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In this article, we identify the basic concepts informing multiprofessional competencies in arts and social work/care, focusing on their specific cultural contextualisation, as framed within the currently running project MOMU (Moving towards Multiprofessional Work in Art and Social Work) funded by the Erasmus+ Programme.[1] In short, the project aims to define competencies in teamwork and enhance educational/teacher knowledge and skills in arts and social work/care (MPW) by developing learning materials and handbooks in this area and embedding this in undergraduate HE provision. It builds on the work carried out in the project MIMO – Moving In, Moving On! which established and embedded the initial methods for MPW into professional practice in Finland and Estonia[2]. (TUAS, 2013) The emphasis of this kind of MPW work lies in combining the strengths of different arts and social work/care professionals to work effectively together with individuals or communities to address the identified needs. It is a multiprofessional practice stemming from a multidisciplinary approach to working with communities and individuals. This article will thus aim to a) articulate the cultural and critical contexts of relevant concepts and b) propose overarching criteria for learning frameworks which inform future training modules in the area of MPW.

Over recent years, the curation of new knowledge has become an important area of concern within UK Higher Education. There is a renewed call for public/academia interaction where the engagement with innovation is designed into the research process right from the start. Simultaneously and specifically within the arts, there has been an increasing momentum in, and a public appetite for, process (rather than product), and the 21st century has witnessed a new phenomenon, that which Pierre Luigi Sacco (2015) has labeled Culture 3.0, characterized by the use of open platforms, democratic systems, ubiquitously available production tools and individuals constantly shifting and renegotiating their roles between producing and consuming content. Sacco furthermore suggests that Europe is hung up on Culture 1.0, characterized by a distinction of high-brow vs low-brow, arts patronage, gatekeepers and value absorption. This article will attempt to contextualize these concepts as part of the need to create curated interfaces between communities of practice and the wider society. The intentional act of curation can thus be a sense-making creative process. Taking the Manchester Metropolitan University’s Axis Arts Centre as case study, what becomes evident is the need for a deeper understanding of the cultural relativity of arts-related practices and the roles that universities play to facilitate various cultural co-produced interfaces between arts and society.

What kind of partnerships are best placed to drive innovations? Considering the continual appetite for new products and services within our knowledge economy, how can we ensure that the most novel and significant research can be applied in and exploited for the market?

What kind of partnerships are best placed to drive innovations in the music sector? Considering the con-tinual appetite for new products and services within our knowledge economy, how can we ensure that the most novel and significant research can be applied in and exploited for the market? How can we ensure that the whole music sector, including the not-for-profit sector, benefits and is engaged in new knowledge production? This paper represents an exploration of a partnership model – the triple and quadruple helix – that is specifically designed to drive innovation. Ap-plying this to the music technology sector, the presen-tation will provide aspects of case examples relevant for driving innovations in music technology, the crea-tive sector and digital innovations. It will cover both the for-profit sector and social enterprise, and em-phasize the importance of partnerships and communi-ty for maximizing sustainability when devising re-search and development projects using helix system models.

This paper will present a first instrument and discuss its design method, derived from principles informed by mimetic theories. The purpose of these design principles is to create new and innovative digital music instruments. Even though mimetic theories are known to be important in the communication, engagement and expression of music performance, this ongoing enquiry represents the first consolidated effort to develop design principles from mimetic theories. [1], [2] As part of the project, a development cycle is being followed to produce, evaluate and improve the design principles, and as part of this paper, a first prototype will be presented. This paper covers a short description of the first prototype, describes the design process towards developing some generically applicable design principles and covers some of the underlying theories around empathy, communicative musicality and mimetic participation.

Impacts of human civilization on ecosystems threaten global biodiversity. In a changing environment, traditional in situ approaches to biodiversity monitoring have made significant steps forward to quantify and evaluate BD at many scales but still, these methods are limited to comparatively small areas. Earth observation (EO) techniques may provide a solution to overcome this shortcoming by measuring entities of interest at different spatial and temporal scales.This paper provides a comprehensive overview of the role of EO to detect, describe, explain, predict and assess biodiversity. Here, we focus on three main aspects related to biodiversity − taxonomic diversity, functional diversity and structural diversity, which integrate different levels of organization − molecular, genetic, individual, species, populations, communities, biomes, ecosystems and landscapes. In particular, we discuss the recording of taxonomic elements of biodiversity through the identification of animal and plant species. We highlight the importance of the spectral traits (ST) and spectral trait variations (STV) concept for EO-based biodiversity research. Furthermore we provide examples of spectral traits/spectral trait variations used in EO applications for quantifying taxonomic diversity, functional diversity and structural diversity. We discuss the use of EO to monitor biodiversity and habitat quality using different remote-sensing techniques. Finally, we suggest specifically important steps for a better integration of EO in biodiversity research.EO methods represent an affordable, repeatable and comparable method for measuring, describing, explaining and modelling taxonomic, functional and structural diversity. Upcoming sensor developments will provide opportunities to quantify spectral traits, currently not detectable with EO, and will surely help to describe biodiversity in more detail. Therefore, new concepts are needed to tightly integrate EO sensor networks with the identification of

What kind of partnerships are best placed to drive innovations in the music sector? Considering the continual appetite for new products and services within our knowledge economy, how can we ensure that the most novel and significant research can be applied in and exploited for the market? How can we ensure that the whole music sector, including the not-for-profit sector, benefits and is engaged in new knowledge production? This paper represents an exploration of a partnership model – the triple and quadruple helix – that is specifically designed to drive innovation. Applying this to the music sector, the presentation will provide case studies relevant for driving innovations in music technology, the creative sector and digital innovations. It will cover both the for-profit sector and social enterprise, and emphasize the importance of partnerships and community for maximizing sustainability when devising research and development projects using helix system models.

Position paper of 850 words, covering arts related issues surrounding the impact agendas of REF, accepted for inclusion into the Westminster Forum Briefings.

The academically housed Contemporary Arts Centre “Axis Arts Centre” http://www.axisartscentre.org.uk/home/ in the Department of Contemporary Arts, Manchester Metropolitan University, has been running for more than 30 years and is known to foreground contemporary arts in the northwest of England and is co--‐funded by the University and Arts Council England. In response to a continuous expansion, over the last 3 years we have generated discussion and debate around the role and value of small academically housed arts centres, specifically issues around sustainability of regular programming and their impact within a diversity of communities. These discussions --‐ with different view--‐points and contemporary challenges --‐ have informed the ways we continue to develop our provision as a department AND an arts centre. In this process, the public panel discussion transcript represents the debate from its various perspectives, leading and simultaneously guiding us towards reconceptualising a more dynamic model on which to build the Centre’s sustainability, identity, and be able to maximise impact. Themes covered include: - Programming strategies of smaller contemporary arts centres with academic patronage - How ‘curating knowledge’ can support a relevant link between research practices and an ‘engaged public’ - Multiple communities, identities and localities - Interfaces between enterprise, research and learning - Demonstrating and identifying impact

Five years ago I wrote an introductory article for a journal, in which I considered the state of music technology degrees in our universities in the UK. Having seen where higher education (HE) policy has taken us, and having had the fortunate opportunity to be heavily involved in shaping genuinely interdisciplinary provision that considers interdisciplinarity with all its warts and perks , I thought it time to consider the implications of HE policy on interdisciplinary subject areas, to explore specifically the gaps that I identified five years ago and to consider how the current climate is affecting them. This article will cover the ever-widening disciplinary gaps that are appearing in HE and focuses specifically on those gaps that are substantially affecting various interdisciplinary areas of learning and research in HE. It uses music technology as an example case study. Even the process of placing of this article into an academic journal demonstrates the existing challenges; in its interdisciplinary nature its eligibility to feature in a subject-specific periodical might be questioned despite its high relevance for it. The article also attempts to demonstrate models that support interdisciplinary teaching and research, which hopefully are able to mind and furthermore mend various existent gaps. With any luck it will disrupt some of our pre-postmodern concepts of what a university is, to be superseded by a more postmodern acceptance of society as constructivist learning communities, and universities as enablers of these communities. In this exploration, I follow a trajectory, from exploring to mending the gaps, and then finally to discussing in detail a specific methodology that represents one way forward out of the interdisciplinary quagmire.

This paper examines the intrinsic potential for well-being outcomes in a heritage-related music project. We look at how creative activities that are embedded in a community can serve to enhance the cohesion and well-being of communities through the work of its youth groups. The paper also examines the important roles of partnership working and peer mentoring and how they need the time and resources to be nurtured in order to ensure sustainability and self empowerment as long-term legacies of arts-based community well-being initiatives.

Interactions between dark matter (DM) and radiation (photons or neutrinos) in the early Universe suppress density fluctuations on small mass scales. Here we perform a thorough analysis of structure formation in the fully non-linear regime using N-body simulations for models with DM-radiation interactions and compare the results to a traditional calculation in which DM only interacts gravitationally. Significant differences arise due to the presence of interactions, in terms of the number of low-mass DM haloes and their properties, such as their spin and density profile. These differences are clearly seen even for haloes more massive than the scale on which density fluctuations are suppressed. We also show that semi-analytical descriptions of the matter distribution in the non-linear regime fail to reproduce our numerical results, emphasizing the challenge of predicting structure formation in models with physics beyond collisionless DM., Comment: 11 pages, 9 figures, 1 table

The cold dark matter (CDM) model faces persistent challenges on small scales. In particular, taken at face value, the model significantly overestimates the number of satellite galaxies around the Milky Way. Attempts to solve this problem remain open to debate and have even led some to abandon CDM altogether. However, current simulations are limited by the assumption that dark matter feels only gravity. Here, we show that including interactions between CDM and radiation (photons or neutrinos) leads to a dramatic reduction in the number of satellite galaxies, alleviating the Milky Way satellite problem and indicating that physics beyond gravity may be essential to make accurate predictions of structure formation on small scales. The methodology introduced here gives constraints on dark matter interactions that are significantly improved over those from the cosmic microwave background., Comment: 5 pages, 4 figures. V2: Matches version in MNRAS Letters

One of the most important tools in today's sailing yacht design is the Velocity Prediction Program (VPP). VPPs calculate boat speed from the equilibrium of aero- and hydrodynamic flow forces. Consequently their accuracy is linked to the accuracy of the aero- and hydrodynamic data used to represent a yacht. These data are usually derived from Experimental Fluid Dynamics (EFD) or Computational Fluid Dynamics (CFD) results and processed by means of linearisation and interpolation to represent the actual sailing state of the yacht. This interpolation is a potential source of inaccuracy. Furthermore, viscosity related effects are often estimated by simplified theoretical or empirical models potentially neglecting complex physical phenomena. As an alternative, a new method is proposed and implemented, which links the hydrodynamic model directly to a RANSE flow simulation in order to avoid linearisation and interpolation errors associated with traditional VPPs. Within this method, aerodynamic sail forces are taken into account as functions of actual boat state. They are modeled using a sail force model and coupled to the hydrodynamic model via a rigid body motion solver. This way one is able to directly evaluate the hydrodynamic forces at the actual boat state of the yacht for a given wind condition. Within this work, the inherent theory and algorithms of the method are described, and the hydrodynamic model is verified and validated against experimental data from towing tank test. Based on this verification and validation of the simulation model, the functionality of the new method is illustrated by calculating VPP polars. Finally, these VPP polars are compared with results from conventional VPPs and an assessment of the method's accuracy is provided., Ship Hydrodynamics and Structures, Mechanical, Maritime and Materials Engineering