Digital transformation in the arts : a case study

This paper considers the interaction between digital technology and cultural organisations and the challenges and opportunities this presents for practice and for policy. The paper is based on one of eight 'digital R&D' projects supported by NESTA, Arts Council England and the AHRC, designed to analyse the effects of digital innovation in UK arts organisations. The paper focuses on a series of residencies in three UK arts organisations. The research aims to identify the cultural conditions which support or prevent short-term digital innovation becoming 'embedded' in the ongoing practice of a cultural organisation. The paper considers differing practices, attitudes and expectations between creative technologists and arts organisations. These differing 'cultures of innovation' may help us to understand why digital innovations often fail to move beyond temporary and pragmatic problem-solving towards more challenging, transformational effects on organisational strategy and culture

The Faculty Notebook, September 2017

The Faculty Notebook is published periodically by the Office of the Provost at Gettysburg College to bring to the attention of the campus community accomplishments and activities of academic interest. Faculty are encouraged to submit materials for consideration for publication to the Associate Provost for Faculty Development. Copies of this publication are available at the Office of the Provost

ReconFigure paintings

ReconFigure Paintings is a series of work that uses reproductions of historical paintings as a base for geometric abstracted marks, which block out the figure in the original compositions. The research explores contemporary painting as a parasitic practice on it's own lineage. The work was developed during a residency Standpoint Gallery, London during October 2011, which led to a solo exhibition presentation. Bracey spent much of his time in the National Gallery researching specific paintings, such as Delarouche's Execution of Lady Grey and Leonardo Da Vinci's Virgin on the Rocks, resulting in a triptych of new paintings in response to the Da Vinci and 2 new paintings in relation to the Delarouche. ReconFigure Paintings builds on research disseminated previously in the artefacts Transitory Paintings, Self Portrait, an artist's book of over 100 reflected self portraits in artworks and palette Parasite, where artworks were installed on the outside of gallery (Ikon Gallery, Birmingham; Manchester Art gallery; The Collection, Lincoln and Wolverhampton Art Gallery, curated by Anneka French) walls. As part of the residency at Standpoint Gallery, Bracey delivered an in-conversation public talk with Peter Ashton-Jones editor of Turps Banana. The work has been further shown in Manchester Contemporary with Castlefield Gallery (2011), Art Gwanju:12, South Korea (2012), A Blind Python with Jewelled Eyes, Greestone Gallery, Lincoln (2012), A Private Affair, Harris Museum and Gallery, Preston (2012) Andrew Bracey, Jon Barraclough, Emma Stibbon and Julie McCalden, South Wales and Severn Office of the Canal & River Trust, Gloucester (2012), Possession, Bangkok Art and Culture Center, Bangkok, Thailand (2013), Mondegreen Ekphrasis, The Collection, Lincoln (2013), The Ends of Art, Beton7, Athens (2013)

Northern Lights Ceilidh:playful digital interventions in a Scottish tradition

Northern Lights Ceilidh (NLC) was a one-off event which added a modern twist to traditional Scottish dancing, music and performance and added a digital infusion of technology mediated interactions to proceedings. The event marked the end of an international games competition hosted in Dundee each year, Dare to be Digital (DtbD) inviting the participants in the games competition and the general public to attend. In total 208 people attended NLC, 75 of whom were participants in DtbD.It is not possible to determine how many of the participants were external to Abertay University. However, 50% of respondents to a survey relating to NLC1 (the survey was completed by 12% of the total attendees) cited they found out about the event through sources external to Dare to be Digital which could suggest that there were attendees who had no link to Dare to be Digital and Abertay University.The Ceilidh was part funded by the year of Homecoming Scotland, and thus sought to weave historical Scottish traditions with new traditions in Scotland (i.e. weaving ceilidh, poetry and dance with new forms of design including 3D printed jewellery and interactive technology). NLC was held in a high-tech marquee in Dundee City Square on the 8th of August 2014. The marquee had been used for four days as the site of the DtbD games showcase and was transformed into a dance hall for the event.NLC aimed to, through digital mediation, provide participants with agency commonly associated with digital media. Participants were able to contribute to the creation of a digital aesthetic which was layered upon the physical ceilidh experience through projection and real-time manipulation of live video feeds. The participants could alter and manipulate their movement to change what happened on screen, co-creating not only the dance elements of the ceilidh but also the digital spectacle.The ceilidh was designed Lynn Parker, and Clare Brennan. Ryan Locke provided imagery which was used as the setting for digital animation production by Lynn Parker. A jeweller, Elizabeth Armour, was commissioned to create custom jewellery for the event, a 3D printed brooch and two digital artists, Stuart MacBean and Yana Hristova were commissioned to create an animated ‘peep’ board with which attendees were encouraged to take photographs. During the event itself, the band Whiskey Kiss called the dances and provided the music whilst a performer recited poetry to open the event. Quartic Llama, an interactive media company were commissioned to create a digital app to promote the event, titled Lightstream (Quartic Llama, 2014).Lynn Parker led the design of interactive media interventions into the event, the creation of animation sequences and live visuals during the event, developed branding for the event, carried out client facing work with Quartic Llama and collaborated with her colleagues in the facilitation and organisation of the event.Northern Lights Ceilidh as practice-led-research work offers insight into design approaches to support and facilitate social interaction. The social nature of the ceilidh event provides a template for community creation and the layering of digital intervention provides a basis from which the mediation of interaction through both human and technology mediated play can be evaluated.The addition of a digital layer to the ceilidh setting provides an extra level of participation in the event, where the participants can not only make the event come to life through participating in the dances but also in their manipulation of their movement to shape the digital visualisations on screen. The experience of the participants of both the ceilidh setting and of digital mediation provides valuable underpinning for the evaluation of these factors through practice-led-research

The introduction and refinement of the assessment of digitally recorded audio presentations

This case study critically evaluates benefits and challenges of a form of assessment included in a final year undergraduate Religious Studies Open University module, which combines a written essay task with a digital audio recording of a short oral presentation. Based on the analysis of student and tutor feedback and sample assignments, this study critically examines how teaching and learning practices linked to this novel form of assessment have been iteratively developed in light of the project findings over a period of two years. It concludes that while this form of assessment poses a number of challenges, it can create valuable opportunities for the development of transferable twenty-first-century graduate employability skills as well as deep, effective learning experiences, particularly – though not exclusively – in distance learning settings

The game jam movement:disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art

Inchcolm project

Inchcolm Project is part of an interdisciplinary research project which develops new ways of designing for the moving body across media, by combining aesthetics and design methods from contemporary performance practice and video games. As such, it brought a video game (Dear Esther, The Chinese Room, 2012) to life on a Scottish island (Inchcolm island in the Firth of Forth). During the two hour experience on Inchcolm the audience/players wander freely on the island encountering geo-tagged audio, live music, performers and installation spaces evocative of the game world, a playthrough of the game projected in the 12th century Inchcolm abbey, and an orchestral performance of the video game’s soundtrack (composed by Jessica Curry, arranged by Luci Holland and David Jamieson, performed by Mantra Collective)