The Abertay Code Bar – unlocking access to university-generated computer games intellectual poperty

Progress report on a digital platform and dual licensing model developed to unlock access to a University repository of new and legacy computer games based Intellectual Property (IP) assets for educational and commercial use. The digital creative industries have been identified by a number of governments as a priority area in delivering sustainable economic growth. Code Bar is an innovation that allows digital products to be commercially successful beyond the end of the Dare competition or coursework submission. To be selected for Code Bar, game products must be well designed for both player and market; technically robust (i.e. operating consistently and reliably on a single/multiple platforms), and be free from ambiguity around 3rd party IP. We describe various technical, pedagogic and legal challenges in developing the digital platform, licensing model and packaging of computer games products for release through the platform. The model is extendable beyond computer games to other software products

The Right Place at the Right Time: Creative Spaces in Libraries

Purpose This essay explores the recent trend in libraries: that of the establishment of spaces specifically set aside for creative work. The rise of these dedicated creative spaces is owed to a confluence of factors that happen to be finding their expression together in recent years. This essay examines the history of these spaces and explores the factors that gave rise to them and will fuel them moving forward. Design/Methodology/Approach A viewpoint piece, this essay combines historical research and historical/comparative analyses to examine the ways by which libraries have supported creative work in the past and how they may continue to do so into the 21st century. Findings The key threads brought together include a societal recognition of the value of creativity and related skills and attributes; the philosophies, values, and missions of libraries in both their longstanding forms and in recent evolutions; the rise of participatory culture as a result of inexpensive technologies; improved means to build community and share results of efforts; and library experience and historical practice in matters related to creativity. The chapter concludes with advice for those interested in the establishment of such spaces, grounding those reflections in the author’s experiences in developing a new creative space at Virginia Commonwealth University. Originality/value While a number of pieces have been written that discuss the practicalities of developing certain kinds of creative spaces, very little has been written that situates these spaces in larger social and library professional contexts; this essay begins to fill that gap

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

Mediated city: Annual review 2012

The research projects under Mediated City explore questions that traverse through various disciplines to create new knowledge. Here, design catalyses changes in people’s practices to cross boundary domains, such as art, business, geospatial science, interaction design and creative writing. Common themes under Mediated City are:• Activating public engagement in social, environmental and political issues• Creating spaces for dialogue and diversity• Altering our perception and relationship of place• Making histories accessible and meaningful in today’s world.This report documents the 2012 research activities for Mediated City including symposia, conferences, workshops, exhibitions, prototypes, and scholarly outputs including books, book chapters, conference papers, presentations, and journal articles.&nbsp

Forks in the Road: The Many Paths of Arts Alumni

Presents findings from a survey of visual and performing arts graduates about current employment, satisfaction with training and careers, ability to continue to create or perform, and elements needed to better connect arts training to artistic careers