry II of England. During his stay in Dublin at Christmas 1171, the king issued an extraordinary charter whereby he granted Dublin to ‘my men of Bristol’ and gave them permission to colonise their new possession.

Image of King Henry II's charter of 1171 - the paper is old and brown, with elegant script
King Henry II’s charter of 1171 (Dublin City Library and Archive)

Links between the two towns were already strong by this time. Ham Green pottery, manufactured on the banks of the Avon near Pill, was popular in Viking Dublin, and the vigorous trade in slaves conducted between Dublin and Bristol in the eleventh century inspired bitter criticism from churchmen before William the Conqueror and his successors brought this vile commerce to an end. After 1171, many important trading families from Bristol established branches across the Irish Sea, while stone quarried at Dundry, to the south of the city, was transported in large quantities to Ireland for use in the new churches and monasteries that the English began to build.

King Henry II issued an extraordinary charter whereby he granted Dublin to ‘my men of Bristol’ and gave them permission to colonise their new possession.

In February 2022 a symposium focusing on the medieval ties between the two towns was held in Dublin to mark the anniversary of Henry II’s grant. The Deputy Lord Mayor of Dublin welcomed the Lord Mayor of Bristol to the event with a certain wariness, since the original charter of 1171 was never officially revoked!

The age of Edmund Burke and beyond

Statue of Edmund Burke atop a plinth at St Augustine's Parade, Bristol, UK
The statue of Edmund Burke in Bristol
(Credit: Tim Green, Wikimedia Commons, CC BY 2.0)

In Bristol, on 20 April 2022, the University hosted the ‘return match’, with a symposium considering more recent ties between Dublin and Bristol, beginning with the career of the great political philosopher Edmund Burke (1729-1797). Burke was born in Dublin and was educated at Trinity College Dublin before developing a successful political career in England. Between 1774 and 1780 he was MP for Bristol, though his views on a range of issues made him unpopular with the city’s ruling elite. Two fine statues of Burke can still be seen today, one outside the gates of Trinity College Dublin, and the other on St Augustine’s Parade in the centre of Bristol, a few metres in front of the now empty plinth where Edward Colston’s statue once stood.

The University hosted the ‘return match’, with a symposium considering more recent ties between Dublin and Bristol.

The celebratory event

The University was delighted to welcome Ireland’s Ambassador to the UK, Mr Adrian O’Neill, at the recent event, who spoke warmly about the opportunities the day had provided to further strengthen links between Bristol and Dublin. In addition, Professor Martyn Powell (Head of the School of Humanities), Dr Erika Hanna, of the Department of Historical Studies, and Professor Steve Poole of the University of the West of England delivered academic papers and a guest lecture was given in the evening by Professor David Dickson of Trinity College Dublin. To coincide with the event, an exhibition was staged at the venue, displaying some of the important Irish-related materials held in the University of Bristol’s Special Collections department. This included early editions of some of Burke’s published works, as well as a sample of Irish political pamphlets dating from between the eighteenth century and the Easter Rising of 1916. The close ties that have existed between the University of Bristol since its foundation and Trinity College Dublin were also explored in some of the exhibited material.

The future

Following the guest lecture a reception was hosted by the Vice-Chancellor, Professor Hugh Brady, whose Irish background provided a fortuitous link to the day’s events. Professor Brady welcomed to the University Ambassador O’Neill, the Deputy Lord Mayor of Dublin, Councillor Joe Costello, the Lord Mayor of Bristol, Councillor Steve Smith, and members of the Bristol Irish Society. Councillor Costello promised that on his return to Dublin he would continue to work with his counterpart in Bristol to bring about a new twinning arrangement between the two cities. Reviving awareness of the historical links between Bristol and Dublin seems likely to lead to their further strengthening in the years ahead.

Attendees at the 850th Anniversary of Henry II's Grant of Dublin to Bristol, School of Humanities, University of Bristol.
850th Anniversary of Henry II’s Grant of Dublin to Bristol, School of Humanities, University of Bristol.
From left to right: Professor David Dickson (Trinity College Dublin); Ambassador Adrian O’Neill; Bristol Lord Mayor Steve Smith; Professor Hugh Brady (University of Bristol’s Vice-Chancellor); Deputy Lord Mayor of Dublin Joe Costello; Dr Erika Hanna (University of Bristol); Professor Brendan Smith (University of Bristol); Professor Steve Poole (University of the West of England) and Professor Martyn Powell (University of Bristol).

 

Brendan Smith, Professor of Medieval History, is a Dubliner who was educated at Trinity College Dublin. He took up a lectureship at the University of Bristol in 1993. He has published extensively on the links between England and Ireland in the Middle Ages, and in 2018 edited volume I of the four-volume Cambridge History of Ireland, which was launched in Washington, D.C. in September 2018 by Joe Biden, now the president of the United States of America. Professor Smith is currently engaged in research projects examining the financing of English rule in medieval Ireland, with an emphasis on the deployment of Digital Humanities techniques and methodologies. He has received funding from The Jean Golding Institute to work with Mr Mike Jones, from Research IT, on the production of visualisations of the financial data contained in medieval Irish exchequer material. He will be presenting some of the fruits of this collaboration at the Bristol Data and AI Showcase at the MShed on 7 June 2022.

 

Jenny: Posed as a woman. An insight into trans history.

February marks LGBTQ+ History Month, a time to reflect upon the rich history of LGBTQ+ communities. It offers an opportunity to remember those who have fought for LGBTQ+ rights, consider the progress made, and look ahead to engage in a more inclusive, visible and equal future.

Piecing together history can be a fascinating puzzle. How can we properly represent the nuances of history in situations where the little information available to us comes from biased sources? What more can we learn about trans history? How can we talk about trans lives today by examining a story from over 100 years ago?  The Brigstow Institute brought together a team of researchers from different disciplines – history, law and performance art – to answer these questions.

‘Jenny: Posed as a woman’ explores the life of Jenny Moore, a person from an impoverished background in Gateshead in the early 1900s. Little information was available about Jenny and her life, save for criminal records and a few related newspaper articles. How did living outside the law shape her identity and experience?

We caught up with Dr Sarah Jones, a social and cultural historian of gender and sexuality, to learn more about the project, breaking the mould of traditional historical investigation, and using performance to enhance research.

‘Jenny: Posed as a woman’ is a fascinating interdisciplinary project bringing together the worlds of history, law and performance art. What led you to carry out this research, and why is this research important?

Often, the evidence about LGBTQ+ lives we find in the archives is focused on processes of regulation and control. While it is a rare gift to find personal testimonies or clues about what ‘real life’ might have been like for LGBTQ+ people in the nineteenth century, it is far more likely that we will find accounts of persecution and prosecution at the hands of bodies such as medicine and the law.

To some extent, this is true in the case of Jenny Moore – a person a judge said ‘always lived in the shadow of the prison door.’ When we encounter her story in our sources, we can learn a little about her arrests for theft or loitering, and perhaps gain little snippets of insight into the challenges of being what we might think of as a trans woman in Victorian Britain. Our research, though, attempted to tell new and different stories about Jenny and her life. Bringing together our different fields of expertise, combining creative and academic practice, we wanted to capture more of the rich, complex essence of a character like Jenny Moore. As well as helping us reflect on how our understandings of queer lives are shaped by archives focused on their often brutal encounters with the state, our project also sought to think about how we could tell fuller stories about LGBTQ+ people in both the past and present.

How did the team go about this research?

The project brought together a group of scholars and artists to try and explore Jenny’s life through different lenses. On the academic side, a group of colleagues (Professor Josie McLellan, Dr Jeanie Sinclair, Professor Lois Bibbings, Nic Aaron, and myself) with backgrounds in history or law explored the background and context of Jenny’s life. We considered what her world might have looked like, and also tried to track down more details of what she got up to as the Victorian era gave way to the twentieth century.

While we tried to create as rich a picture as possible of her life and times, we also attempted to ‘fill the gaps’ through creative practice – to use our existing knowledge to imagine the kinds of spaces she might have frequented, and the people she might have met. All of this research was workshopped with Tom Marshman – an artist and performer interested in ‘the outsider’ and their story, particularly regarding the LGBTQ+ experience, and stories from the queer history that have been omitted through silences in the archive. This process of collaborative and creative research has been feeding into a performance created by Tom, alongside composer, singer, and musician Jenny Moore, writer and performer Enxi Chang, and puppeteer Emma Powell.

What impact has this research had?

At the most basic level, we’ve told a version of Jenny’s story. Her little corner of late nineteenth- and early twentieth-century Britain could have easily been totally lost to history – dismissed, perhaps, in traditional academic work because the evidence we have about what her life was like is patchy and our picture of her incomplete. Creative projects like this one give us room to tell different stories of the past, and to build insights into LGBTQ+ lives that might slip between the cracks in the archive. In a contemporary moment where the rights of LGBTQ+ (and particularly transgender) people are under attack, it feels more important than ever to engage the public with stories like Jenny’s.

Beyond this, we’re also hoping the project will have broader applications. Nic, one of the research team, is investigating how we might be able to use Jenny’s story to uplift trans people – especially, they note, those at the sharp end of criminalisation like Jenny was. As part of this, for example, Nic has connected our work with the Bent Bars Project, drawing links between Jenny and the experiences of trans people who are currently incarcerated. Our research, then, has helped us to reflect on how we approach LGBTQ+ history, engaged the public with some intriguing and timely trans history, and has started us thinking about how historical work around gender diversity can be relevant to trans communities today. In short, the project honours Jenny but is bigger than her alone.

What are the next steps for the project team?

For now, our collaboration is wrapped up. On the research side, Nic, Jeanie and I are preparing a chapter that reflects on the project and how and why we worked together. In that publication we look to reflect on the messiness of working with an incomplete and often problematic archive, and the benefits and challenges of multi-disciplinary and creative research. We also look forward to seeing the performance take shape. Tom has prepared a work in progress version of the show, and we’re hopeful that there will be a full performance coming to a theatre sometime this year.

Further information:

Learn more about ‘Jenny: Posed as a woman’ by watching ‘Brigstow Presents: Hidden Histories and Performing the Archive’ and visiting Brigstow’s project page.

Find out how the University of Bristol is marking LGBTQ+ History Month 2022.

Discover the wide range of undergraduate and postgraduate courses offered by the University of Bristol’s Faculty of Arts.

Where is the (cycling) revolution?

By Professor Martin Hurcombe, Professor of French Studies, School of Modern Languages

It’s a beautiful Saturday morning in May 2020. The sun is glinting off Chew Lake. There is the sound of birds I’m too ignorant to know the names of. And on both sides of the road there is a steady stream of cyclists. Not just the regular MAMILs* like me who you’ll always find out here this time of day, but cyclists of all ages and sizes, many of them on bikes a lot newer than mine. I count them over an hour; there are six cyclists for every motorist.

During those awful first weeks of lockdown, many of us found some respite from the horrors unfolding around us in our ability to cycle, run or just walk away from the homes and the online world to which we were otherwise confined. Bike sales went through the roof as we all realised that, once you take away the bulk of the traffic, roads make pretty good cycle paths and cycling is both an efficient and pleasant way of getting about (particularly when the sun shines).

There was also a lot of serious debate about how the pandemic would transform our working lives. Most of us would probably be working from home for years. Time saved by not commuting could be reinvested in leisure; not the constant consumption of those tiresome pre-pandemic weekends spent trudging around out-of-town retail outlets, but what researchers call active leisure (running, walking, cycling, etc), activities that we could now integrate into our daily lives. Perhaps, despite the dystopia of a health service under constant strain, we could emerge healthier and happier as a nation. ‘A better world is possible’, the slogan painted onto the main road through Long Ashton declared as I cycled towards it on my first trip into Bristol coming out of lockdown.

Yellow heart painted on road surface with image of a bike within the heart

We caught some of this spirit in Active in Lockdown (AIL), a project that Dr Melanie Chalder (Bristol Medical School) and I ran in collaboration with Knowle West Media Centre. By collecting social media posts, and helping volunteers to capture and reflect upon their experiences of cycling, running, or walking during the three national lockdowns, AIL attempted to record the huge surge in active leisure in Bristol and the surrounding area.

I still see that slogan as I commute through Long Ashton on my bike. It’s beginning to re-emerge after being painted over by the authorities eager perhaps not to raise our hopes. It’s re-emerging because the paint used to cover it is being eroded by the cars that have now returned to our roads. Traffic levels are rapidly approaching pre-pandemic levels and congestion is returning to our city centres. It is hard to remember that, only a year ago, we stood on our doorsteps applauding keyworkers and swearing to protect the NHS. In our headlong rush to get back to our old way of living, though, we seem determined as a society to spend even more time in its care.

So, I’m left asking: Where are all the lovely new bikes of 2020 and the revolution we dared to dream of? We hope that global leaders will emerge from COP26 with the roadmap to a world that looks better than the course we are currently set upon. But is ‘A world not as bad as it could have been’ our only hope? And what is it that towns, employers, and individuals can do to help our roads contribute to our wellbeing rather than to be a major source of global decline? The stories captured by AIL can help here. They tell us about the wellbeing that comes with active leisure, but also the conditions needed to facilitate it: safe, clean, congestion-free spaces available for all.

*Middle-Aged Man in Lycra

Art in the Time of COVID-19

By Dr Elizabeth Robles, Lecturer in Contemporary Art, School of Humanities

This year we celebrate 116 years since the inception of the Autumn Art Lecture series. Conceived in 1905 as an important platform for Art and Art History in what was then University College Bristol’s academic year, the series has become an annual highlight in the cultural life of the University and the city beyond. Over its lifetime, it has hosted luminaries from Kenneth Clarke, EH Gombrich, Toshio Watanabe, David Olusoga and Laura Mulvey to artists Denise Mina, Paul Gough, Richard Long and Ingrid Pollard, and explored themes ranging from the monstrous to the celestial. A true survivor, the series has only been interrupted twice – first as the Second World War erupted and, more recently, in 2020 as the world locked down amid the COVID-19 pandemic.

A Sick Call, from Illustrated London News (Matthew James Lawless)

To mark the series’ return from its pandemic-related hiatus, the Autumn Art Lecture Committee is delighted to announce this year’s lectures, brought to you by the University of Bristol’s Faculty of Arts in partnership with Bristol Ideas. ‘Art in the Time of COVID-19’ – an online series – will bring together leading artists, scholars, and museums professionals to reflect on the impact of pandemics on the ways in which we create, engage with, and think about art and art-making.

Over three online lectures, we will consider the longer history of art and diseases, the ways in which artists have reckoned with and worked through the COVID-19 pandemic, and the new possibilities that opened up as we were forced to reimagine the form and function of our museums and galleries amid enforced closures. We will look to the past – from the Black Death to the Third Plague – to provide context to our present as we begin to imagine what the future might look like for artists, collections and the publics they serve.

Find out more about each event and book your free tickets here:

Episodes and Contexts (Thursday 18 November at 18:30)

Museums and Collections (Thursday 2 December at 18:30)

Artists in Practice (Thursday 9 December at 18:30)

Redrawing our Environments

By Dr Paul Merchant, Senior Lecturer in Latin American Film and Visual Culture, School of Modern Languages

Can art change how we relate to the environment? Might the experience of watching a film, observing a drawing, or visiting an installation help us to understand the current ecological crisis in ways that scientific reports and data can’t? As the crucial COP26 climate summit in Glasgow continues, these questions are taking on added urgency.

On Friday 5 November, visitors to the First Friday event at Watershed in Bristol will have the opportunity to explore these questions. They’ll be able to learn about some contemporary art initiatives from the UK and Chile, and take part in some drawing exercises led by the illustrator Jasmine Thompson (no prior experience required!).

Waves crashing on the Vina del Mar coast, Chile
Vina del Mar, Chile

The event draws on the work of the research project Reimagining the Pacific, which is led by Dr Paul Merchant and funded by the Arts and Humanities Research Council. The project explores how artists in Chile and Peru are responding to environmental challenges on the Pacific coast.

One way in which contemporary artists are seeking to engage their audiences with environmental issues is by creating works that use a range of different media to create a multisensory experience. For example, Claudia González’s installation Hidroscopia / Loa (2018) uses drawings, videos, and electronic apparatus to present the effects of copper mining on the Loa river in unexpected ways.

Closer to home, the Bristol-based artist Dan Pollard’s Liquid Noise installation project creates a link between the movement of visitors’ bodies and the vibrations in pools of water to visualise the effect of underwater noise pollution on whales.

The value of projects like these is that they make issues that can seem distant or abstract (like marine noise pollution, or ocean acidification caused by uptake of carbon dioxide) feel present, by engaging our senses and our imaginations. It would be too simplistic to draw a straight line between an experience of an artwork and a specific political commitment. But if works like Hidroscopia / Loa and Liquid Noise, or even the simple act of drawing, can make us look again, listen again, and pay better attention to our environments, then there’s much to be said for them.

Waves of Change: Youth engagement in climate change

As the world turns its attention to Glasgow and the 26th UN Climate Change Conference of the Parties  – known as COP26 – we’re taking a look at some of the climate change-related research happening across the University of Bristol’s Faculty of Arts. For this first piece, we caught up with Dr Camilla Morelli, a Lecturer in Anthropology. Camilla specialises in the anthropology of childhood and youth, and the use of participatory visual methods in youth-centred research.

Hi Camilla! Thanks for joining Arts Matter. Can you tell us a little bit about yourself and what sparked your interest in your area of research? 

Camilla Morelli looking towards the camera and smiling
Camilla Morelli

Hi! Thanks for inviting me. I have an absolute passion for my discipline – social anthropology – and specifically the anthropology of childhood and youth. My greatest inspiration is Margaret Mead, the first anthropologist to take children seriously as research respondents.

Most of my research has taken place in the Amazon rainforest, where I started working over ten years ago. I was interested in exploring Amazonian children’s relationships – physical and imagined – with the forest environment. When I got there, all the children would talk about was the city, and how much they love concrete! Through the years, I have become very close to the community in Peruvian Amazonia where I work, and I return every year to visit them and conduct further work. I haven’t been able to travel to Peru since the start of the pandemic, and it’s breaking my heart. I hope I’ll be able to go back there soon.

My current projects are co-designed with young people, and are based on collaborative approaches. The children I started working with ten years ago have now grown up, and two of them have become anthropologists themselves! They are now my key collaborators in a British Academy-funded project, ‘Animating the Future’, and will be co-authors in our published outputs. I’m sure in the future they will be leading their own projects and transforming the field of anthropology.

That’s great – how wonderful to hear that the future of anthropology is in such good hands! What insights have you gained from engaging with young people? 

I have learned so much working with children and young people! Something that I always find incredible is that children and youth have the capacity to radically transform the world through simple everyday actions, which are often unseen by adults. It astonishes me when I work with children to see how much their own parents don’t know about what happens in children’s daily worlds and imaginations. Then one day, all of a sudden, they realise that their children are substantially different from them, and they ask: “How did we get here?” They have no idea about the small, everyday actions through which children silently shape new futures. Once we appreciate that children and young people have this capacity and agency, we can give them more credit than we do, and perhaps work with them (rather than for them) so that we can build a sustainable future together.

Waves of Change logo depicting ocean creatures and plasticsYour latest research project, based in the UK, is called Waves of Change – can you tell us more about it? 

Sure! The project is based in Cornwall, where we are working with young people aged 15 to 18 to address the impact of climate change on coastal communities and their future. Cornwall is already feeling the effects of climate change hard – ocean acidification, plastic pollution (worsened by recent tourism) and warming are threatening the rich and unique marine ecosystems there, and sea levels are rising faster than average…meaning that Cornwall is sinking fast! Young people are at the forefront of these challenges and should have a key role in structuring debates around it. Yet, the young people we are working with often feel cut out of these debates. This sense of exclusion is heightened by the remote locations of their coastal communities, the limited access to public transport, and recent funding cuts to youth centres and activities.

Our project’s goal is to engage young people actively in a conversation on climate change and to help them share a message with the public and relevant policymakers. I have the privilege of working with two incredible women – the Co-Investigator Dani Schmidt, Professor of Earth Sciences at the University of Bristol, and Sophie Marsh, professional animator and the project’s artistic director. Dani is bringing her world-leading expertise in climate change to the project, and Sophie is teaching young people how to become animation producers. We are partnering with a local charity, Young People Cornwall, whose mission is to give young people enhanced opportunities and promote inclusion.

That sounds like such a brilliant project, with an important impact on those communities. Climate change is currently at the top of many people’s agendas, with COP26 now in full swing. Naturally, much of the talk centres around the science, but your latest research project combines climate science with anthropology and visual arts – what can this interdisciplinary approach bring to the table?

This is very much a collaborative effort! Our interdisciplinary approach can hopefully bridge the field of climate science with the knowledge of local communities, and specifically that of young people. While science can tell us much about the causes and effects of climate change (Dani’s expertise), we need an approach that is centred on young people’s own perspectives and can explore their worldviews – and this is brought in by anthropology and ethnography (my own field). But in order to engage young people actively in the process, we need participatory methods. This is where animation (Sophie’s world) comes in. Co-production of animation is a great method that allows young people to write and animate (literally ‘give life to’) their own stories, and to share them with others. We want this project to do all of this, while giving young people a new sense of hope and empowering them to realise that their voices matter and can be heard widely.

You can follow the project here:

https://twitter.com/EthnoAnimation

https://www.instagram.com/ethno_animation/

Camilla Morelli is a Lecturer in Anthropology at the University of Bristol. She specialises in the anthropology of childhood and youth, and the use of participatory visual methods in youth-centred research. Find out more about Camilla’s research.

Welcome to Bristol!

Autumn is just around the corner, and as we creep closer to a change of season we are looking forward to the start of a new academic year. We’d like to take this opportunity to extend a special welcome to our new students joining the Faculty of Arts family this term. Read on to hear from some members of the Faculty.

Headshot of Professor Karla PollmannProfessor Karla Pollmann, Dean of the Faculty of Arts

As Dean of the Faculty of Arts, I am delighted to welcome you to the University of Bristol as you embark on this exciting new adventure. The Arts and Humanities are of great value to society, and are not only relevant, but vital in an ever-changing, unpredictable world. We look forward to seeing the creativity and innovation you – the next generation of linguists, historians, anthropologists, philosophers, musicians – bring to your respective fields, and to helping you to develop some serious skills as future leaders with a special emphasis on civic engagement and social responsibility.

A key strength of the Faculty of Arts lies not only in the incredible depth and breadth of academic knowledge housed within, but also in its diversity, inclusivity, and sense of community. We pride ourselves on fostering a welcoming space, and our sincere wish is that your journey with us will be a cherished and transformative one. The opportunities available to you within the Faculty of Arts are many and varied – we ask you to be curious, to be imaginative, to be bold. Challenge yourselves, apply yourselves, and enjoy yourselves! Welcome!

 

Headshot of Dr Shelley HalesDr Shelley Hales, Faculty Admissions and Recruitment Officer

Hi and welcome to Bristol! My name’s Shelley, and as the Faculty’s Admissions and Recruitment Officer I have been busy over the summer overlooking all the A-Level results coming in. It’s always an exciting time of year to find out who our new students will be. I also teach in the School of Humanities, and like the rest of academic staff across the faculty I am busy getting ready for the term ahead, preparing classes, working in new research and latest knowledge (for me, as a Classicist, that means adding the very latest finds from Pompeii to my Pompeii class) and posting material on our unit Blackboard pages so that you have all the information you need to get started in Week 1. We’re all looking forward to meeting you and working with you as unit tutors and personal tutors. Every student has a personal tutor who is there to help you with university life. When you arrive, you’ll be hearing from us as we reach out to welcome you and get you oriented. Please do ask us any questions you have – that’s what we’re here for! In the meantime, very best wishes for your first days of being a Bristol student – see you in class!

 

Michelle Coupland - headshotMichelle Coupland, Faculty Manager

Welcome to the Faculty of Arts at the University of Bristol. You’ve made a great decision to come and join our vibrant, supportive and dynamic community. Within the Faculty of Arts, we are proud to be bold, engaging and inspiring and I know that you will enjoy being a key part of our community. One of the things that I most love about this faculty is its friendliness – staff and students alike are smiling, encouraging and keen to support each other.

As an Arts graduate myself, I value the skills and techniques that my studies gave me and use them throughout my daily life (both in a professional work capacity and outside of work socially, too).  I look beyond the information in front of me to see the wider and bigger picture, constantly ask questions to learn more, and knit different pieces of information together to come up with the best solution for all. Not only this, but I value the fact that I have interests (reading, literature and music) that I continue to pursue outside of work and which help to provide perspective (something that I have really come to appreciate in more recent times).

Welcome to the Faculty, and I look forward to seeing you around and saying hello to you.

Exploring Colombia’s history and memory

Entre Memorias e Historias (Between Memories and Histories) is a new podcast in Spanish dedicated to the role of history and memory in present-day Colombia. Through dialogues with experts, listeners will gain an understanding of the inequality, joy, conflict and resilience found in contemporary Colombia. The themes covered range across two centuries of history, from transitional justice to curriculum reform, from the heroes and villains of the past to the uses of the machete over time.

The podcast is being launched by the University of Bristol’s Professor Matthew Brown (Department of Hispanic, Portuguese and Latin American Studies) in collaboration with the Colombian peacebuilding organisation Embrace Dialogue (Rodeemos el Diálogo – ReD) and the Institute of Political Science and International Relations of the National University of Colombia.

Entre Memorias e Historias came to fruition as a result of travel restrictions imposed during the COVID-19 pandemic which prevented Professor Brown from continuing to learn about Colombia through his usual channels: archival research, conference participation, and the workshops that had been planned as part of the UKRI/Newton Fund project ‘Bringing memories in from the margins’.

“This feeling of enhanced remoteness, of somehow being even further away from Colombia than normal, motivated me to reach out and have longer, deeper dialogues with people who I would normally have shared a conference panel or archive coffee with,” said Professor Brown.

The audios – each a conversation of around 30 minutes – were originally recorded via Zoom in late 2020 as part of ‘Colombia: History and Culture since Independence’, a final-year undergraduate unit taught by Professor Brown in the School of Modern Languages. The podcast uses technology to build previously unthought-of dialogues, so that they can be used as instruments for reflection and transformation.

Professor Brown and his colleagues invite you to broaden public debate and awareness of Colombia’s past and present by listening to Between Memories and Histories on Spotify.

Podcast interviewees:

Daniel Gutierrez Ardila

Ana María Otero Cleves

Javier Guerrero Barón

Maria Emma Wills

Gustavo Duncan

Claudia Leal

Andrei Gomez Suarez

Catalina Muñoz

Ingrid Bolívar

World Philosophy Day 2020 – Marvellous mysteries and the unity of science

According to the United Nations, philosophy is ‘the study of the nature of reality and existence, of what is possible to know, and of right and wrong behaviour. It is one of the most important fields of human thought as it aspires to get at the very meaning of life.’ Today we are celebrating World Philosophy Day by sharing a post written by Francesca Bellazzi, a PhD student on the ERC-funded MetaScience Project*, which delves into marvellous mysteries and the unity of science…

‘But what vast gaps there were, what blank spaces, she thought leaning back in her chair, in her knowledge! How little she knew about anything. Take this cup for instance; she held it out in front of her. What was it made of? Atoms? And what were atoms, and how did they stick together? The smooth hard surface of the china with its red flowers seemed to her for a second a marvellous mystery.’ (Virginia Woolf, The Years)

So reflects Eleanor in Virginia Woolf’s The Years. How can this china with red flowers be made of atoms that somehow stick together? Many solutions to this marvellous mystery have been offered, and these are the kinds of questions that the MetaScience philosophy project addresses.

The world, like the cup, seems to be composed of different levels, one clustered beneath the other. Different disciplines study these different levels. Each of them focusses on a specific level of inquiry: physics at the physical one, chemistry at the chemical one, economics at the economical one, and so forth. However, how these levels relate to each other is not obvious. They are not isolated clusters such that the things happening in the ‘biological’ and ‘physical’ clusters are completely independent from each other, nor do they seem easily reducible to the one unique level of physical particles.

In light of this, two extremes have been debated within philosophy. Some philosophers are in favour of what is known as ‘strict identity-based reductionism’, arguing that phenomena at the higher level – such as biological phenomena – are strictly identical to phenomena at the physical level. Such a view might lead to ‘eliminativism’, which essentially says that if all higher-level entities are identical to their lower-level components, then we should stop speaking or even worrying about the higher-level stuff. The only fundamental level is then the physical one, and all the sciences have to be reduced to that. However, this is now an ‘old dream’ – the world is way too complex to be pinned down by identity relations.

Against this reductive dream stand those that argue for the disunity of science. Often called Diagram titled 'An Old Reductive Dream' showing the levels‘pluralism’, this position argues that the physical, chemical, biological and social realms can all equally understand the world on their own. However, this route also appears too extreme, as it disregards important interactions between levels and the growing exchanges between disciplines. 

In the MetaScience project we are investigating how to achieve the unity of the sciences by saving the unity of the world itself without being an identity reductionist. Our project studies how the different levels can interact via a variety of dependency relations, such as ‘multiple realisation’ and ‘multiple determination’. Multiple realisation means that a higher level can be realised by different lower-level phenomena. An example is colour, where different microphysical phenomena can realise the same shade. Different surfaces (composed of different microphysical particles) can reflect the same wavelength. Multiple determination goes the other way around: the same lower level can determine different higher-level properties, such as moonlight proteins that play different functions in different environments. Our aim is to use these – and other – dependency relations to find out whether the sciences can be effectively unified.

Let us try now to be a bit more concrete and go back to the china cup: how can its smooth surface be composed of atoms?

Illustration of a china cup decorated in a flower pattern
Illustration by Francesca Moro

The strict reductionist would say that the cup is nothing more than the result of physical stuff interacting with each other following the laws of physics. The pluralist, on the other hand, would say that any of chemistry, physics or psychology can give us an equally valid story about the cup. However, both options seem to take the wrong direction. There is no 1:1 correspondence between the colour red of the flowers and some underlying microphysical phenomena; as we saw earlier, colour is an instance of multiple realisation. However, there are some relations between the colour level and the microphysical one; these are not self-isolated clusters.

Possibly, the truth lies in the middle. Pursuing philosophical enquiry, MetaScience studies the possibility that within one cup, all sorts of different properties can be found and that this is not mysterious. One and the same china cup can be described by different disciplines that consider different properties: its material composition can be studied by chemistry, its solidity by physics, its geometrical form by mathematics, its colour by the interaction between optics and neurophysiology, its function by psychology and sociology. Nevertheless, this does not imply that this single cup is nothing but atoms or that the different descriptions of the cup are self-standing and detached. Rather, it means that the existent cup is only one and yet is complex. It is composed of many levels studied by different disciplines that all help to understand how the compositional parts of the cup are related. The mystery might be solved without taking away the marvellous. Thanks to the interaction between sciences and philosophy, we are able to formulate a unified view of the one china cup with its red flowers.

by Francesca Bellazzi,

PhD Student in the ERC-funded Project MetaScience (771509)


*The MetaScience project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant agreement No. 771509).