47,002 research outputs found

    Towards an extended festival viewing experience

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    Media coverage of large-scale live events is becoming increasingly complex, with technologies enabling the delivery of a broader range of content as well as complex viewing patterns across devices and services. This paper presents a study aimed at understanding the experience of people who have followed the broadcast coverage of a music festival. Our findings show that the experience takes a diversity of forms and bears a complex relationship with the actual experience of being at the festival. We conclude this analysis by proposing that novel services for coverage of this type of events should connect and interleave the diverse threads of experiences around large-scale live events and consider involving more diverse elements of the experience of ``being there''

    Towards an extended festival viewing experience

    Get PDF
    Media coverage of large-scale live events is becoming increasingly complex, with technologies enabling the delivery of a broader range of content as well as complex viewing patterns across devices and services. This paper presents a study aimed at understanding the experience of people who have followed the broadcast coverage of a music festival. Our findings show that the experience takes a diversity of forms and bears a complex relationship with the actual experience of being at the festival. We conclude this analysis by proposing that novel services for coverage of this type of events should connect and interleave the diverse threads of experiences around large-scale live events and consider involving more diverse elements of the experience of “being there”

    Towards an Extended Festival Viewing Experience

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    GlobalFestival: Evaluating Real World Interaction on a Spherical Display

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    Spherical displays present compelling opportunities for interaction in public spaces. However, there is little research into how touch interaction should control a spherical surface or how these displays are used in real world settings. This paper presents an in the wild deployment of an application for a spherical display called GlobalFestival that utilises two different touch interaction techniques. The first version of the application allows users to spin and tilt content on the display, while the second version only allows spinning the content. During the 4-day deployment, we collected overhead video data and on-display interaction logs. The analysis brings together quantitative and qualitative methods to understand how users approach and move around the display, how on screen interaction compares in the two versions of the application, and how the display supports social interaction given its novel form factor

    Why people attend science festivals : interests, motivations and self-reported benefits of public engagement with research

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    As a form of public engagement, science festivals have rapidly expanded in size and number over recent years. However, as with other domains of informal public engagement that are not linked to policy outcomes, existing research does not fully address science festivals’ impacts and popularity.This study adduces evidence from surveys and focus groups to elucidate the perspectives of visitors at a large UK science festival. Results show that visitors value the opportunities science festivals afford to interact with scientific researchers and to encounter different types of science engagement aimed at adults, children and families. The most significant self-reported impact of attending a science festival was the development of increased interest and curiosity about new areas of scientific knowledge within a socially stimulating and enjoyable setting

    Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

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    Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two

    Reading the geographies of post-war British film culture through the reception of French film

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    This paper examines the ways in which British specialist film culture anticipated and received the resumed supply of French films at the end of the Second World War. It finds that in serious film journalism and within the rapidly expanding film society movement, new French cinema was the focus of at least as much British attention as Italian neo-realism – the European cinema more famously associated with the era. The paper posits that a number of factors, including anti-Americanism, combined to position the delayed wartime and immediate post-war French releases as a site of impossible expectations and subsequent interpretative difficulty for British cinephiles. In particular, through a case study of the local mediation of French cinema in the English city of Nottingham, this paper considers the role of published criticism for setting the local viewing frame within the provincial film society movement. By tracing the tensions surrounding the circulation of film prints, information, and opinion relating to these prestigious cultural imports, it becomes possible to gain greater insight into both the range of nationally specific meanings attributed to the imported films and the geographic and cultural inequalities at work within the film culture of the country of reception

    Lion and The Unicorn

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    Exhibition 2-10 May 2011 to mark 60 years of RCA participation in post war UK design. Sponsored by Royal Commission for the Great Exhibition of 1851, Sandersins and Napier heritage Trust, RCA Gulbenkian Gallery Kensington Gore, Catalogue of exhibition boards by Claire Pajaczkowska and Henrietta Goodden and curatorial essay 1851-1951-2011 by Claure Pajaczkowska and Barry Curti
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