This impact case study focuses on the effects of digital technologies on
rural communities, including networks of inter-tribal relationships in
Kenya. It emanates from a social model of user needs that, having
transcultural applications, enabled rural communities across Kenya to
document their suppressed histories, identify their community needs and
become empowered agents in a process of peace and reconciliation. Parallel
research on digital activism in rural and urban communities has helped
citizens to understand their democratic place in a wider society in order
to enhance their political participation. International policy-makers and
campaigners in voluntary associations and NGOs have adopted the model.
Research from the Digital arts strand of the CMR has had an impact in two
`Social Interpretation' is focused on developing new systems to enable
the interpretation, discussion, collection and sharing of cultural
experiences with, and between, museum visitors, demonstrating the
Our research on the ways in which digital platforms enable people to make
and share creative material online, and thereby foster creativity in
individuals and groups, has had a number of particular direct impacts on
the media and cultural industries. At the LEGO Group, there have been
several impacts, on policy, on training, and on product development. At
BBC Children's, collaborative research about an online world for children
led to changes in commissioning processes. At S4C, the work had an impact
on digital media strategy, and led to a change in the company's statement
of overall corporate aims and values.
Research at UWE Bristol in new media and games has engaged business and
The resulting knowledge exchange has underpinned the AHRC Creative Economy
(Research and Enterprise for Arts and Creative Technologies) which has
stimulated £200k value of
new business for SMEs in its first year of operation. The research has
enabled start-ups, micro
businesses and SMEs in the digital economy to use our critical and
creative methods to improve
their products and services. It has also made a significant contribution
to the development of policy
on games for young people.
This case study demonstrates sustained impact on UK government and
devolved government policy in the area of creative digital participation;
on the regional implementation of that policy; on publicly funded
community initiatives that benefited from that implementation; and on the
NI school curriculum. It will also outline the beginnings of similar
impact on an international scale: on government education policy and
school and university curricula in, for example, Namibia and South Africa,
where the underpinning research has been disseminated.
Kafka's Wound', a response to Kafka's short story `A Country Doctor'
(1919), was created as part of the `Re-imagining the Literary Essay for
the Digital Age' (RILEDA) project. The essay is available at www.thespace.lrb.co.uk.
Commissioned from the London Review of Books (LRB), an
independent literary publisher, RILEDA was supported by £45k from ACE who
invested £3.5m in 51 commissions. The work was `located' in the Space, an
experimental digital arts service, itself a major project within Arts
Council England's creative media policy and its Public Value Partnership
with the BBC.
Headed by Will Self, novelist and professor of contemporary thought at
Brunel University, RILEDA involved over 70 collaborators drawn from the
School of Arts and many other departments (especially Computing,
Engineering and Design) in a collaborative, interdisciplinary, practice-
based, research project. Institutional contributors included the BBC
Radiophonic Workshop, the Imperial War Museum, and the National Centre for
Jewish Film. The research was carried out between March and July 2012 and
the essay was `published' in August 2012.
Highly innovative and of high artistic quality, RILEDA has impacted
diverse audiences worldwide, evolving the multi-media digital literary
essay while encouraging innovative approaches to digital arts and
supporting the case for future public digital arts services. It raises
important issues about the nature of authorship, collaboration, and
co-design in digital forms which frame broader questions about the nature
of creativity, intellectual property rights, and the processes and
experience of reading.
The high artistic quality and innovative user interface engaged a
significant worldwide audience with 49,208 visits in 12 months, 57% from
outside the UK.
Alliance researchers have devised and applied technologies that bridge
the gap between the real and virtual worlds, linking digital data to
physical entities. The ability to embed personal stories in objects and
places has impacted on the way National Museums Scotland sources and
displays collections, while Oxfam has used the research to bring added
value to donated goods, leading to an increase in store sales of 53% over
a week-long period. Mobile Visual Search technology has been taken-up by
global brands and advertising agencies, including Nike, Disney, Vodafone,
Nokia, Tesco, P&G, King & Partners, Mocom and Ogilvy, leading one
industry expert to describe it as "the new model of marketing mobility".
The work has led to a patent, the receipt of several awards, and
influenced the formation of a spin-off company, Mobile Acuity (with
revenue of over £0.5M to date), which has secured a major investment of
over £1M, including from international corporation, [text removed for
publication], to invest in the US and East Asia.
This case study documents the initial impacts of a site-specific theatre
project: Fortnight that was
conceived and developed by Manchester Metropolitan University (MMU)
contemporary artist Peter
Petralia between 2010 and 2012. The project exemplifies research that
seeks to explore
engagement with place, locality and community using pervasive digital
technologies, and utilises
these methods to enhance the creative potential of individuals and
impact is social, cultural and economic as documented by the 800
participants and producers
involved in the project so far. Fortnight has also generated impact within
the creative industries
through the innovative application of its use of Radio Frequency
Identification (RFID) technology.
To date Fortnight has been curated and hosted in Lancaster and
Bristol (2011), Manchester (2012)
and Oxford (2013).
This case study concerns analogue interfacing of digital content and
services and examines
interfaces which seek to be bespoke, inclusive, meaningful and engaging
associations of crafted
materiality. Through a series of deployments of prototypes in a range of
real world contexts this
case study demonstrates the value and interest, beyond academic research,
for crafted physical