Digital Creativity and Research Panel
Scrolling through LinkedIn on a random January morning, I wasn’t expecting the notification that popped up: an invitation to participate in a discussion panel on Digital Creativity and Research at the University of Leeds.
It came courtesy of the fantastic Tess-Hornsby Smith, Student Education Enhancement Officer for the Faculty of Arts, Humanities and Cultures. She pioneered the Undergraduate Research Experience (UGRE), an opportunity for students to share their work with a wider audience, which I participated in during my time at university. When I learnt that the panel was part of the 2025 UGRE programme, I was excited to get involved, eagerly accepting Tess’ invitation!
Prior to the panel, I caught some fantastic UGRE talks by current undergraduates:
- Zixi Yan analysed the female gaze in Chinese video games, sparking discussions on the relationship between creator and observer in art.
- Florence Corp’s discussion of cityscapes in Folk Horror films sent a shiver up my spine, partly because I may or may not have been a little bit scared, but mostly because it was so brilliantly delivered.
- Finally, Penelope Helbest’s exploration of depicting disability in video games was wonderfully realised, even including a link to Penelope’s own game about living with chronic migraines.
It was then time for the panel, chaired by Dr Katie Gardner. I joined three other panellists, Martine Neang, Josie Batley, and Matthew Dangerfield, for a discussion on creativity, research, and digital technology. Although technically part of the UGRE, it wasn’t just aimed at undergraduates. Panellists and attendees were graduates, current students, university staff, local professionals, researchers, and everyone in between!
Martine highlighted her research on using collaborative digital art to explore Third-Culture identities, and Josie shared her experience during her placement year in the Uni of Leeds Digital Education Enhancement Service. I was particularly fascinated by how Matthew, a local Youth Theatre Practitioner, was using VR headsets to inspire young people to think beyond their immediate surroundings when acting.
The conversation soon shifted to accessibility. Matthew shared a recent project where he did the sound and tech for a collaborative dance show featuring visually impaired dancers, as well as a multi-media art installation he created. Josie explained how 3D renders of organs could help medical students learn in innovative new ways. Martine then raised the point that a lot of technology is created in a way that limits accessibility. For example, the dimensions of VR headsets are usually modelled on white European males, and so often don’t properly fit the faces of women of colour.
I felt fortunate to represent the Language Industry. Beyond discussions of CAT tools and Translation Memories, we also explored how, while translation may not be an accessibility tool in the traditional sense, it certainly helps bridge gaps between people from different cultures around the world.
Inevitably, we reached the topic of AI. Fascinating points were raised about its positives, but I also highlighted the impact we can see it having in the Language Industry. AI has its uses, but it can’t replace the expertise of a real human translator for projects like medical and creative translations. We finished the panel by asking what the point of ‘digital’ is, if in the pursuit of it we fail to look after the people responsible for ‘creativity’ and ‘research’.
I’m so grateful to have participated in this panel. The other panellists and speakers had such fascinating perspectives, and I truly learnt so much from them. As the world of technology continues developing, I’m eager to see how discussions on creativity and research will evolve.
Until then, I’ll wait to see what the next unexpected LinkedIn notification will bring.
A huge thank you once again to Tess Hornsby-Smith.
