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On 16 September 2022, Jina Mahsa Amini, a 22-year-old woman, from the Kurdish minority, died following her arrest and beatings by morality police in Tehran for allegedly violating Iran’s strict rules requiring women to cover their hair with a hijab, or headscarf. Her death in police custody enraged ordinary Iranian citizens including many women who have expressed solidarity with Ms Amini. Since then the protests, led by women, have swelled, with demands from more freedoms to an end of the authoritarian state.Listen to this critical, timely and important discussion with the UN Special Rapporteur on the situation of human rights in the Islamic Republic of Iran, Professor Javaid Rehman. He is in conversation with Dr Gail Lythgoe of Manchester International Law Centre.OUT-LINES in international law is a collaboration between Accountability Unit, Garden Court North Chambers, and Manchester International Law Centre. We aim to bring to the fore and critically assess, in an accessible way, cutting edge issues concerning the application, interpretation, and development of public international law with a key focus on international human rights law, and international criminal law.

The White Noise: An Audio Feature in Stereophonic Hell is a collage of audio arranged and edited by David Butler with video by Andrea Pazos produced for Delia Derbyshire Day 2019 which honoured the 50th anniversary of "An Electric Storm" by White Noise (Island Records, 1969). The feature premiered at Delia Derbyshire Day 2019's showcase events - at Spirit Studios, Manchester on 23 November followed by the British Library, London on 30 November - before being made available to the wider public through YouTube on 20 December 2019.The feature is made in the spirit of the four 'Inventions for Radio', which Delia Derbyshire collaborated on with the dramatist Barry Bermange across 1963-1965.The piece is an attempt to illustrate with sounds and voices the story of White Noise's album An Electric Storm – how the album came to be made, its distinctive qualities, cultural significance and ongoing influence on artists today.All the voices were recorded from life and arranged in a setting of radiophonic sound in twelve movements.Drawing on music and sound design by Delia Derbyshire, Brian Hodgson and David Vorhaus from the Kaleidophon years when An Electric Storm was made and released, the feature includes interviews with Ian Campbell, Chris Carter, Ian Heliwell, Suzy Mangion, Cosey Fanni Tutti, Adrian Utley, Martyn Ware and Mandy Wigby as well as an original arrangement and performance of 'Firebird' by Morris Clarke.

Prepare prescription data (such as from the Clinical Practice Research Datalink) into an analysis-ready format, with start and stop dates for each patient's prescriptions. Based on Pye et al (2018) <doi:10.1002/pds.4440>.

Graham Wood was a world-leading corrosion scientist who bridged both the aqueous (electrochemical) corrosion and high-temperature oxidation branches of the subject. His analytical predictions of depletion and enrichment profiles in substrate and scale during preferential oxidation have long been confirmed in practice. He also demonstrated that transient oxides can be vital solid lubricants in oxidative friction and wear processes. He elucidated ionic transport in amorphous anodic films, leading to precise models of pore initiation, development and closure, thus allowing the strict design of anodic films for practical application. He set up, and headed, the Corrosion and Protection Centre at the University of Manchester Institute of Science and Technology (UMIST) and was instrumental in initiating the Corrosion and Protection Centre Industrial Service, which, respectively, became the world's largest academic centre on the study of materials degradation and the world's largest corrosion consulting organization. While keeping active in research, he held increasingly senior administrative roles, where he established a specialist graduate school and helped prepare UMIST to full independence from the Victoria University of Manchester.

C’est au xxe siècle qu’émerge la figure du « réfugié moderne ». Les deux conflits mondiaux, les bouleversements de frontières, la formation de nouveaux États, les échanges de population « forcés » et les guerres de décolonisation amplifient considérablement les déplacements que le xixe siècle avait connus. En réponse, les États européens et les organisations intergouvernementales institutionnalisent progressivement le droit d’asile. Laboratoire d’innovations et théâtre de déplacements, l’Europe du premier xxe siècle voit l’émergence d’un droit international reposant d’abord sur la reconnaissance politique de groupes entiers au sein de la Société des Nations (SDN) puis, après l’adoption de la convention de Genève en 1951, sur la prise en compte de menaces de persécution politique, raciale et/ou religieuse s’exerçant sur des individus. Difficilement négociée dans le contexte de la guerre froide, cette convention continue d’être l’instrument qui délimite l’accueil en Europe, une terre d’asile toujours convoitée malgré les nombreuses difficultés rencontrées par celles et ceux qui y cherchent un refuge.