Graduate research opportunities in the Faculty of Arts

The University of Bristol is home to a vibrant and thriving community of more than 3,000 postgraduate researchers from all over the world, with around 400 in the Faculty of Arts. Whether working towards a PhD or studying for a master’s degree – taught or by research – students in the Faculty of Arts can benefit from world-class academic and professional training and cross-disciplinary collaborations. 

Let’s take a look at just a few of the many opportunities available to our postgraduate students within the Faculty. 

Research and collaboration opportunities 

The Faculty of Arts hosts several Faculty Research Centres which act as hubs for innovative, cross-disciplinary research. Our postgraduate research students are encouraged to join a Centre, enabling them to build strong networks and engage in collaborative research with colleagues from across the University and beyond. With each Research Centre working in partnership with international institutions, Bristol’s Faculty of Arts has a truly global reach and presents unique networking opportunities.  

One recent example stems from the Centre for Medieval Studies. Academics from the Centre were awarded a €2.4 million EU Horizon grant to train a new generation of medievalists from across Europe in the history of the early book. Most of the funding will go towards financing postgraduate research studentships, including two at Bristol. Co-Directors of the Centre Professor Ad Putter and Professor Marianne Ailes said: “Importantly, we will train a cohort of young researchers who will, from the beginning of their research careers, see international collaboration as integral to how they work.” 

Research placements 

Industrial placements will form the cornerstone of the research studentships mentioned above, enabling the Faculty’s strong research partnerships with a variety of organisations and institutions to enhance the student learning experience. Professor Putter and Professor Ailes said: “The placements give students the transferable skills to succeed outside academia and, for those who remain in university research, will provide skills in public engagement and impact which will stand them in good stead.” 

A further example can be seen on one of our popular MA courses. Past and current placement partners on our MA Medieval Studies course include the Churches Conservation Trust, Oxford’s Bodleian Library, Bristol Archives, and Bristol University’s own Arts and Social Sciences Library Special Collections. The latest addition to the impressive list of over a dozen placement partners is Magdalen College Library and Archives, Oxford 

These research placements have proven invaluable to both students and partners from the cultural heritage sector, as Director of the MA Medieval Studies programme and its Placement unit, Dr Ben Pohl, explains: “Our students regularly highlight the transformative effect that these placements have had on their future career plans, and just how well prepared they felt for a career in the cultural heritage sector as a result of this bespoke experience. Our partners, in turn, have been full of praise about the students they have hosted and the innovative ways in which their work has helped them connect with audiences both within academia and amongst the general public.”  

Indeed, several of our students have found employment in the cultural heritage sector upon graduation, some even at the very institutions at which they undertook their placements during their degree. 

13th-century deed from Kingswood Abbey, Gloucestershire showing ornate script.
13th-century deed from Kingswood Abbey, Gloucestershire. Credit: University of Bristol Special Collections

Postgraduate Research Summer Internships 

Postgraduate Research (PGR) students within the Faculty of Arts are eligible to undertake a PGR Summer Internship, a scheme designed to enable supervisors and postgraduate research students to work together on a project to achieve common goals. The six-week internships provide an opportunity for focused research on collaborative projects, which this year ranged from authoring a historical research article on Anglican slave missions to developing a website for a British Academy Knowledge Frontiers Project that explores energy access and resilience among forest peoples of Brazilian Amazonia. PGR interns receive mentoring and guidance throughout their internship. This year’s cohort attended a welcome session led by the Faculty’s Research Impact and Knowledge Exchange Manager, Dr Hannah Pearce, which encouraged interns to use the experience to develop their skills, consider their strengths and identify opportunities for reflection.  

Alice Kinghorn, a third-year PhD History student, undertook a PGR internship in summer 2021, and found it to be a rewarding experience: “My internship involved recording interviews with staff and students about current research in the Faculty for our YouTube playlist. I thoroughly enjoyed it, as not only did it allow me to practice valuable communication skills, I also learnt how to edit videos and use graphic-creation software. I undertook a second internship in summer 2022, where I had the opportunity to apply these skills to create a ‘Day in the Life of a PhD Student’ video. The internship scheme has been a fantastic addition to my studies.” 

Keep checking back for more Arts-related content, including our upcoming blog series all about the PGR Summer Internships.  

Find out more about postgraduate study within the Faculty of Arts 

Learn about PhD Scholarships in the Faculty of Arts  

Discover research in the Faculty of Arts 

How can we study and contribute to the development of digital games today?

This article was originally posted to LinkedIn on 6 September 2022.

The Bristol Digital Game Lab is a new research group at the University of Bristol launching in September 2022, coordinated by Dr Xiaochun Zhang and Dr Richard Cole. The Lab, which is based in the Faculty of Arts, will bring together researchers and practitioners from a radically diverse range of perspectives. This includes translation and accessibility, history, comparative literature, law, computer science, AI, game design, and beyond.

The aim of the Lab is to chart new possibilities for collaboration, both across disciplines and between Higher Education and the gaming industry, with digital games as a shared object of interest. By exploring crosscutting themes in a collaborative environment, we hope to contribute to ongoing debates about the nature and impact of games, while also co-creating new ways to develop, play, and test ideas using games. To this end, the Lab will offer researchers and practitioners the opportunity to experience a variety of games on the latest hardware, as well as the chance to get involved in generating their own.

Our areas of interest are as follows:

Networking

The Lab will establish a cross-disciplinary network of researchers and industry professionals working on games as well as extended reality more broadly, from early career scholars to creative directors. The network, like the industry itself, will be regional, national, and international. The Lab will support colleagues through brokerage events and themed meetings.

Partnerships

The Lab will connect researchers to a thriving regional, national, and international industry with the aim to facilitate knowledge exchange and explore collaborative outcomes. The Lab will host industry showcases, invite guest speakers, and foster sustainable partnerships with the creative industries.

Research

The Lab will support research in gaming and extended reality through a series of research-sharing events and discussions focused on crosscutting themes. Such themes will include, but are not limited to, game localisation and accessibility, history and cultural heritage in games, VR and immersive technologies, audience experiences and analytics, the Metaverse and gaming ethics, (serious) games and education, games and society, intellectual property, modding, and game design. Building on the University’s investment in state-of-the-art gaming facilities, the Lab will also encourage play-as-research and interactive brainstorming to identify future outputs and areas of interest.

For a taster of our current research, you can hear from Xiaochun, Richard, and Dr Yin Harn Lee in the Bristol Digital Game Lab Seminar that we delivered for Bristol Data Week in June 2022.

Innovation

The Lab will act as an incubator for innovative projects by opening up the University of Bristol’s gaming facilities and expertise, as well as by connecting interested parties. We will deliver skills development workshops, playtest ideas, and co-create new experiences.

How can you get involved?

  • Please email us if you would like to join the Game Lab and hear about our research/events. We will be offering both remote and in-person activities.
  • Let us know what you are working on and what you would like the Game Lab to do. We particularly welcome enquires from those working in the games industry or at the intersection of gaming and other sectors.

Coordinators

Headshot of Xiaochun Zhang - she is looking directly at the camera and is wearing a black and red top and glasses.Dr Xiaochun Zhang (xiaochun.zhang@bristol.ac.uk) is Senior Lecturer in Translation Studies. Her research interests lie primarily in audiovisual translation with a specific interest in video game localisation and accessibility. Currently, she is working on the AD4Games project which applies audio description in video games to enhance accessibility for players with vision loss.

Black and white photo of Richard Cole. He is leaning against a wall with his arms crossed and is looking towards the camera.Dr Richard Cole (richard.cole@bristol.ac.uk) is an interdisciplinary scholar working on digital/virtual representations of antiquity. He is currently part of the multi-disciplinary team on the Virtual Reality Oracle project at the University of Bristol, where he holds the role of Research Associate in Ancient Greek History and Virtual Reality. Richard has published on the role of video games and historical fiction more broadly in shaping public perceptions of history.

Bristol Digital Game Lab logo featuring a video game controller and cable, and the text 'Bristol Digital Game Lab'

A farewell interview with the Dean

Headshot of Professor Karla Pollmann

After four very happy and successful years as Dean of the Faculty of Arts, Professor Karla Pollmann will be leaving the University at the end of the summer to take up the post of President and Vice Chancellor at Tübingen University in her home town in Germany. We caught up with Karla to reflect upon her time in Bristol and wish her well in the new role.

In your first interview for the Faculty newsletter, you described Bristol as ‘vibrant, dynamic and forward-looking’. What would you now add to that list?

The descriptors I used then still all hold true! In a presentation at the most recent University Management Team (UMT) Residential meeting in September 2021, I further described Bristol and its fantastic University as:

  • Open, friendly, individualistic
  • Entrepreneurial, innovative, original
  • Politically astute, educated workforce
  • Adventurous, quirky.

Bristolians among the UMT and the Vice-Chancellor wholeheartedly agreed! ‘Quirky’ can be illustrated by a photograph I took last year which is telling testimony of the ability at Bristol to think in opposites:

A photo of a small white table on which lie tea cups, a hot water urn, and a selection of tea bags. Above the table, a sign on the wall reads 'No catering allowed here'.
Bristol has the ability to think in opposites…

What makes the University of Bristol – and the Faculty of Arts specifically – stand out for you?

First, as a comprehensive university Bristol boasts a great breadth of disciplines. This needs to be seen as an opportunity. The same holds true for the Faculty of Arts. This does not mean just continuing doing things the same way as before, but it opens up incredible new opportunities to work together across disciplines both in teaching and in research, something Bristol is already very good at and is excellently placed to do even more of. This is what the future needs, and so this will be a great service to society.

Second, the University is placed in one of the most beautiful cities on the planet, with a fantastic cultural programme, a vibrant creative sector and growing tech industry, and beautiful natural surroundings. The strong pulling-power of the city is of great benefit to the University, and vice versa.

Third and most importantly, its great people!

In 2019, you mentioned that your office was your favourite place on campus – has that changed?!

Well, I said this a bit tongue in cheek, as at that time – not long after my arrival – my office simply had been my main place of operation. Covid has changed this dramatically, so nearly half of my time as Dean was spent predominantly working from home, which came with its own benefits and challenges. But yes, I still think I have a great office (although at the moment it is in need of repair!). I also have fond memories of Café Nero where I regularly met up with colleagues for more informal chats, the restaurant at the Lido with its unique setting, and Bristol Zoo where we had an unforgettable Faculty Board Away Day and where our creative juices kept flowing, aided by a stimulating acoustic backdrop of roaring lions!

What are some of the achievements you are most proud of during your time as Dean?

That I instituted a Faculty IT Committee, which is seen by the University as state-of-the-art thanks to its fantastic members under the chair Gloria Visintini. Thank you!

That under my leadership we now have more female professors (nearly 50%) in Arts than ever before in the history of the University.

That we had a highly successful review of our marvellous Centre for Innovation and Entrepreneurship, which goes from strength to strength with winning awards and whose original and attention-grabbing designs range from Peequal to a cleaning case for reusable menstrual cups.

That we will get the Centre for Study Abroad, for which I have fought since my arrival and which will be a real game changer for the University and the Faculty.

That I managed to bring colleagues – both academic and professional services – together under our shared agenda to ensure that the Faculty of Arts is not seen as an optional extra, but is valued as an integral part of the University and its forward-looking strategy!

If someone asked you “Why do the Arts matter?”, what would your response be?

My general answer would be: because the future is walking towards the Arts. None of the great challenges that affect humankind as a whole can be solved without the Arts and Humanities.

On the one hand they can enrich a multidisciplinary agenda, for example in working with Engineering in relation to immersive technology and the creative sector. It needs to be emphasised over and over again that technological ‘progress’ as such is not an end in itself but needs to be assessed as to its social, cultural and legal consequences. Technology as such does not create content but is a vehicle for it. This is where the Arts and Humanities come to the fore.

On the other hand, therefore, the Arts and Humanities have a value in themselves which must not be overlooked or be obscured by dazzling technological changes. For instance, how we use language tells us a lot of how we think about nature, gender, or race. Ingrained habits of expression need to be critically reflected as an ongoing concern, also in exchange with other cultures and languages, in order to interrogate iteratively how we view the world and how we behave in it. This has massive consequences for society as a whole, and this is the distinctive and irreplaceable domain of the Arts and Humanities.

What are your wishes for the future of the Faculty of Arts?

The University of Bristol will from September onwards have a new VC, Professor Evelyn Welch, who is a distinguished Arts scholar in her own right and thus very familiar with the unique contribution of the Arts and Humanities. This means that on the one hand one cannot pull the wool over her eyes, but on the other she will see the great potential and specific contribution of our Faculty. I wish for the Faculty that it carries on with its agenda of growth through transformation; continues to have buoyant student recruitment – in particular international – in combination with exciting new programmes; continues to establish strong and successful cross-institutional research partnerships; and continues to make its presence and important contribution felt not only across the University but also to the benefit of the city, region, and wider society.

Are there any final thoughts you’d like to share with your Faculty colleagues?

I already know now that I will hold my four years at Bristol in my memory as some of the happiest years of my life. People are exceptionally friendly, thoughtful, intelligent and endearing in a way that was just perfect for me. I know this is not to be taken for granted. I also had the best job in the world, as being Dean opens up incredible creative opportunities. But I would not have got anywhere without the fantastic people, both academic staff and professional services, who supported me.

One of the distinctive features encapsulating all this is the graduation ceremonies which have been taken up again after a two-year break. In Germany, this tradition has been discontinued altogether since the 1960s – Tübingen has now asked whether I could reintroduce them! In these ceremonies the University celebrates an important rite of passage for its most precious asset, namely its students. Without our students, all the research we do and the values we hold would dry up as it will be the students who carry them out into the world. All this endeavour has got something fractured, unpredictable, and uncontrollable. Therefore, Matthew Brown and myself spent some delightful time before one graduation ceremony in July 2022 taking each other’s picture ‘through a glass darkly’.

A photo of Professor Karla Pollmann in blue and white academic robes, looking into a mirror before one of Bristol's July 2022 graduation ceremonies. The photo has been taken from behind, and Karla's reflection can be seen in the mirror.
The Dean at Graduation 2022

I wish you all the very best for the future, and look forward to saying goodbye to as many of you as possible over the coming weeks!

Bristol Hub for Gambling Harms Research

In May 2022, the University of Bristol announced the launch of the Bristol Hub for Gambling Harms Research, the first academic research centre to specialise in addressing the impact of gambling harms across Great Britain. Through taking new and multidisciplinary approaches, the Hub aims to build a greater understanding of gambling harms, leading to evidence-based action to prevent and reduce the negative impacts of gambling.  

We caught up with Professor John Foot, Professor of Modern Italian History, to hear about his role in the Hub, and to learn more about the importance of the Arts and Humanities in interdisciplinary research. 

Bristol Hub for Gambling Harms Research


Professor John Foot
 

It is rare to be involved in a project that covers six faculties in the University, but the new Bristol Hub for Gambling Harms Research, funded by the Gamble Aware charity, was just such a bid. The Hub will seek to increase understanding and awareness of the dangers of gambling, and covers public health (from a number of perspectives); social and geographical research into gambling; the interactions between gambling and poverty; the role of advertising; the history, economics and politics of the gambling industry; and the psychology of gambling, among many other areas.  

A roulette wheel mid-spin

This £4-million+, four-year project will allow for an unprecedented series of interactions between expert researchers across a range of different departments and schools in a way which has hardly ever been seen in any institution. The Hub aims to make concrete recommendations for the treatment of gambling addicts and the reform of the gambling industry. It will provide a forum for debate and the dissemination of research, policy discussions, and publications, as well as funding for PhD students and a lectureship in gambling studies. 

The role of the Arts and Humanities 

In terms of the Faculty of Arts, the Hub will bring together academics from Modern Languages and other disciplines – including Anthropology, History and Philosophy – to cover a range of focus areas, such as the ethical implications of gambling, debates around advertising, and the history of how gambling has changed and evolved.   

My particular areas of interest involve research into the long history of illegal gambling, the deep connections between gambling and corruption in professional sport, and the development of gambling from a rigidly controlled activity carried out in person using cash in betting shops to one using digital and phone technology. Other key areas being investigated include the connections between the illegal and legal sectors, and the ways in which gambling has led to numerous sporting scandals.

Some ex-footballers with gambling issues, such as former England goalkeeper Peter Shilton, have become campaigners against advertising in sport. One of the aims of our research will be to connect these campaigns and campaigners and their personal experiences of gambling addiction.  

Cricket ball on a dark background

There are also ongoing and long-running debates around the ethics of betting advertising during sport, and the connections to match and spot-fixing which has affected sports in a serious way, in particular within football, tennis, snooker and cricket. Major sporting scandals have arisen around betting connections to match fixing and other forms of fixing, such as Calciopoli in Italy in 2006.  

The importance of multidisciplinary research  

Academic colleagues joining me to help develop these research ideas include Professor Matthew Brown and Professor Martin Hurcombe, experts on sport in South America and France, respectively. They bring historical and other methodologies to bear on this subject, as well as access to networks in specific regions (such as Argentina, Brazil and Colombia) and expert areas (such as sports specialists). The Hub will also tap into networks and expertise provided by the Brigstow Institute, which has a special emphasis on local actors and coproduction of research.  

Another key area of study for the Hub is the transition of gambling from an activity which had boundaries and borders, to the ability to bet internationally on an almost limitless variety of events, and through mobile phones and computers. The study of this transition and its effects on the spread, impact and business of gambling is essential to an understanding of harm reduction and how it can be brought about today.  

Read more about the Bristol Hub for Gambling Harms Research  

Find out more about research in the Faculty of Arts  

 

Sexual minorities and ongoing sound change

As part of our Pride Month celebrations, we caught up with Dr Damien Mooney, Senior Lecturer in French Linguistics and Language Change, to hear about his research into how sexual minorities participate in ongoing sound change, and the importance of inclusion in research and beyond.

Language variation and change

The study of language variation and change attempts to identify the linguistic and social factors that influence the pronunciations and grammatical features that speakers use. Sometimes, for relatively arbitrary reasons, new pronunciations – and other linguistic features such as new words – enter into being and establish themselves in the language. These slowly replace old pronunciations or ways of speaking. The way this happens is very simple: one speaker who already uses the new feature interacts with others and, if the relationship between them is favourable (i.e. if they like each other and seek each other’s approval), they are likely to adopt features of each other’s speech, including new pronunciations.

On a larger scale, these basic interactions between speakers lead to language change, whereby more speakers adopt the new pronunciation or word into their repertoire and then begin using it in their interactions with others. For example, this is how the common English phenomenon of ‘dropping your ts’ – known in linguistics as glottal stopping – spread from Cockney English to almost all varieties of English in the UK. In essence, linguistic changes spread throughout the speech community because we adjust our linguistic behaviour to conform to other people like us. So, what happens when you’re different? When you’re gay or trans or not white? Does the same motivation to conform exist?

Why is this piece of research important?

When a sound change (where an established pronunciation is replaced by a new one) is underway in a given speech community, young female speakers have been repeatedly shown to act as the vanguards of change. They push the change forward and implement the use of the new pronunciation as much as one full generation ahead of male speakers.

Set of Lego people, each a different colour to represent the Progress Pride Flag

Up until now, sociolinguistic studies have implicitly assumed that the male and female speakers in their samples are heterosexual. While some research has considered the role of minority ethnicities in large-scale sound changes, a more nuanced articulation of gender, which takes a male or female speaker’s sexuality into account, has been absent from these studies. A small number of studies have examined the speech of homosexual male and female speakers, usually with the aim of analysing pronunciations that act as a perceptual cue for homosexuality when heard by others. These studies did not, however, focus on how gay men and women engage in sound changes in progress, but on what makes them sound gay. The present study asks the questions that other research did not; in particular, what is the role of sexual minorities in driving language change forward?

What does the research project involve?

The project began in 2022 with a pilot study in Paris, France. I collected speech samples from 22 native French speakers that self-identify as gay, lesbian, bisexual, or heterosexual. All speakers were required to read a short text and a long list of words for which there was a possibility of using a new pronunciation or an older pronunciation. The pilot study focused in particular on the ongoing changes affecting the pronunciation of the Parisian French nasal vowels in words like bain (‘bath’), banc (‘bench’), and bon (‘good’).

I am currently in the process of analysing the data acoustically, using speech analysis software, in order to identify fine-grained differences in pronunciation between speakers and groups, if they exist. The analysis of heterosexual speakers will have the dual aim of documenting the progression of this change, known to be underway in French, and of providing a baseline against which to compare the evidence for these changes in the speech of the gay and lesbian participants.

What impact is this research expected to have?

While there is some research on the role played by African American and Latinx people in predominantly white speech communities, this project will be the first to consider sexual minorities as an integral part of the wider social order.

The data-driven principles advanced by this study will constitute a significant point of reference for future studies of language and sexuality, providing an in-depth empirical analysis of the speech of gay men and lesbians. The project will contribute a more comprehensive examination of sound changes known to be underway in the sociolinguistic literature on French. The research will also provide a framework within which to undertake quantitative linguistic research that is experimental, focusing on language variation and change, but also theoretical, examining the extent to which an individual’s performance of sexual identity influences the extent to which they engage in sound changes set in motion by their heterosexual peers.

The cross-disciplinary methodology will demonstrate the contribution that sociolinguistic theory can make to the central focus of queer studies, namely interrogating heterosexuality by dismissing its claims to naturalness.

What are the next steps?

Once the results of the pilot study are processed, the hope is to establish a set of data-driven principles that can be tested in other contexts and in other languages. The findings of the Paris study will be formalised in a research article which will then form the basis of future studies on a wider variety of sexual identities, gender identities, and sound changes, in both French and English, in Paris and in other large cities such as London, Montreal, and Toronto.

The pilot study is the first step in a research project that will attempt to transform current theories of language change by providing a quantitative account of the way sexual minorities engage in mainstream linguistic change. The project will create an open-access corpus of natural speech – a database of speech audio files and text transcriptions – of both homosexual and heterosexual speakers, making all sound files and transcriptions from this study and from future, larger studies publicly available. The essence of the project, however, is its continued commitment to social justice: it aims to address the continued exclusion of sexual minorities from large-scale social scientific studies, which not only invisibilises queer people, but underlines their behaviour, linguistic or otherwise, as gender-deviant.

Learn more about research in the Faculty of Arts.

Visit the University’s Pride 2022 page to see how the University is celebrating LGBT+ staff and students.

Find out about LGBT+ equality initiatives at the University of Bristol.

Explore the University Library’s Pride Month page, which showcases a range of LGBT+ books, films, archives and other resources.

REF 2021

The results are in for REF 2021: the results for the Faculty are very good indeed, and part of a fantastic university result.

What is the REF?

The Research Excellence Framework (REF) is the national assessment of research, conducted by expert panels every six years, across some 34 subject-based units of assessment (UOAs). It provides rankings and ratings for research, impact and environment which are used by the four UK higher education funding bodies to decide on the distribution of around £2 billion of research funding. The last one took place in 2014.

REF is a kind of report card on research and impact for all participating British higher education institutions.

So how did we do?

Overall, we did very well. According to the rankings provided by the Times Higher, three UOAs have been ranked in the top ten in the country, namely Anthropology (6th), Classics (8th), and Modern Languages (4th).

In individual highlights, Anthropology, and Religion and Theology were given the highest possible award for outputs (for example, books, chapters, creative works, and articles). Music, Drama, Film and TV, and History were ranked in the top quartile for impact. Modern Languages had the highest possible award for environment.

An overall 48% of research submitted to REF 2021 by the Faculty was rated as world-leading (4*) in terms of originality, significance and rigour. 88.5% was rated as world-leading or internationally excellent (4* and 3*).

These figures represent an enormous amount of intellectual work and effort, not just by the academics but by the professional services staff who supported them and the process. It demonstrates that the research undertaken in the Faculty of Arts is world leading, has significant impacts on society, and contributes to knowledge across all our disciplines.

What difference will it make?

A strong REF 2021 result means the Faculty is in a good position to invest in more world-leading research in the arts and humanities, research which makes a real and positive difference to people’s lives. You can sample some of our outstanding impact in the refreshed Impact and Engagement page.

Congratulations to all.

Hilary Carey and Helen Fulton

Faculty Research Directors (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

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.

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