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Dr Paul Grainge (Associate Professor of Film and Television Studies, Nottingham, 2001-present) and Dr Catherine Johnson (Associate Professor of Film and Television Studies, Nottingham, 2010-present) have been pioneering the study of the promotional screen industries, raising the status of a vibrant sub-sector of the global creative industries. Through engagement with key media practitioners, they have:
Research at UWE Bristol in new media and games has engaged business and policy communities. The resulting knowledge exchange has underpinned the AHRC Creative Economy Hub REACT (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.
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.
Digital Television for All (DTV4All), led by Brunel Wireless Network Group, has raised awareness of the need for standardised access services for TV viewers who require or use subtitles or any other audio-visual aids while watching digital TV programmes. They showed the European Parliament how a TV programme (without a sign language translator) could be delivered via internet with an option to use a sign language translator for those who require the service. They also presented at the International Telecommunications Union (ITU) and European Broadcasting Union (EBU) Joint Workshop on Accessibility, which led ITU, a specialised agency of the United Nations for digital technologies, to set up a Focus Group on Audiovisual Media Accessibility and to commission the report `Making Television Accessible' (2011).
Since January 2011, the regional public broadcaster (radio/television) of Berlin and Brandenburg in Germany, Rundfunk Berlin-Brandenburg (RBB), has broadcast the digital TV subtitle setting recommended by DTV4All on Channel 1. Through additional investment, RBB has further enhanced the subtitling service and users can now optimise the sizes of the subtitle font or the sign language translator.
The project impacts by connecting people with technology through an interactive art project. Portable equipment ensures wide participation: people respond to, and interact with, virtual living creatures in an entertaining but instructive context. Bringing together human participants (able to intervene in the environment) with the virtual bugs (responsive to stimuli/their environment), people are challenged to consider cause and effect in the physical environment as well as their own inter-social relations. The impact which is cultural, imaginative and pedagogic is achieved through touch rather than via the normal emphasis on the communicated world.
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.
Research from the Digital arts strand of the CMR has had an impact in two related areas.
The Advertising Communications Research Group (Adcoms) consists of 9 staff and research students including Paul Springer Senior Lecturer 2001-2005 Principal Lecturer 2005-2009, Professor 2009-present and Gloria Moss, Senior Lecturer 2006-2009, Reader 2009-2013 Professor 2013. Adcoms champions two fundamental issues: 1) digital formats require different approaches to mass communications; 2) gender bias is inherent in the creation and reception of designed digital communications. Outputs have impacted on: perspectives of communications (eg Springer, Ads to Icons, 2007; Moss, Gender, Design & Marketing, 2009; Springer, P & Carson, M. Pioneers of Digital, 2012); practice (e.g. Creative Campus Initiative branding, 2010; positioning of the Institute of Practitioners in Advertising, 2013); thought leadership (e.g. referenced by DCMS policy 2012; keynote addresses for ProMediaTech, UKTI/Moscow, 2009; the China Advertising Association, Guangzhou 2006; expert presentation at the Global Diversity and Inclusion Conference, Barcelona, 2013 (Moss).
The research in this case study explored how media and cultural practices of communities are transforming in the digital age, and addressed the ways in which digital tools can enhance the lives of communities. There have been two main areas of impact: (1) contributing to the preservation, conservation and presentation of cultural heritage of communities; and (2) enhancing public and professional understanding of digital transformations in communities. The two main beneficiaries have been (i) local communities, and organisations working with and for communities in the South East of England, and (ii) professional communities of journalists and communicators in the UK and Germany.
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 organizations. Fortnight's 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).