The problem of dismantling nuclear submarines is a current political issue and high-risk environmental problem. From a military perspective the issue is viewed as a technical problem that can be resolved by engineering and technology. Inviting artists to consider the aesthetic, conceptual, ethical and cultural problems of nuclear submarines will dramatically shift the terms of the debate. The research will investigate complex issues of power, visibility, and political representation, as well as having a keen material and conceptual interest in the socio-political history, and conceptual nature of nuclear weapons. This fellowship will enable Ele Carpenter to undertake the theoretical research needed to bring together scientists, engineers and community groups with artists and ethicists to develop new opportunities for creative practice investigating nuclear culture. Whilst there is much research into nuclear technologies, there is little analysis of the cultural and conceptual questions of nuclear materials within the language of visual art. Her positive relationships with artists, the Nuclear Submarine Forum, SDP-AG and Arts Catalyst, along with her academic and curatorial experience put her in a unique position to undertake this work and publish highly original research material. The research will contribute to the level of critical enquiry within these partnership groups and organizations. The Nuclear Culture research aims to have a profound impact on the discussion of Nuclear Submarines in the public realm; it will have a high public profile involving not just subject area specialists but a wide cross-section of the public. This will be achieved by producing a website and academic research dissemination as well as the generation of a commissioning proposal. In addition, the research process will establish a context for artist's dialogue by developing good relationships with the key partners, researching the theoretical, critical and art-historical context of the project, and situating it within a wider cultural debate. The research will investigate how artistic practices can contribute to the interdisciplinary discourse surrounding the cultural problem of dismantling nuclear submarines though an investigation of dismantling, cultural memes and intergenerational equity, supporting new forms of language, art, and culture which can carry ideas over time throughout centuries.

1. To develop a radical new approach to science engagement, which focuses on the human experience of science - specifically fundamental physics -, drawing on discussions from a recent symposium organised by the applicants at the Institute of Physics, which brought together physicists, including STFC community, artists, and science engagement specialists. This approach contrasts with (but is intended to co-exist with) the standard science engagement model of providing information about the content of science, instead focusing on the experience of the "live creature" who does science - their background, motivation, interests and aspirations - and on using art-based methodologies to enable visual, physical and material encounters with the endeavour and extraordinary spaces of fundamental physics - cosmology, particle physics and astrophysics. 2. To test - and perform an initial evaluation of - this approach with people from both low and high "science capital" backgrounds (an idea borrowed from French sociologist Pierre Bourdieu's concepts of social and cultural capital to describe how people engage with the arts) in two contrasting UK cities, Sunderland and London, which voted very different ways in the EU referendum. 3. For the public: - To provide an impactful encounter with the environments and laboratories where fundamental science is performed through a large-scale immersive installation of film and photographic artworks by artist Fiona Crisp. - To provide an interdisciplinary programme about the possibilities of experiencing science research through performances, lectures, screenings and music, enabling audiences and participants to experience different artistic approaches to make science intimate and personal. - To give a platform to diverse scientific role models from British and BAME backgrounds and present physics as an intuitive (as well as rigorous), fundamental aspect of day-to-day life. - To provide insights into how knowledge and science about the physical universe is created through experimentation and working in the laboratory. - To come away with a sense of the diversity of motivations, interests and personalities of those undertaking science as a profession and how these human qualities drive science. 4. For scientist participants: - To improve communication skills by enabling them to bring their backgrounds, personalities and values into their encounters with the public, and to explore their creative and cultural interests. - To enable them to understand better the importance of allowing and representing diversity of backgrounds, approaches and personalities in science. - To give them a re-energising experience and a different perspective on their work. 5. To continue to build a network of physicists and artists, particularly in the UK but with international members, who are interested in exploring and developing this alternative type of approach to science engagement. 6. To disseminate learning from these events and the network to other scientists and science engagement providers.

1. To organise the Arts Catalyst exhibition Republic of the Moon in London, which had a highly successful showing in Liverpool in 2011, together with a dynamic new art/science events programme, aimed at exciting interest in contemporary lunar science and provoking discussion around future exploration of the Moon. The programme will reach a wide public audience who may not generally connect with science communication. 2. The Republic of the Moon exhibition features works by international established artists from the UK, Russia, USA, Spain and Germany. It aims to re-position lunar exploration as a cultural fascination. It will create a conversation about our personal relationship with the Moon in the era of advanced science and a new space age, in which robotic landers on the Moon are being planned both by private companies and emerging space nations, such as China and India. The search for lunar ice in the dark craters of the Southern hemisphere leads to speculation about future human missions to the Moon. 3. The exhibition will be accompanied by a dynamic events programme, which will include art/science talks, films, performances and workshops. The programme is being developed in collaboration with Dr Lucie Green (Mullard Space Sciences Lab, UCL) and Dr Ian Crawford (Birkbeck College and the Centre for Planetary Sciences), and will also feature contributions from Dr Kevin Fong (UCL and the Centre for Planetary Sciences) and Dr Bernard Foing (International Lunar Exploration Working Group, European Space Agency, tbc). 4. The ideas and issues raised by Republic of the Moon will be documented on video (livestreamed and embedded in a website) and through an illustrated publication, which will featured commissioned essays by science, space and arts writers, which will be available in both print form and a variety of e-formats, as well as on the website.

Solid Water, Frozen Time, Future Justice (hereafter Frozen Future) is a collaborative visual research project that will document the effects of copper and lithium mining on glacier systems of the Chilean Andes. Extractive industries are encroaching upon these glaciers, and at times of water scarcity, diverting their ice for industrial purposes. The future of glaciers is contested. A water conflict between global mining and local livelihoods is already acute with water rights in Chile stacked in favour of mining interests that may increasingly, perhaps exclusively, depend on solid water supplies. Whilst mining is a global industry, Britain has a particular place in its networks of extraction; London is home to the head offices of the wealthiest corporations which trade in its stock markets. A future of accelerating extractivism is assumed to be inevitable and, most recently, asserted as essential to global economic recovery from the COVID-19 pandemic. But glacier systems are not simply subject to corporate agency: environmentalists, activists, indigenous and local communities imagine another future of environmental justice. Frozen Future will document how extractivism at glacial sites is contested in the present and projected into the future, prioritising the visibility and the voices of those most affected by mining operations. The research re-thinks the capacity of photography as a means of recording past events and re-directs the camera towards the future. Visual research at sites of copper and lithium extraction in Andean glaciers will create new documentary photography, drone imagery, audiovisual projections, two and three-dimensional maps as well as written records and textual analysis. In place of the Romantic representations of glaciers as sublime objects of timeless isolation that have disconnected their stores of solid water from local ecologies and global economies, Frozen Future will record the contemporary glacial extractive zones of the Chilean Andes and demonstrate the entanglements of ice and the position of glaciers within global systems. Connections between local sites of mining and global sites of exchange of capitalised mined materials will be mapped and made visible. The development of a collaborative arts practice will establish de-colonial perspectives from which indigenous ontologies of the life of landscapes as well as concepts of use of natural resources can be recorded. Collaborations with Chilean environmentalists, activists, local communities and museum curators will enable knowledge of the effects of extractivism upon a future stored in solid water, frozen in ice, to be shared with stakeholders, specialist audiences and wider publics, from arts and ecology researchers in universities to corporate shareholders. Frozen Future research will generate a 'documentary dispositive' composed of a major photographic exhibition, edited into audiovisual screenings for wider distribution. Both forms of dissemination will increase understanding of the effects of extractivist economies upon glacial and global ecologies. Collaborations between researchers and activists at Chilean glacial extractive zones are extended to environmentalist stakeholder groups based in Europe through participation in the different forums accompanying exhibition and screenings facilitating open debate about redressing the material inequalities of mining and achieving forms of future justice. Frozen Future's collaborative documentary will contribute to a critical aesthetic of the Earth's landscapes. A critique of conventional representations of nature and the possibility of de-colonising landscape photography will form academic publications: a monograph, journal articles and conference papers. Thus, the splendid isolation of glacial systems from a global world filled with a myriad of electrical exchanges is re-examined in Frozen Future and landscapes ruptured by mining are are revealed as living spaces.