Towards a New Paradigm for Intuitive Theatrical Lighting Control

A simplified model of a lighting process applied in theatrical productions is one that involves two key players. The first is that of the lighting designer, to produce a set of intentions and plans for the scenes that define the show. The second, the lighting technician, has the job of translating these designs into practice using control equipment, luminaires, and other technical instruments. The lighting design often becomes a ‘working document’ subject to change and adaptation as the physical reality of the design becomes apparent, and the input of other stakeholders is considered. This process can be a valuable creative tool, and also a difficult technical hurdle to overcome, depending on a varied number of factors. A common frustration with this process is that either the complexity of the task, or difficulty in communication can make it difficult for the final creative vision to be effectively realised. Strains may also arise in the case of small, often touring, theatre companies where the lighting designer and technician may be the same person, and frequently one of the performers as well. Considering the design aspect, there can be challenges in ensuring efficacy of lighting plans between venues in touring productions, with 2D lighting sketches or even 3D computer simulations confined to the paper or screen. From a technical perspective, the role of the lighting technician in theatres and performance situations has included the operation of lighting control equipment during shows. The equipment has evolved over time but has, until recently, been grounded upon the basis of faders and the mixing desk. It is argued that this paradigm has failed to keep pace with the change in other interactive technologies. The on-going research described in this paper explores existing and upcoming technologies in the field, whilst also seeking to understand the roles and communication workflows of those involved in theatrical lighting to find the best areas to seek improvement, adopting principles of user-centred design. The intention of this research is to develop a new paradigm, and manifestation of it, using a control method for lighting or projection that allows a more intuitive form of operation in theatre productions, which will be scalable and flexible

Introducing the Cancer Research UK Advanced Radiotherapy Technologies Network (ART-NET).

We live in a golden age for the development of innovative radiotherapy technologies. Three major new treatment platforms are currently at various stages of being implemented globally: stereotactic ablative radiotherapy (SABR)[1]; MR-guided radiotherapy (MR-Linac)[2]; and proton beam therapy (PBT)[3]. Such technologies offer huge opportunities for clinical benefit, but also present significant challenges for development, assessment and rational implementation within an increasingly financially constrained National Health Service (NHS). However, the apparent restrictions imposed by the structure of the NHS can also be viewed as a benefit for developing and proving the value of new radiotherapy technologies. In large part, this is due to the need to provide robust evidence to support the implementation of new technological developments before they can become widely available nationally. For example, the recent development, assessment and widespread adoption of intensity-modulated radiotherapy (IMRT) in the UK was driven by a programme of preclinical and clinical studies that were led initially by a small number of academic centres, but which progressively involved and finally included the majority of radiotherapy units in the UK[4-7]. A by-product of this research is that the UK has provided the international community with the best evidence-base for the use of IMRT in a variety of indications (e.g. prostate, breast and head and neck cancers)