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The University for the Creative Arts is a specialist art and design university in the south of England. Wikipedia.

Lin Y.,University for the Creative Arts
International Journal of Digital Television | Year: 2015

Openly accessible data sets (open data) have been recognized as valuable assets for creating business opportunities, revitalizing innovation and transparentizing organizational conducts. Public Service Broadcasters (PSB) such as the British Broadcasting Corporation (BBC) have been motivated to experiment with open data and new forms of innovation in content making, delivery and audience engagement. Through a case study of the BBC Backstage project, this article examines how such open innovation processes of engaging the public in the reuse and remix of open data were conceived, supported, managed and maintained. The research found that BBC Backstage had played an important role in encouraging and motivating people to reuse and repurpose the open data released by the BBC. New forms of outputs have emerged, as seen in the Data Arts visualization project and the R&DTV clips mashups. The article argues that PSB public value can be co-produced through opening up data sets, encouraging reuse and remix, and building up a network of enthusiastic and capable active audiences, the techno-elites, whose status has been encouraged the open data culture and alike. Lessons learned can help understand the meanings of open data from the PSB perspective, and the implications in media industry thereby foster innovation in future media and creative industries. © 2015 Intellect Ltd Article.

Ransom N.,University for the Creative Arts | Rafferty P.,Aberystwyth University
Journal of Documentation | Year: 2011

Purpose: This study aims to consider the value of user-assigned image tags by comparing the facets that are represented in image tags with those that are present in image queries to see if there is a similarity in the way that users describe and search for images. Design/methodology/approach: A sample dataset was created by downloading a selection of images and associated tags from Flickr, the online photo-sharing web site. The tags were categorised using image facets from Shatford's matrix, which has been widely used in previous research into image indexing and retrieval. The facets present in the image tags were then compared with the results of previous research into image queries. Findings: The results reveal that there are broad similarities between the facets present in image tags and queries, with people and objects being the most common facet, followed by location. However, the results also show that there are differences in the level of specificity between tags and queries, with image tags containing more generic terms and image queries consisting of more specific terms. The study concludes that users do describe and search for images using similar image facets, but that measures to close the gap between specific queries and generic tags would improve the value of user tags in indexing image collections. Originality/value: Research into tagging has tended to focus on textual resources with less research into non-textual documents. In particular, little research has been undertaken into how user tags compare to the terms used in search queries, particularly in the context of digital images. © Emerald Group Publishing Limited.

Meechao K.,University for the Creative Arts
CAADRIA 2015 - 20th International Conference on Computer-Aided Architectural Design Research in Asia: Emerging Experiences in the Past, Present and Future of Digital Architecture | Year: 2015

At present in most architectural practices, the way architectural design is presented involves computer-aided design to describe architecture for different purposes. Digital media has been employed for a creative proposal to achieve efficient communication. Although architects conduct and navigate design information, communication can be more efficient if architects convey exact messages. This paper investigates the way that architects communicate with stakeholders exploring their needs, including in digital media design to suggest new approaches that exploit capability of digital interactive media and networking. There is a clear need for a design process that ensures accurate communication, where both professionals and stakeholders can interact while the architectural design process is in progress. All stakeholders, not just architects need to be able to navigate the process. Finding a communication system through a website or application is recommended for this study. © 2015 All rights reserved and published by The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong.

Roworth-Stokes S.,University for the Creative Arts
Journal of Product Innovation Management | Year: 2011

This paper outlines the role of the Design Research Society (DRS) and explores some of the emerging trends in design research as a field of academic inquiry through its biennial conferences. In doing so it gives some insight into the areas of research which might inform future studies from a perspective of an organization that seeks to support the peer review process both directly and indirectly through conferences and events, journal editing, and as a nominating body for national and international research evaluation panels. © 2011 Product Development & Management Association.

Agency: GTR | Branch: AHRC | Program: | Phase: Fellowship | Award Amount: 78.17K | Year: 2012

Soft Estate: Exhibition Proposal by Edward Chell, under the highlight notice Care for the Future: Thinking Forward through the Past Soft Estate is the term used by the Highways Agency to describe the natural habitats that line our motorways and trunk roads, (some 30,000 hectares of land nationally). Whilst roads play a major role in opening up land for housing and economic development, their attendant verges offer a genuine refuge for wildlife and a modern form of wilderness in the midst of intense urbanisation and agro-chemical farming. Our road network, the site of some of our most carbon-intensive activity, is flanked by Britains largest unofficial nature reserve. The principal subject of this practice-led research is to visually investigate these under-represented areas of roadside wilderness, both as ecological and metaphorical spaces and as reflectors of the complex and changing relationships between travel, the environment and landscape imagery within British culture. In framing this research I will draw on the English Landscape and picturesque tradition of the 18th Century, which informs popular understanding of landscape even today. While early tourists travelled to areas such as The Lakes to capture images of wild places, in todays countryside uncontrolled wilderness only springs up in the margins of our transport networks and the semi-derelict grid plans of industrialised corridors. I believe these Edgelands invite a new kind of tourist, new ways of looking and new forms of visual representation. In drawing on the landscape tradition, and capturing details of the flora and fauna of the verge, my work will engage viewers with landscapes that appear familiar and uncanny, traditional and strangely futuristic. Equipped with a Claude Glass, the 18th C tourist would capture particular views and aesthetically tame them. Today, for instance, the rear view mirrors of automobiles have an equivalent framing effect and would inform images conjured from a contemporary perspective. Modern motorway design incorporates Clothoid or transition curves, features that focus drivers attention so that they stay alert. These have the effect of smoothing the landscape reminiscent of eighteenth century parks, where curved carriage drives managed the experience of the landscape. Motorways arguably represent the modern equivalent of the spectacular re-sculpting of the landscape undertaken by Capability Brown. This was not without its picturesque opponents. Tour writer and landowner Uvedale Price rejected Browns projects, describing them as levelling, Price no doubt being aware of the political ramifications of the term. These verges are powerful signifiers of environmental degradation, urban development and our increasing separation and alienation from the land itself and at the same time, of optimistic progress. Roads open up access to landscapes they despoil. Through drawing on the picturesque tradition in making this work, I aim to open up new ways for people to visualize and connect with these landscapes. The resulting solo exhibition at Bluecoat Liverpool, Soft Estate, in 2013, will build on projects in which I exhibited work in Little Chef restaurants with a view to reaching a wider public and prompting reflection and debate on the travel choices we make and how these affect our environment. I am currently working towards a related parallel show across the local network of Little Chef restaurants to draw a wider audience to the Bluecoat and prompt reflection on travel and landscape. I have already established a good working relationship with writer and environmental campaigner, Marion Shoard, vice-chair of the British Association of Nature Conservationists (BANC). Her expertise in the area of land access and discarded land will provide a valuable sounding board to my researches and her contribution to the Bluecoat publication will provide a value added spin off to the project.

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