The research builds on an established and successful interdisciplinary partnership between research organisations from the complementary standpoints of organizational studies and music practice (St Andrews University Management School (PI)), and music 'insiders' (CI) at the Royal Conservatoire of Scotland (RCS), (including artistic research and policy maker partners). It also builds on a track record of successful funded ESRC research among music festivals on which the PI was Research Fellow (ESRC: RES-331-27-0065) and on audience development research (ESRC: RES-187-24-0014) conducted by the PI with one of the proposed partners, the Red Note Ensemble. The PI's background and approach from organisational studies and creative industries brings fresh perspectives to this field; this combined with the 'music insider' CI based at the RCS whose institutional research and Knowledge Exchange activity is centered on music practice results in an unusual and complementary knowledgebase which we hope will add to the Cultural Values project's framework and may be replicated in other cultural and artistic spheres. With the support of Creative Scotland and its networks we will explore whether these innovative methods are replicable across other cultural sectors and art forms. We will employ tried and tested innovative methods in case studies of Red Note and Psappha contemporary music ensembles. Red Note is Scotland's contemporary music ensemble and Psappha is Manchester's new music ensemble. There are similarities between the ensembles in the musical styles but the audience, location, musicians and management teams are all different. This will illustrate that our methods may be replicated and they will produce theoretical and empirical insights that can enhance our understanding intrinsic cultural value. Our methodological approach acknowledges the complexity of cultural value. Within society there are diverse range of values and meanings associated with these values, especially in relation to cultural value. We propose an innovative way of exploring this complexity, and that is through taste-making. Taste-making is a situated activity that rests on learning and knowing how to appraise specific performances of a practice (Gherardi, 2009). In this way music can be understood by studying the social and organisational practices of its creation, performance and communication, as well as its enjoyment; these are all music practices. Taste shapes and is shaped within difference practices and is refined through negotiation and reflectivity, in order to express aesthetic judgments of it (Gheradi, 2009). For example gaining pleasure from music is a form of attachment socially supported by the respective communities of practice, which have developed vocabularies and specific criteria of taste and value in order to communicate, share and refine the ways in which such practices are enacted. This research will involve exploring such enactments of taste-making among the different communities of music practitioners. Our methods and outcomes could clearly contribute to a framework, firstly through the development of a vocabulary and concept of taste making from alternative positions, and secondly the methods to be used for assessing the different forms of taste and processes would help to enable an evaluation of value. The approach explores perceptions and reflections of a cultural experience before, during and after the performance, and this may allow us to elucidate how the different practitioners value that cultural experience. This way of looking at experience deliberately does so from different perspectives and draws in different disciplines. There is no singular experience and hence no singular perceived value, therefore a methodological approach that can capture the richness and diversity and that can produce focused insights is needed. Reference Gherardi, S (2009) Practice? It's a matter of taste! Management Learning, 40(5): 535-550.

The research builds on an established and successful interdisciplinary partnership between research organisations from the complementary standpoints of organizational studies and music practice (St Andrews University Management School (PI)), and music 'insiders' (CI) at the Royal Conservatoire of Scotland (RCS), (including artistic research and policy maker partners). It also builds on a track record of successful funded ESRC research among music festivals on which the PI was Research Fellow (ESRC: RES-331-27-0065) and on audience development research (ESRC: RES-187-24-0014) conducted by the PI with one of the proposed partners, the Red Note Ensemble. The PI's background and approach from organisational studies and creative industries brings fresh perspectives to this field; this combined with the 'music insider' CI based at the RCS whose institutional research and Knowledge Exchange activity is centered on music practice results in an unusual and complementary knowledgebase which we hope will add to the Cultural Values project's framework and may be replicated in other cultural and artistic spheres. With the support of Creative Scotland and its networks we will explore whether these innovative methods are replicable across other cultural sectors and art forms. We will employ tried and tested innovative methods in case studies of Red Note and Psappha contemporary music ensembles. Red Note is Scotland's contemporary music ensemble and Psappha is Manchester's new music ensemble. There are similarities between the ensembles in the musical styles but the audience, location, musicians and management teams are all different. This will illustrate that our methods may be replicated and they will produce theoretical and empirical insights that can enhance our understanding intrinsic cultural value. Our methodological approach acknowledges the complexity of cultural value. Within society there are diverse range of values and meanings associated with these values, especially in relation to cultural value. We propose an innovative way of exploring this complexity, and that is through taste-making. Taste-making is a situated activity that rests on learning and knowing how to appraise specific performances of a practice (Gherardi, 2009). In this way music can be understood by studying the social and organisational practices of its creation, performance and communication, as well as its enjoyment; these are all music practices. Taste shapes and is shaped within difference practices and is refined through negotiation and reflectivity, in order to express aesthetic judgments of it (Gheradi, 2009). For example gaining pleasure from music is a form of attachment socially supported by the respective communities of practice, which have developed vocabularies and specific criteria of taste and value in order to communicate, share and refine the ways in which such practices are enacted. This research will involve exploring such enactments of taste-making among the different communities of music practitioners. Our methods and outcomes could clearly contribute to a framework, firstly through the development of a vocabulary and concept of taste making from alternative positions, and secondly the methods to be used for assessing the different forms of taste and processes would help to enable an evaluation of value. The approach explores perceptions and reflections of a cultural experience before, during and after the performance, and this may allow us to elucidate how the different practitioners value that cultural experience. This way of looking at experience deliberately does so from different perspectives and draws in different disciplines. There is no singular experience and hence no singular perceived value, therefore a methodological approach that can capture the richness and diversity and that can produce focused insights is needed. Reference Gherardi, S (2009) Practice? It's a matter of taste! Management Learning, 40(5): 535-550.

Many constructions of the creative economy are celebratory. The creative economy is lauded as a provider of economic growth and good, well paid, jobs. This is alongside the role of the creative economy in a whole range of policy and practice areas, including education, regeneration, and diplomacy. However, as the research giving rise to this proposal has demonstrated, the creative economy is also the site for significant exclusions and inequalities. These include the gender, class and racial character of both production and consumption in the creative economy. Who is missing? follows on from several AHRC funded research projects to consolidate work on the creative economy that has focused on the question of inequality. Moreover, the consolidation of this research will aim to offer approaches to challenge and change the structures of the creative economy that act to exclude. This follow on funding proposal aims to strengthen existing partnerships between academic experts on inequality and campaigning organisations; to disseminate the existing findings of research developed as part of several AHRC funded projects; to co-create new knowledge with organisations working to transform the unequal character of the creative economy; and to exploit existing research activities that will develop organisational, policy making, and practitioner capacity to respond to creative economy inequality. The project consists of three distinct, but complementary, work packages that address the dissemination, co-creation and research exploitation objectives detailed in this outline. The roots of the project are based in two longstanding and successful partnerships between academic researchers working on AHRC funded projects and organisations within the Creative Economy. The first partnership, between the PI and Co-I and Create London, an arts development organisation, resulted in the Panic! Whatever Happened to Social Mobility in the Arts? Project. The second partnership is between the PI and Co-I and Arts Emergency, a charity that supports young people aged 16-19 from disadvantaged backgrounds to pursue careers and education in the arts and then into the creative economy. This has been a four year working relationship informing Arts Emergency's use of academic research for media and public campaigning, as well as shaping their use of data and research in their practice. The project starts by thinking through the needs of the partners for data and research. Work Package 1 (WP1) is focused on co-creating a set of approaches to disseminate the existing research findings in ways that are understandable to public, policy and, most crucially, practice audiences. The second work package (WP2) responds directly to the needs of these organisations for data and research. WP2 will work with Arts Emergency to understand those aspiring to be part of the creative economy, along with re-interrogating existing research data to understand how current inequalities within the creative economy have changed over time. This latter point was the focus of the Panic! Project and Create London, alongside the academic team, are keen to develop and disseminate these findings more widely, particularly to audiences at Arts Council England and Creative Scotland (who have offered letters of support) and the UK's Department for Culture, Media and Sport. Work package 3 (WP3) takes up the dissemination activity for the project, with a PDF publication from Arts Emergency called Who is missing from the Picture: The problem of inequality and what we can do about it. This will be launched at a series of events, delivered by Create London, and produced by the young people working with Arts Emergency (paid as part of the research project), thus taking the research base beyond the academy whilst developing the skills, and the profile, of those aspiring to be part of the creative economy.

Scotland has faced longstanding economic issues with low levels of entrepreneurialism, start-ups and innovation and, due to the complex challenges faced by different regions, sectors and types of organisation, a tailored approach to policy support has been recommended. The Highlands and Islands (H&I) region faces particular innovation challenges, including the dispersed working communities and technological infrastructure of the region, which can limit opportunities in the creative economy. The crucial role of Higher Education Institutions (HEIs) in supporting regional economic development has been emphasised, but as the recent Dowling Report (BIS, 2015) acknowledged whilst business and university collaborations are critically important in supporting innovation, collaborations are complex to initiate and sustain. This is particularly acute for the creative economy where it is common for workers to be self-employed and there is a preponderance of project-based temporary employment and 'bulimic' patterns of work. The applicants prior project Design in Action (DiA) brought together academics, entrepreneurs and designers in residential innovation events called 'Chiasma' guided by strategic design principles and enabled them to support the development of innovative products, processes and services in SMEs and micro-businesses in Scotland (http://www.designinaction.com). Chiasma provided enriching opportunities for multidisciplinary audiences to work collaboratively, co-produce knowledge and learn collectively. The DiA project highlighted the importance of developing safe spaces for knowledge exchange and promoted successful tacit knowledge exchange of skills and experience, which encouraged a sense of shared understanding and values, of reciprocity and of trust. A key finding from DiA was that the team encountered challenges in bringing together designers, academics and entrepreneurs who were often meeting for the first time, and pushing them into forming a new, risky start-up together. To ameliorate this challenge, we will engage existing networks and communities to provide a more stable starting point for any collaborations and business propositions. Working with Highlands and Islands Enterprise (HIE), Design Innovation for New Growth intends to propagate design as a strategy for business growth and innovation with new audiences in the Highlands and Islands (H&I) region. The DING team, in consultation with HIE, have identified a clear opportunity for the delivery of knowledge generated in DiA within their established XpoNorth creative industries networks (http://www.hie.co.uk/growth-sectors/creative-industries/xponorth.html).

How can translation and interpretation processes and practices at the borders of language, the body, law, and the state be rigorously theorised and researched, and research findings effectively represented and evaluated, in a multilingual manner? To answer this question, the proposed research brings together an international, multidisciplinary team of researchers and collaborators to work on an ambitious, integrated and innovative programme that promises (a) to transform academic and public understandings of processes and practices of translation and interpretation; (b) to develop more effective research practices in contexts where more than one language is used; and (c) to inform the work of policy makers and public, private and third-sector organisations in key areas of public policy concern (education, health and well-being, law, migration, and security), through original forms of knowledge exchange. The research question has emerged out of ongoing discussion with stakeholders in these fields (building on networks established through previous AHRC-funded research projects) as well as from recent innovative scholarship on 'researching multilingually', inter- and multi-disciplinary research on borders, and research on processes, practices and zones of translation, interpretation and representation. The innovative project structure has the following components: (a) a Researching Multilingually and Translating Cultures (RMTC) 'hub'; (b) five original case studies (involving research in the UK and US, as well as in Bulgaria, Gaza, The Netherlands, Romania and Sierra Leone); and (c) a Creative Arts and Translating Cultures (CATC) 'hub'. The inclusion of five carefully selected case studies will allow for the documenting, analysing and comparing of translation processes and practices across different kinds of border and in a variety of geographical settings. Their linking into the RMTC (academic) and CATC (performance) 'hubs' will ensure integration and the maximisation of the added value. This overall structure provides for the development within a single, integrated project of new theoretical, conceptual and empirical understandings of processes and practices of translation, interpretation and representation, and also of the methodological, ethical and epistemological issues that arise when research is conducted in contexts where more than one language is used. The members of the RMTC 'hub' will lead the development of integrated conceptual and methodological approaches, tools, and methods for researching translation processes and practices at borders where bodies are often at risk, in pain and/or in transition. Together with the CATC 'hub' they will work with all researchers in the team, both in the field and remotely, at strategic stages and milestones throughout the project, to collate, consolidate and improve research practices in multilingual contexts. The case studies have been selected according to the following criteria: (i) each focuses on a border at which under-researched processes and practices of translation and interpretation occur; (ii) each represents a multilingual research site where research will be conducted multilingually using a variety of methods; (iii) each presents opportunities for exploring the theory, methods and ethics of researching multilingually; (iv) each builds on previously funded research and specific findings. For each case study the methods selected are those appropriate for analysing practices of translation, interpretation and representation in that particular context. In the CATC 'hub', the consultant partner, Pan African Arts Scotland, will collaborate with the PI, RMTC 'hub' and case study investigators in all phases of the project to translate the case study data, participant/researcher narratives and life histories from the medium of academic understanding and representation into that of multilingual performance and creative arts.