Académique Documents
Professionnel Documents
Culture Documents
This
project
has
received
funding
from
the
European
Union’s
Seventh
Framework
Programme
for
research,
technological
development
and
demonstration
under
grant
agreement
n°612451
Project
Acronym:
CRe-‐AM
Type 1: R
Project
Co-‐ordinator
Organisation
name:
University
of
Surrey
Name
of
representative:
Prof
Lampros
Stergioulas
Address
Surrey
Business
School,
University
of
Surrey,
Guildford,
Surrey,
GU2
7XH,
UK
E-‐mail:
l.stergioulas@surrey.ac.uk
Website:
www.CRe-‐AM.eu
Copyright
©
Copyright
2013-‐2015
The
CRe-‐AM
Consortium
1
Deliverable
Type:
P
(Prototype),
R
(Report),
O
(Other)
D5.1-‐
Gap
Analysis
Report
n
CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
Page
2
of
80
D5.1-‐
Gap
Analysis
Report
n
CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
Page
3
of
80
D5.1-‐
Gap
Analysis
Report
n
CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
Page
4
of
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Executive summary
The
present
document
is
a
deliverable
of
the
CRe-‐AM
project,
funded
by
the
European
Commission’s
Directorate-‐General
for
Communications
Networks,
Content
&
Technology
(DG
CONNECT),
under
its
7th
EU
Framework
Programme
for
Research
and
Technological
Development
(FP7).
This
deliverable
aims
at
analysing
the
different
characteristics,
advantages,
disadvantages,
threats
and
opportunities
of
the
technologies
supporting
creativity
in
the
five
creative
industry
sectors
(Art,
Design,
Media
&
e-‐Publishing,
Games
and
Architecture),
as
they
surveyed
in
WP4
in
relation
to
the
visions
identified
in
the
WP3
scenarios,
particularly
in
terms
of
capacity
to
handle
new
creativity
approaches
and
tools,
making
use
of
the
contemporary
ICT
capabilities.
For
each
creative
sector,
a
SWOT
(Strengths,
Weaknesses,
Opportunities
and
Threats)
analysis
has
been
conducted
to
compare
the
maturity
of
the
current
(and
presumed
evolution
of
future)
technologies
and
organisations
(WP4)
with
the
identified
future
requirements
(from
the
emerged
WP3
scenarios)
in
order
to
identify
the
current
strengths
(existing
competencies),
weaknesses
(missing
or
inadequate
capabilities
or
mismatches
between
what
today’s
technology
offer,
and
what
will
be
required
by
tomorrow’s
creative
industries),
opportunities
(key
future
capabilities)
and
capability-‐related
threats
(new
knowledge/inventions,
competences,
processes
and
business
models
needed
as
well
as
problematic
factors
such
as
competition
for
sources
of
capabilities
and
resources
needed
to
acquire
new
capabilities
or
re-‐
direct
existing
capabilities),
all
of
which
will
needed
for
the
realization
of
the
desired
future
scenarios.
The
analysis
of
trends
and
signals
in
relation
to
the
desired
future
scenarios
together
with
the
SWOT
analysis
of
the
envisaged
(and
desired)
future
technologies
contributed
to
identify
the
technology
gap
between
desired
future
technologies
and
probable
future
technologies,
providing
the
initial
input
for
elaborating
the
recommendations
for
future
research
and
implementation.
In
almost
any
creative
sector,
the
analysis
has
shown
gaps
in
technologies
supporting
virtual
collaboration
through
intuitive
tools
allowing
creators
to
collaborate,
share
ideas
and
generate
new
artefacts.
Innovation
in
these
creativity-‐supported
tools
which
will
have
a
significant
social
impact
by
enabling
different
groups
of
people
to
communicate
creatively
and
improving
the
existing
skills
of
creative
people.
Technologies
for
democratic
creativity
is
of
central
importance.
A
growing
need
of
crowdsourcing
technologies
for
the
cloud-‐based
collaborative
authoring
is
strongly
emerged
in
the
Art
and
Games.
In
the
latter,
technologies
allowing
the
semi-‐automatic
generation
and
reuse
of
pieces
of
games
are
missing
and
particularly
desired
by
games
creators.
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One
of
the
most
significant
trend
emerged
in
the
desired
future
scenarios
in
the
Media
sector
was
the
rise
of
the
“prosumer”
where
the
roles
of
producers
and
consumers
are
increasingly
intermingled.
Many
more
people
are
generating
their
own
digital
content
or
seeking
to
customise
existing
content.
“Prosumerism”
has
the
potential
to
drive
future
growth
in
many
creative
sectors
by
giving
individuals
the
tools
they
are
looking
for
to
be
creative.
It
is
important
to
underline
that
the
development
of
new
technologies
supporting
this
form
of
democratic
creativity
strongly
depends
on
new
business
models
definition
that
enable
wider
participation
but
also
allow
equal
opportunities.
For-‐profit
and
not-‐for-‐profit
models
are
required
to
be
developed
to
facilitate
the
inclusion
of
excluded
and
minority
groups
in
the
evolving
creative
sectors.
New
markets,
revenue
streams
and
new
sources
of
financing
need
to
be
identified
to
support
these
emerging
trends.
Crowdfunding
was
identified
several
times
throughout
the
scenarios
as
a
good
potential
source
of
early
stage
financing.
Other
gaps
arose
in
technologies
for
innovative
prototyping
in
Art,
Design
and
Architecture.
The
ideal
prototyping
system
would
provide
the
user/designer
with
the
flexibility
to
effortlessly
jump
back
and
forth
between
virtual
and
real/analogue
creative
environments.
Gaps
emerged
in
the
accuracy,
reproduction
of
the
qualities
of
modelling
materials
(shape,
look,
feel,
function)
and
the
different
dimensions
(images,
3D
virtual
models,
and
3D
physical
models).
Nowadays,
it
is
time
and
resource
consuming
to
move
from
analogue
to
digital
media.
Quicker
prototyping
would
result
in
faster
creative
processes
and
increased
competitiveness
of
these
creative
sectors.
The
technology
to
move
effortlessly
between
virtual
and
analogue
environments
is
in
its
infancy
or
not
yet
available.
Although
natural
interfaces
has
emerged
as
interesting
topic
of
research
in
content
creation
for
Art,
Design
and
Media
and
in
object
interaction
in
Games,
most
of
the
proposed
solutions
are
limited
to
a
prototypical
format.
Recently
however,
the
advent
of
low-‐cost
devices
used
for
interaction
in
the
context
of
entertainment
(e.g.
Kinect,
PlayStation
Move,
Wii,
Leap
etc.)
have
proven
the
possibility
to
obtain
adequate
interaction
quality
with
extremely
low-‐cost
devices.
These
devices
have
been
rapidly
adopted
by
end-‐user
communities
and
a
number
of
different
applications
implemented
in
different
contexts,
including
3D
acquisition.
In
addition,
touchscreen
devices
are
now
part
of
everyday
life,
and
they
are
now
commonly
used
by
society
at
large.
Given
these
recent
developments,
natural
interfaces
are
nowadays
not
only
an
interesting
direction
for
further
research
for
the
creative
community,
but
also
a
promising
field
of
application
for
industry.
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Technology
for
content
identification
(who
is
the
owner,
where
can
I
find
this
content?)
as
well
as
content
tracking
(is
this
content
legally
used?)
And
(who
has
the
copy
right?)
are
strong
issues
for
Media,
Art
and
Design.
They
are
subject
to
regular
discussions
between
the
right
holder
community
(we
have
to
be
able
to
keep
track
of
rights)
and
the
general
user
community
(we
should
be
able
to
use
any
content).
Without
trying
to
verify
all
content
circulating
on
the
web,
it
is
important
to
enhance
existing
tools
for
marking,
identifying,
monitoring
and
tracking
the
use
of
content.
These
issues
may
have
important
economic
impacts
depending
on
how
content
is
used
and
who
is
using
it.
Along
with
the
widespread
use
of
the
internet,
shielding
digital
data
from
theft
and
misuse
has
become
a
major
issue
for
legal
data
owners.
A
lot
of
efforts,
in
terms
of
economic
and
human
resources
have
been
spent
in
recent
years
by
the
digital
entertainment
industry
in
order
to
enforce
the
protection
of
software,
digital
images,
movie
and
audio
files.
While
Digital
Right
Management
technologies
for
traditional
multimedia
data
are
nowadays
a
standard
practice
(even
if
margins
for
improving
the
technologies
are
substantial),
only
a
few
technologies
have
been
specifically
developed
to
protect
3D
contents,
quite
common
today
in
the
digital
Art,
Design,
and
Media.
Another
key
element
in
our
analysis
regards
the
technologies
supporting
the
immersion
experience
of
users.
The
creation
of
the
feeling
of
reality
can
be
achieved
through
research
in
virtual
reality,
augmented
reality,
natural
interfaces
(e.g.
the
Wii
board,
Kinect,
etc.)
and
high
fidelity
computer
graphics.
The
challenges
are
in
the
ability
to
produce
real-‐time
and
highly
detailed
environments
which
are
also
perceived
as
real.
Novel
displaying
technologies
are
the
key
to
this.
For
example,
High
Dynamic
Range
(HDR)
displays
allow
the
user
to
feel
real-‐world
light,
because
they
can
reproduce
a
huge
contrast
and
light
intensity.
Some
effort
is
still
needed
to
provide
a
better
immersion
experience
for
the
user
by
exploiting
what
the
users
really
want
such
as:
low-‐latency,
low
price,
an
easy-‐to-‐use
Software
Development
Kit
(SDK)
for
developers.
Experts
from
almost
all
creative
sectors,
recognised
in
their
future
scenarios
the
importance
of
big
data
analytics
to
trigger
and
support
creativity.
However,
data
analysis
tools
are
currently
not
very
adapted
to
the
needs
of
the
creative
community.
More
research
is
required
in
semantic
modelling,
new
methods
of
discovery
in
heterogeneous
data,
data-‐generated
languages,
and
semantic
models
from
data.
Another
interesting
challenge
pointed
out
by
the
experts
involved
in
the
project
concern
the
increased
use
of
different
devices
to
access
to
the
same
content,
or,
vice
versa,
the
need
of
content
providers
to
deliver
the
same
content
across
many
different
channels.
The
transmedia
approach
to
tell
a
narrative
across
multiple
platforms
and
formats
using
digital
technologies
has
been
led
by
the
Media
and
Games
sectors
to
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generate
additional
return
on
investment
from
their
original
content.
There
are
significant
opportunities
for
other
creative
industry
sectors
to
take
advantage
of
transmedia
including
the
publishing
sector.
However,
such
opportunities
are
accompanied
by
a
need
of
enhancing
interoperability
(plug
and
play
interoperability)
among
different
technologies,
systems,
devices
and
file
formats.
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n°612451
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D5.1-‐
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1 Introduction
This
document
presents
the
main
output
of
Task
5.1:
Gap
analysis
of
Work
Package
5.
The
aim
of
this
task
is
to
analyse
the
different
characteristics,
advantages,
disadvantages
and
opportunities
of
the
future
technologies
emerged
from
the
work
done
in
WP4
and
reported
in
D4.1
in
relation
to
the
future
visions
identified
in
the
WP3
scenarios
(see
D3.1),
particularly
in
terms
of
capacity
to
handle
new
creativity
approaches
and
tools,
making
use
of
the
contemporary
ICT
capabilities.
A
SWOT
analysis
has
been
conducted
to
compare
the
maturity
of
the
current
(and
presumed
evolution
of
future)
technologies
and
organisations
(WP4)
with
the
identified
future
requirements
(from
the
emerged
WP3
scenarios)
in
order
to
identify
the
current
strengths
(existing
competencies),
weaknesses
(missing
or
inadequate
capabilities
or
mismatches
between
what
today’s
technology
offer,
and
what
will
be
required
by
tomorrow’s
creative
industries),
opportunities
(key
future
capabilities)
and
capability-‐related
threats
(new
knowledge/inventions,
competences
and
processes
needed
as
well
as
problematic
factors
such
as
competition
for
sources
of
capabilities
and
resources
needed
to
acquire
new
capabilities
or
re-‐direct
existing
capabilities),
all
of
which
will
needed
for
the
realization
of
the
WP3
scenarios.
The
gap
analysis
has
been
conducted
in
terms
ICT
technology
gap
relevant
for
each
of
the
targeted
creative
sectors:
1. Art
2. Games
3. Design
4. Media
(New
Media
&
e-‐Publishing)
5. Architecture
The
verification
and
validation
of
the
results
will
be
conducted
mainly
through
the
feedback
received
from
the
CRe-‐AM
stakeholders
during
year
2
events
(mainly
stakeholder’s
consultation
workshops
dissemination
events,
interviews)
and
online
communities.
A
refined
version
of
the
current
analysis
is
foresaw
in
D5.2.
In
Task
5.2,
the
gap
analysis
will
then
be
translated
into
specific
recommendations
with
the
medium-‐term
and
longer-‐term
perspectives,
providing
the
roadmapping
framework
of
the
project.
The
document
is
structured
as
follows:
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Chapter
2
of
this
document
presents
the
methodology
followed
for
the
SWOT
and
gap
analysis.
Chapters
3
to
7
present,
for
each
of
the
five
creative
sectors,
the
analysis
of
the
technologies
involved
in
the
desired
future
scenarios
and
compare
these
technologies
with
trends,
strong
and
weak
signals
in
order
to
identify
potential
technologies
gap.
The
same
technologies
are
also
analysed
using
the
SWOT
approach
in
order
to
provide
addition
considerations
useful
for
the
gap
analysis.
Chapter
8
draws
the
conclusions
of
this
report.
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Desired
Future
Scenarios
WP3
and
Technologies
per
creative
sector
WP5
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WP3
is
expected
to
provide
what
technologies
/
technology
characteristics
the
creators
would
like
to
have
and
what
they
expect
to
have
available
the
following
years.
WP4,
receives
the
above
list
of
technologies
from
WP3
as
input
and
provide
a
study
of
the
current
state
and
the
planned
developments
of
such
technologies
/
technology
characteristics
together
with
an
analysis
of
the
strong
and
weak
signals
regarding
the
ICT
technologies
affecting
and/or
will
affect
the
creative
sectors.
The
process
leading
to
the
gap
analysis
is
better
detailed
in
the
following
picture:
Figure
2:
Overall
process
for
the
Gap
Analysis
In
order
to
identify
which
new
ICT
technologies
and
tools
can
address
the
needs
of
the
various
sectors
of
the
creative
industries,
the
visions
and
scenarios
described
in
D3.1
have
been
grouped
according
to
similar
functional
characteristics
(e.g.,
authoring,
integration,
presentation,
personalisation,
type
of
interaction…).
For
instance,
the
desired
future
scenarios
of
the
Media
sector
of
D3.1
have
been
grouped
in:
• Community-‐based
content
creation;
• Contents
analysis
and
personalization;
• Interactive
and
Immersive
content
presentation;
• Streaming
and
broadcasting;
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Figure
3:
Scenarios
representation
using
mind
maps
Then,
the
envisaged
technologies
that
were
extracted
from
the
desired
future
scenarios
are
compared
with
the
sectorial
technology
trends
and
strong
and
weak
signals
in
order
to
identify
which
are
the
desired
technologies
that
need
to
be
created,
supported
or
influenced.
The
distance
between
the
current
and
emerging
reality,
i.e.
trends
and
signals
from
the
environment,
and
the
technologies
needed
to
realise
the
desired
future
scenarios
is
the
technology
gap.
The
conducted
SWOT
analysis
on
the
envisioned
technologies
contributed
to
better
define
the
gaps
also
in
function
of
internal
and
external
factors.
In
fact,
the
SWOT
(strengths,
weaknesses,
opportunities
and
threats)
analysis
is
the
framework
used
for
identifying
and
analysing
the
internal
and
external
factors
that
can
have
an
impact
on
the
viability
of
the
identified
technologies
[Bourgeois
(1996),
Hill
(1997),
Pearce
(1997)].
In
particular,
we
evaluated:
1)
Strengths
as
Internal
(i.e.
internal
to
the
creative
industry)
assets
including
such
things
as:
•
Know-‐how
•
Motivation
2
FreeMind: http://freemind.sourceforge.net
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•
Technical
skills
•
Business
links
These
internal
strengths
help
to
either
exploit
potentials
and
opportunities
or
they
may
be
an
asset
to
ward
off
threats
and
potential
difficulties.
2)
Weaknesses
as
the
internal
condition
which
hampers
the
effective
exploitation
of
the
existing
or
future
opportunities.
Weaknesses
can
include
such
things
as:
•
limited
know-‐how
•
insufficient
skills
and
techniques
•
differing
management
and
planning
“culture”
•
limited
experience
3)
Opportunities
are
areas
where
one
creator
may
enjoy
a
competitive
advantage
from
using
the
technology.
Opportunities
and
to
some
extent
potentials
are
factors
which
must
be
learned
to
exploit
for
the
creative
industries
interests.
While
opportunities
are
external
factors,
the
ability
to
exploit
them
is
also
based
on
the
internal
characteristics
of
the
creative
sector.
In
other
words,
well
qualified
experts
of
the
sector
are
much
more
likely
to
be
able
to
effectively
make
use
of
opportunities.
Opportunities
embrace
such
factors
as:
• external
circumstances,
which
are
either
dependent
upon
a
given
opportunity
or
they
can
be
partly
influenced
by
the
new
technology,
which
basically
favours
a
development
organization
requesting
the
new
technology
• trends,
attitudes
and
approaches
will
all
affect
the
opportunities
provided
for
the
new
technology
4)
Threats
are
factors
which
need
not
necessarily
be
seen
only
from
the
negative
side,
a
threat
can
also
be
a
challenge
which
may
be
posed
by
an
unfavourable
situation
in
the
environment.
What
is
important
is
that
the
threat
requires
some
form
of
purposeful
action,
they
can
include:
• external
circumstances
which
will
unfavourably
influence
the
competence
of
the
creative
industry
workers
• changing
procedures/approaches
of
organizations
which
are
unknown
• budget
reductions
by
companies
and
organizations
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The
SWOT
analysis
reported
in
this
deliverable
has
been
based
on
a
sound
knowledge
about
the
present
environment
and
trends
(in
the
CRe-‐AM
context
these
points
are
clarified
by
the
analysis
conducted
in
WP4),
as
well
as
internal
resources
(not
necessarily
already
present
in
CRe-‐AM
stakeholders).
Furthermore,
since
it
is
usually
impossible
to
talk
about
the
environment
in
general
without
becoming
vague,
those
parts
which
are
relevant
have
first
to
be
identified.
In
CRe-‐AM
we
make
identification
on
the
basis
of
the
experiences
collected
from
experts
in
WP3
and
orientate
our
activities
according
to
a
more
or
less
explicit
definition
of
target
market
segments
and
creative
industry
sectors
needs
to
be
met
that
have
been
defined
in
D3.1
scenarios.
The
detailed
scenarios
of
D3.1
already
contain
statements
defining,
besides
the
market
and
the
industry
sector
aspects
already
mentioned,
the
distinctive
competence
that
is
to
be
built,
the
social
and
environmental
standards
to
be
respected,
and/or
other
factors
according
to
the
priorities
of
creative
industries.
Figure
4:
SWOT
Matrix
From
the
CRe-‐AM
perspective,
the
SWOT
analysis
brings
the
following
advantages:
• SWOT
serves
to
structure
basic
information
on
ICT
technologies
supporting
creative
experts
of
the
5
considered
communities/sectors
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• SWOT
is
an
analytical
framework
which
facilitates
a
common
understanding
of
the
“reality”
among
different
working
areas
within
between
creative
organisations
and
their
clients,
suppliers,
peer
groups
or
shareholders.
• SWOT
helps
to
delineate
strategic
options
for
ICT
technology
providers.
• SWOT
Analysis
is
a
most
effective
and
objective
way
to
determine
the
possibilities
to
surviving
‘threats’
and
capitalising
on
‘opportunities’.
The
CRe-‐AM
stakeholders
have
also
been
involved
in
the
SWOT
analysis
of
the
envisaged
ICT
technologies
(see
References
Bourgeois
III,
L.J.
(1996)
Strategic
Management,
From
Concept
to
Implementation.
The
Dryden
Press,
Fort
Worth.
Hill,
T.
and
R.
Westbrook
(1997)
SWOT
Analysis:
It’s
Time
for
a
Product
Recall.
Long
Range
Planning,
Vol.30,
No.1,
pp.
46-‐52.
Pearce,
II,
J.
A.
and
R.
B.
Robinson,
Jr.
(1997)
Strategic
Management.
Formulation,
Implementation,
and
Control.
6th
ed.
Irwin,
Chicago.
.
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• designated
a
leader
or
group
facilitator
who
had
good
listening
and
group
process
skills,
and
who
could
kept
things
moving
and
on
track.
• designated a recorder to back up the leader when the groups were large.
• briefly
introduced
the
SWOT
method
and
its
purpose
as
part
of
the
general
introduction
of
the
workshop
purposes.
This
were
as
simple
as
asking,
"Where
are
we
in
terms
of
technology,
where
can
we
go?"
• Gave
the
groups
about
20
minutes
to
brainstorm
and
fill
out
their
own
strengths,
weakness,
opportunities
and
threats
chart.
We
encouraged
them
not
to
rule
out
any
ideas
at
this
stage,
or
the
next.
o Reminded
groups
that
the
way
to
have
a
good
idea
is
to
have
lots
of
ideas.
Refinement
can
come
in
later
discussion,
also
online
on
the
CRe-‐AM
communities’
portal.
In
this
way,
the
SWOT
analysis
also
supported
valuable
discussion
within
the
groups
as
we
honestly
assessed.
o It
helped
to
generate
lots
of
comments
about
the
defined
future
scenarios,
desired
scenarios
and
trends
and
even
to
put
them
in
multiple
categories
if
that
provokes
thought.
Once
a
list
was
generated,
we
refined
it
to
the
best
15
or
fewer
points
so
that
the
analysis
can
be
truly
helpful.
Annex
II
-‐
Technology
mapsThe
Technology
Maps
shown
in
Annex
II.
In
fact,
a
series
of
questions
were
asked
to
draft
an
initial
SWOT
analysis
during
the
CRe-‐AM
events.
In
particular
in
some
workshops
and
interviews
the
following
questions
were
asked:
A)
Why
do
creative
industries
should
be
interested
in
the
technology?
What
differentiates
this
technology
from
the
others?
What
are
the
things
that
are
going
well
for
them?
[Strengths]
B)
What
are
the
areas
of
creative
industries
cause
them
concern?
What
are
the
technology
features
that
are
not
right
or
appropriate?
What
areas
or
issues
do
you
need
to
work
on?
What
aspects
need
improvement?
[Weaknesses]
C)
What
opportunities
are
available,
which
can
be
taken
advantage
of
both
now
and
in
the
future?
Are
there
new
markets
that
could
be
tapped
with
the
technology?
What
opportunities
exist
to
improve
the
way
creative
industries
perform
their
current
activities,
and
what
efficiencies
could
be
gained?
What
are
the
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new
products
and
services
that
can
be
developed
and
added?
What
could
creative
industries
do,
that
they
are
not
doing
now
or
can
do
better?
[Opportunities]
D)
Have
there
been
any
significant
changes
in
the
creative
industry?
What
are
the
issues
creative
industry
is
facing
that
threaten
their
business?
Are
there
any,
or
do
you
anticipate
players
that
monopolize
the
market
with
their
products
and/or
technologies?
[Threats]
The
collected
answers,
together
with
further
internal
analysis
and
few
considerations
regarding
the
addressed
markets,
contributed
to
the
SWOT
analysis
of
desired
technologies
for
each
creative
sector.
The
result
is
presented
in
the
following
chapters.
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3 Art
The
Art
sector
covers
the
full
range
of
creative
practices
including
fine
art,
crafts
and
performance.
Included
in
its
remit
is
also
some
of
new
media
art,
a
genre
that
encompasses
artworks
created
with
new
media
technologies,
including
digital
art,
computer
graphics,
computer
animation,
virtual
art,
Internet
art,
interactive
art,
video
games,
computer
robotics,
and
art
as
biotechnology.
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Figure
6:
Interactive
virtual
and
augmented
ICT
technologies
supporting
Artworks
creation
Figure
7:
ICT
technologies
for
presenting,
exhibiting
and
interacting
with
digital
Artworks
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Figure
8:
ICT
technologies
for
storing,
preserving
and
protecting
digital
Artworks
The
attention
is
around
those
technologies
that
provide
the
artists
with
virtual
collaborative
environments
aiming
at
the
collaborative,
also
interdisciplinary
(e.g.
music,
design),
creation
of
artworks.
Technologies
translating
emotions
and
body
movements
into
creative
support
during
the
artwork
creation
are
also
part
of
the
desired
future
scenarios.
Finally
yet
importantly,
visualisation
technologies
more
and
more
engaging
and
interactive
are
considered
the
“nice
to
have”
in
the
future
art
technologies.
3.1 Mapping Desired Future Scenarios to Trends and Strong and Weak Signals
The
above
grouped
desired
future
scenarios
represented
by
their
envisaged
ICT
technologies
have
been
compared
to
the
technology
trends
and
strong
and
weak
signals
emerged
from
the
CRe-‐AM
events
and
desk
research
and
illustrated
in
D4.1.
The
result
of
the
comparison
is
presented
in
the
Table
1.
The
aim
for
such
mapping
exercise
is
to
lay
the
foundation
for
the
SWOT
and
Gap
analysis
of
those
emerging
or
new
technologies
to
be
adopted
in
the
art
sector
in
the
next
years
which
future
is
still
uncertain.
Signals
Trends
Desired
future
Strong
Weak
scenarios
Interactive
• Art
Micro
Patronage
• New
ways
to
interact
with
• Telematics’
Art
virtual
and
• 3D
printers
hardware
through
physical
• Brain
interface
(commands
augmented
• Machine
intelligence
moves
given
through
electroencephalography
for
technology
for
(from
the
• Requirement
for
artistic
works)
Artworks
recommendations
to
interdisciplinary
• Requirement
of
non-‐intrusive
creation
evaluation
to
the
understanding
between
technology
to
measure
the
production
of
art
itself)
artists
and
ICT
experts
feelings
of
the
audience
or
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• Motion-‐tracking
suits
with
• Demand
for
potential
their
breath
and
heart
rhythm
accurate
body
motion-‐ application
of
Technology
during
a
performance
and
use
capture
abilities
for
helping
artists
to
share
this
in
an
interactive
environment
• Distributed
environments
and
publicise
their
artworks
• Demand
for
virtual
spaces
for
for
artworks
creation
• Openness
to
sharing
co-‐creation,
collaboration,
technology
training
and
education
of
the
• Match
making
accessible
people
and
stakeholders
platform
between
artists
regarding
the
history
of
art
and
and
ICT
communities
creativity
in
art
• Multisensory
art
creation;
• Interdisciplinary
interactive
artwork
in
music,
tech,
• Collaborative
virtual
performance,
music
environments
for
artists
composition
for
TV,
synch
and
• Increased
demand
for
more
live
broadcasting
networking
ICT
applications
to
expand
and
improve
Art
and
artists
communities
• Art
Micro
Patronage
• More
interactive
virtual
• Expanding
3D
and
4D
creations’
• 3D
wall
textures
technology
that
will
take
boundaries
for
artistic
works
• 3D
printers
full
advantage
of
3D
(e.g.
4D
movies)
environments
that
the
artist
• Virtual
Art
• 3D
holographic
projection
will
use
to
submerge
their
• Robotic
Art
technology
audience
into
their
• Holographic
Art
• Machine
intelligence
creations.
• Net
Art
(from
the
• Extended
functionality
of
• Telematics’
Art
Technology
for
recommendations
to
3D
printer
that
will
use
a
• Cyber
Performance
presenting,
evaluation
to
the
range
of
material
• Multi-‐touch
screen
boards
exhibiting
and
production
of
art
itself)
• Virtual
reality
• Broader
applications
of
interacting
with
• augmented
reality
Augmented
reality
(Multisensory
Art)
artworks
• Virtual
reality
• Requirement
of
non-‐intrusive
• Motion-‐tracking
suits
with
technology
to
measure
the
accurate
body
motion-‐ feelings
of
the
audience
or
capture
abilities
their
breath
and
heart
rhythm
during
a
performance
and
use
this
in
an
interactive
environment
• Meta-‐Thesauri
for
Media
• Permanent
digital
data
• A
global
database
for
Technologies
for
Art
Research
storage
for
Artwork
authorship
and
IPR
tagging
preservation,
• Media
Art
Notation
System
for
greater,
more
storage
and
granular
descriptions
of
a
protection
multi-‐component
digital
object
Table
1:
Technologies
for
Desired
Future
Scenarios
compared
to
Trends
and
Signals
from
the
Art
sector
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With
respect
to
the
desired
future
represented
by
more
interactive
virtual
and
augmented
technology
for
artworks
creation,
Table
1
shows
a
convergence
between
envisaged
technology,
trends
and
signals
for
virtual
collaborative
environments
where
artists
can
virtually
meet
online
(no
matter
where
they
are
located),
exchange
idea
and
cooperate
to
the
realisation
of
a
new
artwork.
Regarding
the
artists’
scenarios
for
the
future
technology
helping
them
to
create
multisensory
artworks
through
new
form
of
multimodal
human-‐computer
interaction
(technologies
supporting
the
interaction
with
the
virtual
and
physical
environment
through
natural
modes
of
communication”
like
the
voice)
and
the
interpretation
of
emotions,
the
trends
and
signals
about
such
future
technologies
are
less
strong
indicating
a
potential
gap.
Concerning
the
technologies
for
presenting,
exhibiting
and
interacting
with
artworks,
the
focus
is
on
the
use
of
3D,
Holograms,
3D
printing,
augmented
reality
and
wearable
technologies
that
will
engage
the
viewer,
offering
a
more
immersive
experience.
Here
the
gap
appears
to
lie
on
the
use
of
non-‐intrusive
technology
to
measure
the
feelings
of
the
audience
or
other
body
signals
(e.g.
breath
and
heart
rhythm)
during
a
performance
and
use
this
in
an
interactive
environment.
For
the
digital
artworks
storage,
preservation
and
protection,
some
concerns
regard
the
need
of
technologies
for
a
more
granular
descriptions
of
a
multi-‐component
digital
objects
in
order
to
facilitate
their
search
and
availability
of
global
database
for
authorship
and
IPR
tagging.
The
following
SWOT
analysis
is
used
to
compare
the
maturity
of
the
technologies
envisaged
in
future
scenarios
of
the
Art
sector
with
technology
trends
and
signals
emerged
from
WP4
activities.
The
analysis
of
current
strengths,
weaknesses,
opportunities
and
threats
of
the
future
Art
technologies
needed
for
the
realization
of
the
CRe-‐AM
stakeholders’
scenarios
contributes
to
identify
the
technologies
gap
and
to
draw
the
initial
roadmap
in
terms
of
recommendations
for
ICT
producers.
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STRENGHTS WEAKNESSES
• Collaboration
between
ICT
and
Art
• Complex
and
less
intuitive
tools
field
can
result
into
more
attractive
interfaces
artistic
creations
• Gap
between
artists’
conceptual
ideas
• New
forms
of
art
and
art
creation
and
technology
experts’
ICT
restrictions.
There
is
a
need
to
bridge
• Potential
benefits
to
attract
the
the
gap
between
artists’
ideas
and
ICT
investors
due
to
its
large
market
tools
expertise
and
their
knowledge
target
about
art
• Well
preserved
artworks
• Difficulty
of
implementations
of
desired
future
of
ICT
and
Art
• New
IPR
and
DRM
expectations.
Artist
can
provide
ideas
that
might
not
be
easily
applicable
but
• New
way
of
enjoying
artworks
collaborations
with
artists
present
(interaction,
exploration,
some
unique
characteristics
like
multisensory)
augmented
and
collective
creativity
• Artist
needs
awareness
and
easy
to
• Easier
search
of
digital
artworks,
use
guidance
for
existing
creative
tools
better
indexed
so
that
they
can
use
to
exploit
their
work
• Through
sharing
creative
processes,
artists
are
inspiring
innovative
• Difficulties
to
propose
the
clear
idea
of
thinking
and
facilitating
the
the
product,
tools
and
processes
to
the
exchange
of
ideas
within
their
investors
before
the
actual
rapidly
developing
online
implementation
community.
• With
3D
printing,
artists
can
offer
a
new
way
of
shopping
online.
Consumers
can
buy
digital
files
and
print
their
3D
art
at
home
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OPPORTUNITIES THREATS
• The
needs
of
our
society,
• Dominance
of
big
business
and
the
technology
strengthens
our
artistic
major
tech
players
and
the
use
of
the
dreams
and
actions
cloud,
platforms
(Google,
Facebook,
Amazon,
Tumblr),
etc.
• Growth
of
the
Digital
Art
• Trust
-‐
between
the
corresponding
• An
increasing
number
of
artists
and
the
pre
agreement
on
the
contemporary
artists
and
designers
IPR
issues
now
use
ICT
to
develop
and
create
their
work
• Funding
issues
-‐
funding
restrictions
• Bachelor
of
Art
and
Technology
• Lack
of
awareness
of
new
creative
tools
and
processes
and
technological
progress
• Cheaper
3D
printers
• Lack
of
integrated
and
updated
portal
that
could
provide
networking
opportunities
for
the
ICT-‐Art
community
• Different
way
of
thinking
(philosophy)
between
artists
and
creative
tech
providers
• Expensive
technologies
(e.g.
holographic
projectors,
wearable
technologies)
• Enhancement
(i.e.
adaptation
instead
of
new)
of
technologies
originally
developed
for
other
applications
Table
2:
Art
sector
technologies
SWOT
analysis
From
the
collected
desired
future
scenarios
emerged
the
increased
interest
of
artists
for
technologies
enabling
to
change
end-‐users
experiences
when
in
virtual
presence.
There
is
a
need
of
artists
to
find
new
ways
to
involve
viewers,
increasing
their
levels
of
immersion
or
recreating
the
feeling
of
shared
experiences/emotions
when
accessed
from
a
remote
location.
This
process
is
bandwidth
demanding
since
transmission
engaging
3D
and
VR
contents
will
be
necessary.
There
is
a
need
for
better
tools
for
content
creation
using
AR/VR
and
simpler
easy
to
use
interfaces.
These
tools
will
have
to
allow
artists
possessing
a
relatively
limited
knowledge
of
modelling
applications
to
produce
3D
meshes
of
interest.
And
as
online
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development
tools
become
more
user-‐friendly
and
accessible
to
larger
communities
of
artists,
new
modes
of
creation
and
collaboration
will
be
constantly
evolving.
Other
areas
of
development
include
new
multimodal/multisensory
hardware/apps
for
immersive
experiences
(e.g.
Google
glass,
Oculus…)
but
the
future
should
not
focus
exclusively
on
the
development
of
specialist
VR
headsets
but
rather
on
extending
AR/VR
technologies
into
existing
devices.
In
the
field
of
multisensory
experiences
there
have
been
a
lot
of
piecemeal
investigations
into
different
aspects
of
our
sense
of
touch,
taste
and
smell
as
sensory
interaction
modalities
for
interactive
systems.
To
date
however
there
has
been
no
integrated
push
to
evolve
the
technical
and
user-‐experience
aspects
of
these
for
interactive
systems.
Technology
in
this
field
has
evolved
to
the
point
where
it
is
easy
to
create
proof-‐of-‐concept
prototypes
but
without
any
tools
for
designers
and
creative
industries
to
utilise
this
technology
there
will
be
limited
further
developments.
Tools
to
support
the
designer
in
creating
such
interactive
experiences
are
urgently
required.
Similarly,
neuroscience
has
made
progress
in
understanding
our
senses
better
(e.g.
gustotopic
maps
and
discriminating
olfactory
stimuli)
but
there
is
a
lack
of
knowledge
of
the
user-‐
experience
aspect
of
creating
multi-‐sensory
experiences.
According
to
our
scenarios,
in
the
future
of
the
artists,
3D
printing
will
play
a
key
role.
Artists
already
uses
3D
printing
for
their
creation,
but
at
the
moment
the
majority
of
desktop
3D
printing
is
focused
on
printing
with
plastic
filament,
limiting
the
creativity
of
the
artists.
Artists’
wishes
include
the
experimentation
with
the
different
techniques
and
materials
to
discover
all
the
possibilities
of
3D
printing.
There
is
already
much
development
in
this
area
and
the
options
are
expanding
fast.
For
example
the
use
of
filaments
like
laybrick,
laywood
or
nylon
can
already
add
a
very
distinct
character
to
the
3D
printed
artwork.
However,
when
more
techniques
and
materials
are
expected.
All
techniques
that
allow
the
representation
of
light
in
art
and
creates
3D
vision,
which
is
close
to
that
perceived
naturally
by
the
human
eye,
is
something
that
attracts
the
attention
of
artists.
And
the
hologram
is
not
an
exception.
Artists
are
using
3D
holograms
as
a
new
form
of
art
call
“Holo
Art”.
In
their
desired
future,
holographic
projections
will
become
interactive.
Interactive
holographic
3D
displays
have
been
recently
announced
but
these
prototypes
are
not
able
to
display
arbitrary
images
and
there
were
limits
to
their
scalability.
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4 Games
The
games
sector
is
one
of
the
dominant
media
industry
of
the
twenty-‐first
century.
The
games
industry
already
relies
to
a
large
extent
on
technology.
Technology
is
driven
by
industry
trends
with
technology
‘pushing’
the
industry
forward
at
the
same
time
as
advances
in
the
industry
‘pull’
further
technology
development
and
innovation.
Gaming
is
a
large
global
market
covering
transversal
topics
such
as
apps,
games,
serious
games,
console
games
etc.
Driven
by
strong
mobile
gaming
and
video
game
console
and
games
the
market
grows
about
20%
every
year.
The
‘serious
games’
sector
where,
for
example,
games
technologies
are
being
used
to
assist
rehabilitation,
training,
education,
simulations
and
so
on,
is
also
growing
rapidly.
The
gaming
industry
is
a
good
example
of
European
competitiveness.
The
games
industry
in
Europe
is
competing
against
the
US,
Japan,
Korea
and
Canada
with
many
powerful
companies
and
games
coming
from
Europe.
However,
action
needs
to
be
taken
to
sustain
the
competitiveness
Europe
game
industry.
In
order
to
do
that,
it
is
important
to
start
from
the
analysis
of
the
wish
list
of
games
community
members
for
how
games
will
turn
out
in
the
future.
The
analysis
of
visions
and
desired
scenarios
that
have
been
collected
during
the
project
events,
interviews
and
the
online
survey
on
the
CRe-‐AM
portal
presented
D3.1
from
the
ICT
perspective
has
revealed
a
particular
interest
of
our
creative
Games
industry
community
for
the
following
macro-‐categories
of
ICT
technologies:
• Engaging
technologies
for
immersive
games
• Technologies
for
user-‐generated
and
user-‐oriented
contents
• Technologies
for
personalised
games
More
specifically,
the
technology
conceptual
maps
associated
with
the
above
groups
of
technologies
are
presented
in
the
following
graphs.
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Figure
9:
Technologies
for
more
engaging
games
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Figure
10:
ICT
technologies
supporting
game’s
content
creation
Figure
11:
ICT
technologies
for
personalised
games
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Natural
interfaces,
wearable
technologies
associated
to
the
motion
and
emotion
detection,
augmented
reality,
3D
holographic
projections
and
real
3D
audio
are
the
desired
technologies
for
offering
more
immersive
and
engaging
games
while
a
more
realism
is
ensured
by
a
new
computer
graphics
and
rendering
techniques.
Game’s
contents
production
is
simplified
and
optimised
with
the
support
of
tools
able
to
generate
pieces
of
games
based
on
simple
textual
descriptions
and
by
cloud-‐based
environments
used
to
store,
search
and
exchange
chucks
of
games.
Big
data
analytics
and
artificial
intelligence
aim
at
personalise
the
games
on
the
fly,
according
to
the
player
profile
and
habits
constantly
updated
during
the
game.
The
player
profiling
is
also
used
to
drive
marketing/commercial
activities
during
the
play.
4.1 Mapping Desired Future Scenarios to Trends and Strong and Weak Signals
In
order
to
analyse
the
maturity
of
the
current
(and
presumed
evolution
of
future)
technologies
for
the
Games
sector,
they
were
mapped
on
those
trends
and
signals
of
changes
in
the
emerging
reality
that
can
either
hinder
or
support
the
future
scenarios
and
indicate
which
of
the
possible
contexts
is
being
realised.
The
following
table
compares
the
envisioned
technologies
with
those
trends
and
strong
and
weak
signals
gathered
from
the
different
stakeholders
or
coming
from
the
analysis
of
signals
of
changes
in
ICT
with
potential
to
disrupt
the
existing
research
and
innovation
for
creativity
in
the
Games
sector.
Trends
Signals
Desired
future
scenarios
Strong
Weak
• Context-‐aware
gaming
using
• Immersive
technologies
–
• 4D
applications
physical
and
digital
information
moving
towards
a
• 3D
holographic
about
the
current
status
of
the
Holodeck
model
in
which
projections
player
to
shape
how
the
game
gamer’s
physicality
• Gesture
Control
(e.g.
is
played.
becomes
key
Myo
-‐
Engaging
• 3D
Audio:
Immersive
3D
• Multisensory
gaming
https://www.thalmic.c
technologies
for
Soundscapes
to
create
a
experience
with
4D
om/en/myo/)
immersive
games
realistic
illusion
of
sound
environments
• Facial
recognition
coming
from
specific
locations
incorporating
smell
and
systems
in
space.
touch
senses
• Motion
detection
• Augmented
Reality
• Eye
gaze
sensor
systems
• Virtual
Reality
• Oculus
rift
• A
combination
with
• Haptic
touch
screens
• Google
glasses
the
Oculus
Rift
or
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The
following
SWOT
analysis
is
used
to
compare
the
maturity
of
the
technologies
envisaged
in
future
scenarios
of
the
Game
sector
with
technology
trends
and
signals
emerged
from
WP4
activities.
The
analysis
of
current
strengths,
weaknesses,
opportunities
and
threats
of
the
future
Game
technologies
needed
for
the
realization
of
the
CRe-‐AM
stakeholders’
scenarios
contributes
to
identify
the
technologies
gap
and
to
draw
the
initial
roadmap
in
terms
of
recommendations
for
ICT
producers
for
this
sector.
STRENGHTS
WEAKNESSES
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OPPORTUNITIES THREATS
• Growing
market,
driven
by
strong
mobile
• Lack
of
awareness
about
the
usefulness
of
gaming
(nearly
double
between
2013
and
these
technologies
in
a
wider
setting
2015),
video
game
console
and
software
• Need
to
make
the
technological
uses
sales
know
to
the
investors;
• Gaming
is
now
supported
by
tax
relief
• Europe
not
catching
up
with
new
from
several
EU-‐members
government
technologies
• Low
cost
of
mobile
games
development
• Games
and
gamification
will
permeate
in
• 3D
Holographic
Projection
Technology
is
the
next
few
years
almost
all
the
aspects
improving
in
rendering
quality;
first
of
the
lives
of
users
and
this
will
bring
to
hologram
projector
chip
for
smartphones
some
important
ethical
issues
that
must
• Smartwatches
with
biometric
sensors
be
considered
• Obstruction
of
big
market
players
Table
4:
Games
sector
technologies
SWOT
analysis
The
comparison
between
the
envisaged
technologies
extracted
from
the
future
scenarios
of
CRe-‐AM
stakeholders
of
the
Games
sector
with
technology
trends
and
signals
analysed
in
WP4,
together
with
the
SWOT
analysis
pointed
out
some
technology
immaturity
and
gaps,
providing
the
ground
for
future
research
directions.
The
collected
scenarios
evidenced
the
importance
to
improve
the
engagement
of
the
users.
Not
only.
They
also
underlined
the
importance
to
allow
users
to
simulate
how
they
would
act
in
situations
which
may
be
difficult
to
reproduce
physically.
In
all
presented
cases,
a
key
element
leading
to
the
immersion
experience
of
users
is
virtual
reality.
Creating
the
feeling
of
reality
can
be
achieved
through
research
in
natural
interfaces
(e.g.
the
Wii
board,
Kinect,
etc.)
and
high
fidelity
computer
graphics.
From
Table
4
it
is
evident
the
increasing
interest
in
the
natural
interfaces,
virtual
reality,
holographic
and
augmented
reality
technologies
as
the
vehicle
for
enhancing
user
engagement
(scenarios,
trends
and
signals
go
in
the
same
direction).
Research
efforts
in
these
fields
should
be
focused
not
only
on
providing
new
ways
of
interaction,
but
also
on
an
effective
study
of
their
utility,
and
on
the
possibility
to
personalize
interaction
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rules
in
order
to
fit
any
requirement.
For
holograms
to
become
a
reality,
people
need
to
own
the
hardware
to
support
them.
3D
hasn't
proven
to
be
a
huge
seller
for
the
industry
because
it's
more
expensive,
and
some
people
don't
care
about
watching
movies
or
gaming
in
3D
at
all.
Therefore,
the
question
is
if
people
are
truly
interested
in
buying
expensive
holographic
technology.
There
is
an
increased
interest
of
the
games
stakeholders
in
cloud
gaming
(based
on
video
streaming
and
cloud
gaming
based
on
file
streaming).
This
is
mainly
due
to
two
different
aspects:
the
increased
availability
of
broadband
connection
and
request
of
“ubiquitous
playing”,
offering
the
games
the
possibility
to
play
the
games
on
multiple
platforms
including
mobile
phones,
tablets,
netbook
and
PC.
Unfortunately,
most
cloud
gaming
platforms
are
closed
and
proprietary
(the
first
open
source
cloud
gaming
platform,
GamingAnywhere3,
was
released
mid
2013),
leaving
few
space
for
the
community
to
intervene,
bring
improvements,
share
and
re-‐use
pieces
of
the
games
as
wished
by
some
CRe-‐AM
community
members.
In
addition,
while
the
streaming
video
and
music
to
TVs,
PCs
and
tablets
using
cloud
services
like
Netflix,
YouTube,
Pandora
and
Spotify
has
become
the
predominant
way
to
enjoy
content
for
connected
devices,
some
technology
gaps
are
still
present
to
stream
games
from
the
web
just
like
any
other
streaming
media.
Real-‐time
data
monitoring
through
big
data
analytics
for
personalised
gaming
is
another
relevant
aspect
emerged
from
the
future
scenario.
However,
game
developers
are
only
starting
to
adopt
advanced
analytics
to
support
game
development,
product
design,
targeted
marketing
efforts,
and
data-‐driven
in-‐
game
monetization
optimization.
Few
or
nothing
has
been
done
for
the
real-‐time
use
of
analytics
for
games
personalisation.
Some
future
research
directions
can
include
the
microsegmentation
applications
for
segmenting,
real-‐time,
a
player
base
to
understand
distinct
segment
preferences
and
behaviours
to
guide
the
game
evolution
and
appealing
targeted
extension
packages
and
additional
content
design.
This
approach
to
players
of
games
is
no
different
from
the
traditional
customer
view
towards
applying
advanced
analytics
for
player
retention,
churn,
and
marketing
response
efforts.
The
main
challenge
here
is
represented
by
the
new
variety
of
data
and
tremendous
volume
and
speed
at
which
it
is
generated.
Technologies
for
the
automatic
and
dynamic
content
creation
and
adaptation
is
a
hot
topic
emerged
from
our
scenarios.
They
enable
the
gamer
to
go
from
content
which
is
static
to
content
that
is
generated.
Automatic
and
dynamic
content
creation
can
lead
to
a
significant
enhancement
in
the
gamer
experience
allowing
different
rendering
according
to
the
gamer
preferences.
Although
the
technologies
exist
in
the
game
sector
there
is
an
ongoing
and
ever
increasing
need
to
generate
content.
Game
content
creators
should
be
encouraged
to
become
meta-‐creators
–
to
annotate
all
manner
of
content
so
that
it
can
be
3
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delivered
in
unexpected
ways
that
transcend
their
original
purpose.
Computers
will
have
to
become
the
tools
of
meta-‐creativity
-‐
if
the
original
content
is
smart
then
computers
can
be
used
to
repurpose
this
content
for
different
uses
within
the
same
game
of
in
a
different
one.
Significant
new
possibilities
could
open
up
for
games
designers
getting
involved
in
generative
content
creation.
There
are
immediate
opportunities
in
the
gaming
sector
but
in
the
longer
term
the
potential
is
considerable
for
automatic
and
dynamic
generation
of
content
across
many
creative
industry
sectors
in
particular
in
the
Media
sector.
Another
interesting
consideration
arose
from
the
future
scenarios
regards
the
semi-‐automated
story
development.
Here
computational
creativity
comes
in
support
of
the
games
designers.
Computation
creativity
is
about
giving
computers
the
capabilities
to
become
full
collaborators
in
the
creative
process.
It
goes
further
than
simply
software
supporting
humans
in
optimisation
of
the
creative
process
but
not
so
far
as
proposing
computers
as
creators
of
uniqueness
in
their
own
right.
Computers
as
collaborators
will
possess
software
capable
of
making
intelligent
suggestions
to
games
creators
based
on
embedded
knowledge
about
how
human
creativity
works.
They
will
have
software
capable
of
understanding
the
importance
of
emotion
in
the
creative
process,
the
ability
to
understand
the
culture
of
design
in
a
particular
firm.
Computers
as
collaborators
can
support
social
interaction
between
the
game
design
team.
Systematic
exhaustive
exploration
can
test
whether
ideas
have
already
been
done
before.
Dialogue
between
computers
and
game
designer
should
not
be
a
master-‐slave
dialog.
The
computer
as
collaborator
should
be
given
a
task
and
then
reply
with
a
menu
of
possibilities.
The
problem
however
is
poorly
defined
do
to
the
difficulties
in
describing
when
a
system
is
a
collaborator
rather
than
a
slave.
Little
progress
has
been
made
in
this
field
as
the
creative
industries
have
not
been
brought
together
with
researchers
in
computational
creativity
researchers.
Funding
in
basic
research
is
required
to
move
the
field
further.
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5 Design
The
world
of
design
is
quite
vast
and
goes
from
the
fashion
to
games,
from
the
interior
to
the
graphic
passing
through
jewellery,
furniture
and
many
more.
The
domain
of
design,
creativity
and
technology
emphasises
engagement
in
designing,
creating
and
evaluating
processes,
products
and
technological
systems
using
a
range
of
materials
as
a
way
of
developing
creativity
and
innovation.
Creativity
in
this
domain
can
be
described
as
applying
imagination
and
lateral
and
critical
thinking
throughout
design
and
development
processes.
Innovation
is
an
outcome
of
the
broad
exploration
of
ideas,
use
of
materials/ingredients,
and
technologies
that
can
occur
when
individuals
are
involved
in
investigating,
designing
and
producing
their
own
and
others’
products
and/or
systems.
As
emerged
from
collected
visions
and
desired
scenarios,
today's
designer
faces
two
fundamental
challenges:
the
expanding
influence
of
design
within
society
and
the
growing
role
of
technology
within
design.
Although
there
are
several
technologies
used
by
designers
for
transforming
ideas
into
creative,
practical
and
commercial
realities,
the
desired
future
scenarios
of
D3.1
highlighted
particular
interest
of
CRe-‐AM
stakeholders
for
those
technologies
supporting:
• Objects
modelling
and
collaborative
design
• New
forms
of
digitalizing,
real-‐time
visualization
and
interactive
rendering
of
objects
A
more
detailed
analysis
of
these
macro-‐category
of
ICT
technologies
allowed
to
extrapolate
an
initial
list
of
SW
and
HW
technologies
that
may
contribute
to
the
realisation
of
desired
future
scenarios
of
the
Design
community.
The
connection
between
the
single
technology
and
the
macro-‐category
is
conceptualised
in
the
following
maps.
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Figure
12:
Technologies
supporting
the
collaborative
design
Figure
13:
Technologies
supporting
new
form
of
digitalisation
and
rendering
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As
emerged
in
D3.1
the
technologies
supporting
creativity
of
the
designer
of
the
future
are
those
allowing
remote
collaborative
concepts
development,
new
form
of
digital
manipulation
of
objects
using
the
body,
gestures
and
brain,
more
immersive
and
interactive
presentation
of
final
results
though
the
virtual
and
augmented
reality,
3D
printing,
multi-‐touch
interfaces
and
interactive
display
systems
(multiuser
interactive
display
with
hands,
2D
bar
code,
IR
pen
and
object
recognition).
Due
to
the
type
of
files
that
designers
handle
and
at
the
same
time
it
is
also
emerged
the
need
of
an
easy
technology
for
retrieving
those
files
in
case
they
need
to
create
or
present
a
design
on
the
fly.
Cloud
platforms
for
storage
and
sharing
are
seen
as
the
technology
allowing
quick
storage
and
retrieval,
collaboration
with
team
members,
sharing
of
revisions
and
editing.
Since
product
design
has
become
somewhat
of
a
group
activity,
involving
not
those
tasked
with
the
creation
of
the
physical
design
and
its
manufacture,
but
consumers,
hobbyists
and
would-‐be
inventors,
another
technology
in
support
of
future
designers
seems
to
be
the
crowdsourcing
platforms
for
a
democratization
of
design
which
exploits
the
more
tightly
connection
of
the
Internet,
new
social
tools
and
networks
with
companies,
and
the
customers
and
markets
they
serve.
5.1 Mapping Desired Future Scenarios to Trends and Strong and Weak Signals
The
following
table
shows
how
the
envisioned
technologies
relates
with
trends
and
strong
and
weak
signals
gathered
from
the
different
stakeholders
or
coming
from
the
analysis
conducted
in
WP4.
The
mapping
exercise
is
used
to
compare
the
maturity
of
the
current
(and
presumed
evolution
of
future)
technologies
for
the
Design
sector
with
the
envisaged
technologies
expressed
in
terms
of
trends
and
strong/weak
signals
of
changes
in
the
emerging
reality
that
can
either
hinder
or
support
the
desired
future
scenarios.
Trends
Signals
Desired
Strong
Weak
Future
Scenarios
New
forms
of
• Sensor
technology
• Multi-‐touch-‐screens/walls
for
end-‐users
technologies
• Immersive
• High-‐quality
3D
printing
affordable
to
all
for
digitalizing
environments
professionals
and
• High
resolution
• 360°
scan
of
objects
real-‐time
display
• Screens
better
adapted
to
the
final
look
visualization
environments
of
the
project
and
• Software
enabling
users
to
preview
the
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The
following
SWOT
analysis
is
used
to
compare
the
maturity
of
the
technologies
envisaged
in
future
scenarios
of
the
Art
sector
with
technology
trends
and
signals
emerged
from
WP4
activities.
The
analysis
of
current
strengths,
weaknesses,
opportunities
and
threats
of
the
future
Design
technologies
needed
for
the
realization
of
the
CRe-‐AM
stakeholders’
scenarios
contributes
to
identify
the
technologies
gap
and
to
draw
the
initial
roadmap
in
terms
of
recommendations
for
ICT
producers.
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STRENGHTS WEAKNESSES
OPPORTUNITIES THREATS
• Brain-‐scanning
technology
close
to
market
• Obstruction
of
major
players
like
3ds
• Wearable
technology
has
become
a
hot
(producer
of
CATIA)
to
open
solutions
topic
in
the
tech
industry
and,
in
• e-‐skills
required
for
the
new
ICT
particular,
in
the
fashion
industry
technologies
• Cheap
3D
printers
• Resistance
to
use
ICT
technologies
by
• Critical
mass
of
SMEs,
with
regional
and
designers
national
leadership
in
the
design
domain
Table
6:
Design
sector
technologies
SWOT
analysis
As
reported
above,
creative
designers
imagine,
for
their
future,
technologies
supporting
the
collaborative
creation
process,
enhancing
the
end-‐users
experience,
making
the
final
result
more
attractive
and
engaging
while
they
contain
the
design
process
costs.
Technology
trends
and
signals
from
the
design
sector
(Table
5)
seem
to
be
aligned,
at
least
for
what
concerns
the
collaborative
aspect
(e.g.
ideas
exchange,
cooperation
in
projects)
leading
to
new
ideas
generation.
Cloud-‐based
collaboration
software
will
help
not
only
designers
but
also
other
experts
forming
the
project
teams
to
work
together
efficiently
on
a
centralized
platform.
View,
search,
and
share
data
in
the
cloud
will
be
possible
using
desktop,
web,
and
mobile
devices.
Seems
logical
that
cloud-‐based
design
should
also
have
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a
cloud
storage
component
–
which
with
the
right
thinking,
would
have
an
analytics
tool
over
generated
Big
Data.
By
collecting
and
analysing
data
on
every
project
can
eliminate
rework
and
apply
best
practices
on
future
projects.
The
data,
is
properly
analysed
can
be
used
to
test
and
evaluate
design
concepts
against
the
real
world,
using
feedback
data
from
previously
experiences.
Likely,
crowdsourcing
platforms
will
also
come
in
support
of
designers
to
crowd
source
creative
solutions
to
solve
many
complex
problems.
These
platforms
will
provide
an
innovation
hub
that
brings
those
that
have
difficult
design
challenges
together
with
a
vast,
global
network
of
individuals
that
can
use
cloud-‐based
content
creation
tools
to
provide
solutions.
Crowdsourcing
has
been
already
transforming
the
way
art,
film
and
products
are
being
created,
it
is
also
likely
they
will
change
soon
the
way
designers
are
designing
products,
offering
creative
designers
a
new
way
to
experiment.
Although
the
vision
of
the
future
could
be
incredible
with
the
sharing
of
design
information,
unless
everything
will
be
open
or
anonymized,
the
issue
of
the
Copyright
can
limit
the
collaborative
creative
design.
The
use
of
engaging
technologies
like
virtual
reality
and
augmented
reality
are
already
a
reality
in
the
design
sector.
In
product
design
VR
and
AR
allow
faster
visual
verification
of
potential
error
sources,
reduce/replace
the
need
for
physical
prototypes,
offer
reliable
basis
for
making
decisions,
determine
deviations
between
digital
data
and
real-‐world
objects
and
improve
the
quality
on
pre-‐prototyping
analysis.
The
challenges
is
the
abandon
of
distinctive
'marker'
graphics
and
use
markerless
technology
(also
combined
with
simultaneous
localisation
and
mapping
technologies)
to
trigger
the
interactive
design
elements.
Another
interesting
research
direction
supporting
creative
designers
is
the
use
of
the
virtual
reality
and
virtual
reality
headsets
(e.g.
Oculus
Rift
or
Google
Glass)
not
just
for
rendering
but
also
for
creating
objects.
Some
experiments
have
been
done
for
using
virtual
reality
headsets
in
combination
with
tablet
and
pen
to
quickly
sketch
out
ideas
in
3D
space.
Further
developments
would
allow
designers
to
walk
through
3D
models
to
make
changes
as
they
go.
The
technology
could
be
also
applied
to
other
fields
such
as
architecture
and
animation.
With
3-‐D
printing,
creative
designers
have
a
low-‐resolution
prototype
in
their
hands
in
just
hours
with
a
cost
relatively
low.
Much
of
the
recent
growth
in
the
3D
printing
market
has
been
driven
by
smaller,
cheaper
printing
machines
flooding
into
the
market.
While
the
core
technology
behind
3D
printing
has
been
around
for
a
while,
it
has
also
traditionally
been
quite
restricted
in
the
sorts
of
materials
required
to
print
objects.
Designers
are
limited
to
use
resins
and
some
types
of
polymer
for
their
creations.
More
recently,
3D
printers
have
emerged
that
can
handle
more
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than
one
type
of
material
at
a
time,
printing
composite
objects.
However,
these
materials
remain
relatively
restrictive.
The
technology
challenges
are,
as
evidenced
in
the
SWOT
analysis,
the
use
of
different
materials
at
a
time
for
high-‐fidelity
printing.
Lastly,
in
answer
to
a
desired
future
indicating
new
forms
of
technology
supporting
objects
design,
there
is
a
new
concept
of
PC
control
potentially
interested
for
creative
designers.
Instead
of
the
usual
keyboard
and
mouse
designers
will
use
an
interactive
touch
panel
supporting
multitouch
gestures
and
a
projector
that
may
play
a
role
keyboard
and,
more
interesting,
allows
the
designer
to
scan
any
image
and
3D-‐objects.
The
idea
“physical-‐to-‐virtual
PC”
will
deserve
particular
attention
by
designers
and
investments
by
ICT
technology
producers.
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Figure
14:
Technologies
supporting
the
collaborative
content
creation
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Figure
15:
Technologies
for
interactive
and
personalised
presentation
Figure
16:
Technologies
supporting
the
content
personalisation
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Figure
17:
Streaming
and
broadcasting
technologies
Figure
18:
Technologies
for
contents
protection
To
sum
up,
in
the
desired
future
scenarios
of
Media
stakeholders
depicted
in
D3.1,
as
it
happened
also
in
the
other
creative
sectors,
technologies
for
the
personalisation
and
collaboration
(or
collaborative
design)
are
recurring
themes.
Agile
cloud
based
platforms
for
crowdsourcing
for
the
management
of
the
collaborative
authoring
lifecycle
of
media
objects,
including
idea
generation,
packaging
and
workflow
are
highly
desirable.
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Smart
eyewear
or
other
wearable
or
mobile
devices
will
support
the
authors
to
write
and
record
short
stories
as
well
as
longer
stories
situated
(and
automatically
tagged)
in
a
very
specific
physical
location,
that
is,
to
be
able
to
create
geographically
specific
stories.
For
publishers,
cloud-‐based
authoring
tools
are
also
excellent
solutions
for
converting
content
that
already
exists
in
print
or
other
forms
(e.g.
pdf).
For
those
CRe-‐AM
creative
stakeholders
who
wish
to
build
their
content
from
scratch,
or
achieve
a
level
of
customization
in
the
design
a
greater
functionality
in
the
authoring
tool
is
needed.
Such
platforms
are
also
required
to
be
interoperable
each
other
and
able
to
manage
various
file
formats.
The
optimization
of
these
more
flexible
distributed
systems
also
passes
through
innovative
storage
services.
In-‐Memory,
a
database
management
system
that
primarily
relies
on
main
memory
for
the
storage
of
digital
data,
is
a
possible
solution.
The
content
personalisation
is
supported
by
technology
enabling
users
profiling
and
big
data
analysis
for
the
analysis
of
users’
habits
and
behaviours
from
one
side,
advanced
and
semantically
enriched
description
of
contents
from
the
other.
The
higher
level
of
content
chunking
is
reached
the
greater
real-‐time
personalisation
and
contents
reuse
will
be
possible.
Wearable
technologies,
gesture
recognition
and
specialized
physiological
computing
technology
will
collect
signals
from
the
brain
and
the
body
to
be
used
as
a
form
of
input
during
the
creation
process
or
to
personalise
stories
during
live
performances
or
as
part
of
artistic
installations.
Within
media
and
entertainment
production,
there
is
also
an
ongoing
demand
for
technology
which
allows
professionals
to
work
at
high
resolutions
and
high
frame
rates.
New
standards
and
techniques
for
4K
compression
will
allow
the
broadcasting
and
streaming
of
ultra-‐high
definition
contents.
Being
the
contents
created
to
be
multi-‐view
and
semantically
enriched
with
descriptive
annotations,
the
transmission
will
be
personalised
on-‐the-‐fly
by
the
player,
which
will
be
able
to
do
the
montage
or
composition
real-‐time
on
the
basis
of
user’s
preferences.
Marker
less
augmented
reality
technology
integrated
in
tablets
and
new
generation
e-‐book
readers
will
allow
publishers
to
create
new
form
of
interactive
and
engaging
e-‐books
where
static
text
is
enriched
with
3D
animated
objects
or
with
contextualised
(e.g.
location-‐based)
multimedia
information.
6.1 Mapping Desired Future Scenarios to Trends and Strong and Weak Signals
The
above
envisaged
technologies
for
the
future
Media
scenarios
have
been
compared
with
trends
and
strong/weak
signals
of
changes
in
the
emerging
reality
that
can
either
hinder
or
support
the
desired
future
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scenarios.
The
following
table
shows
how
the
imagined
technologies
relates
with
trends
and
strong
and
weak
signals
gathered
from
the
different
stakeholders
or
coming
from
the
study
conducted
in
WP4.
Signals
Trends
Desired
future
scenarios
Strong
Weak
• Big
Data
(new
• Access
to
technology
• Real-‐time
creative
technologies
and
data
for
everyone,
giving
production
storage
solutions)
for
them
the
same
space
• Experimentation
with
personalised
contents
and
capability
storytelling
across
and
services
platforms
and
media,
• Cloud-‐based
Workflows
particularly
using
site-‐
and
Cloud
Adoption
for
specific
and
locative
broadcasting,
technologies,
such
as
postproduction
also
in
IPS
tracking
3D
VR
• Trans-‐media
• Smart
connected
devices
Enhanced
technology
and
wearable
computing
storytelling
for
community-‐based
that
allow
people
to
• The
use
of
AI
to
content
creation
measure,
monitor
and
produce
media
and
visualise
activities
in
publishing
content
their
daily
lives.
• Multi-‐Channel
Technologies
using
business
intelligence
systems
to
get
user’s
behaviour
and
personalise
services
• Cross-‐Platform
interoperability
• Constant
Connectedness
• Location-‐Based
for
• Multi-‐streaming
• Use
of
augmented
Interactive
Marketing
technology
reality
and
holograms
• Social
Commerce
and
• Affordable
3D
printing
• Extended
sensors
and
Social
Shopping
move
recognition
• Big
Data
(new
technology
to
offer
technologies
and
data
audience
a
full
and
New
technologies
for
storage
solutions)
for
real
experience.
more
Interactive
and
personalised
contents
• Interest
in
using
new
Immersive
presentation
and
services
virtual
and
augmented
• Cloud-‐based
Workflows
technologies
in
and
Cloud
Adoption
for
broadcasting,
creating
hybrid
postproduction
also
in
publishing
and
media
3D
VR
products
that
mix
print
• Wearable
technology
and
digital,
physical
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Table
7:
Trends
and
signals
mapped
to
technologies
envisaged
for
the
desired
future
scenarios
According
to
Table
7,
envisaged
technologies,
trends
and
signals
seem
going
in
the
same
direction.
Big
data
analytics
for
content
and
services
personalisation,
cloud-‐based
crowdsourcing
for
collaborative
creation,
wearable
technologies
and
sensors
in
their
many
forms,
such
as
glasses,
watches,
smart
badges,
and
bracelets
used
not
only
to
engage
consumers
but
also
for
capturing
emotions
to
transform
in
new
creations,
the
augmented
reality
and
holograms
for
more
immersive
contents,
UHD
contents
streaming
and
broadcasting
are
mostly
present
in
all
the
columns
of
the
table,
highlighting
few
differences
between
desired
and
future
technologies.
It
means
that
some
technology
details,
how
the
technology
is
applied
in
real
context
and
external
factors
can
influence
realisation
of
the
desired
future
scenarios
of
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stakeholders.
The
following
SWOT
analysis
helps
to
understand
the
advantages,
disadvantages
and
risks
arising
from
the
adoption
of
the
envisioned
media
technology.
The
following
paragraph
enters
in
more
detail
on
the
technologies
gaps
for
the
Media
sector.
The
following
SWOT
analysis
is
used
to
compare
the
maturity
of
the
technologies
envisaged
in
future
scenarios
of
the
Art
sector
with
technology
trends
and
signals
emerged
from
WP4
activities.
The
analysis
of
current
strengths,
weaknesses,
opportunities
and
threats
of
the
future
Media
technologies
needed
for
the
realization
of
the
CRe-‐AM
stakeholders’
scenarios
contributes
to
identify
the
technologies
gap
and
to
draw
the
initial
roadmap
in
terms
of
recommendations
for
ICT
producers.
STRENGHTS WEAKNESSES
OPPORTUNITIES THREATS
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A
recurring
theme
throughout
the
Media
&
E-‐Publishing
(but
not
only)
sector
scenarios
was
the
need
for
a
new
paradigm
to
bring
more
creative
individuals
together
to
create
optimal
synergies.
Collaborative
design
tools
have
been
around
for
a
long
time
but
while
there
is
widespread
recognition
of
the
benefits
of
this
approach,
on
the
ground
there
has
been
limited
uptake
and
success.
The
gaps
between
the
envisaged
technologies
and
current
solutions
and
trends
is
attributed
to
the
current
predominantly
engineer
led
approach
to
collaborative
design.
The
collaborative
design
process
envisaged
by
our
stakeholders
should
be
more
designer-‐centred
and
ICT
tools
should
address
a
number
of
features
such
as:
• Usability,
tactile
features
(haptic
feedback),
linking
physical
and
virtual
in
the
sense
that
there
should
be
equivalence
between
virtual
and
physical
in
iterative
processes.
Introduction
of
3D
in
the
process.
The
loop
from
virtual
to
real
and
back
needs
to
be
made
to
work.
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• Analysis/definition
of
analogue
features
of
objects
and
their
transfer
to
digital
world,
their
interaction
with
human
senses.
Today’s
technologies
support
what
we
can
see
and
what
we
can
hear.
But
what
we
can
touch,
taste
and
smell
still
has
a
long
way
to
go.
• Affordable
technology/infrastructure.
Technologies
for
the
personalization
present
challenges
and
opportunities.
The
use
Big
Data
analytics
allows
the
aggregation
of
individual
information
for
heterogeneous
resources.
Better
understanding
of
individual
needs
within
the
collective
is
now
a
need.
The
objective
is
to
move
from
catering
for
mass
mainstream
audiences
to
catering
for
individual
needs.
However,
the
requirements
of
the
individual
may
be
too
specialised
to
provide
feasible
solutions.
The
information
provided
by
current
popular
social
media
data
sources
may
also
be
too
general
to
allow
for
useful
personalization
in
creative
Media
domain.
Implicit
data
mining
techniques
can
offer
insights
on
a
user’s
profile
and
behaviour
which
explicit
elicitation
techniques
may
not
be
capable
of
identifying.
At
the
same
time,
data
mining
techniques
typically
do
not
take
into
account
actual
data
quality
or
usefulness,
and
implicit
user
tracking
techniques
are
controversial.
New
technology
that
can
help
in
analysing
explicit
user
input
and
feedback
and
assessing
appropriateness
of
data
feeding
into
the
data
mining
side
would
be
needed.
This
way,
higher
quality
of
personalization
efforts
should
be
achievable.
Technological
solutions
will
help
to
boost
and
stimulate
increased
data
personalisation,
while
simultaneously
they
will
have
to
ensure
protection
as
regards
the
use
of
private
data.
How
we
ensure
proper
user
data
without
upsetting
the
user
and
maintaining
privacy
is
a
major
issue
for
the
feasibility
and
success
of
personalization
techniques
(IPR
management,
privacy
laws).
There
is
a
need
of
developing
ICT
solutions
to
assist
new
media
designers
and
publishers
in
protecting
their
IP
in
a
user-‐friendly,
consumption-‐enhancing
way
and
facilitating
rights
communication,
claims,
clearance
and
discovery.
Our
publishers
envisage
a
stronger
integration
of
ICT
technologies
with
publishing
solutions
can
make
books
more
attractive
-‐
especially
to
the
digital
natives
-‐
by
turning
them
into
transmedia
boosters
of
creativity
or
apps
which
prolong
the
story
of
a
book
or
give
it
a
new
angle.
The
development
of
technologies
that
improve
the
users’
engagement
have
to
be
supported
by
the
development
of
other
technologies,
for
example
those
optimising
the
speed
of
change
or
updating
of
content;
contents
need
to
be
constantly
improved
and
updated
at
the
speed
of
implementation,
and
publishers
need
ICT
solutions
allowing
the
version
tracking
and
linking
on
the
Web,
which
is
especially
important
for
e-‐books.
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Collected
data
from
our
publishers
shown
that
the
relevance
of
data
and
metadata
book
publishing
increases
as
more
and
more
book
content
is
delivered
online.
According
to
our
stakeholders,
investments
are
needed
to
enhance
the
capacity
of
generating
quality
metadata
as
well
as
the
capacity
of
processing
large
amounts
of
data
for
a
range
of
purposes
(from
content
creation
to
content
discovery
and
market
analysis).
Gaps
have
been
identified
in:
• Tools
able
to
generate
and
analyze
market
data
(and
attention
should
be
paid
to
the
interplay
with
other
areas
of
legislation
concerning
the
use
of
commercial
data).
• ICT
tools
supporting
standards
adoption,
especially
among
smaller
publishing
companies;
equally
the
publishing
sector
should
produce
new
resources
to
enable
ICT
to
grasp
the
potential
in
the
publishing
world’s
data
and
content
management
standards.
• The
application
of
good
metadata
and
actionable
identifiers,
since
linking
together
different
types
of
content
with
common
subjects
and
audiences
is
the
primary
purpose
of
metadata.
• Developing
common
semantic
standards,
which
must
be
understood
and
implemented
consistently
(e.g.
ISO
standards,
EDItEUR
(www.editeur.org)
and
IDPF
(International
Digital
Publishing
Forum)
international
trade
standards,
local
/
national
standards).
• Fostering
the
creation
of
standards
and
infrastructure
for
metadata
about
right
ownership
and
licensing
with
a
view
to
facilitate
discovery
and
clearance.
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7 Architecture
The
use
and
application
of
modern
technologies
in
designing
and
building
well-‐lit
constructions
has
a
variety
of
definitions
and
interpretations.
Indeed,
architects
contend
that
such
uses
of
technology
depend
on
conditions,
background
and
the
presumptions
of
the
design
and
the
location.
Today,
more
and
more
architects
make
use
of
3D
computer
modelling
and
simulation
technique
to
create
complicated
shapes
in
architecture
design.
That
indicates
that
there
is
no
separateness
between
science
and
art
in
the
development
of
architecture
and
that
science
and
technology
can
bring
enormous
inspiration
and
advancement
to
architecture
design.
That
is
also
confirmed
in
the
visions
and
desired
scenarios
that
have
been
collected
during
the
project
events,
interviews
and
the
online
survey
on
the
CRe-‐AM
portal.
The
from
the
ICT
perspective
the
analysis
of
such
future
scenarios
shown
a
particular
interest
of
CRe-‐AM
stakeholders
for
those
technologies
supporting:
• Creative
modelling
and
fast
prototyping
• Integrated,
collaboration
environments
to
create
and
share
creative
works
• Smart
buildings
design
A
closer
look
at
these
macro-‐category
of
ICT
technologies
allowed
to
extrapolate
an
initial
list
of
SW
and
HW
technologies
that
may
contribute
to
the
realisation
of
our
stakeholders’
desired
future
scenarios.
The
connection
between
the
single
technology
and
the
macro-‐category
is
represented
in
the
following
conceptual
maps.
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Figure
19:
Technologies
supporting
the
collaborative
creation
Figure
20:
Technologies
for
fast
prototyping
Figure
21:
Technologies
for
smart
buildings
design
From
the
maps
it
is
evident
the
focus
on
cloud-‐based
technologies
supporting
the
real-‐time
collaboration
of
interdisciplinary
experts
for
the
design
and
exchange
of
projects,
concepts
and
thoughts,
with
particular
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attention
on
the
use
multi-‐device
platforms
(e.g.
Pc,
mobile
devices,
active
screens)
for
the
creation
and
delivery.
This
emphasises
the
need
of
more
diverse
tools
(mainly
apps)
and
technologies
to
dialogue
each
other.
Created
models
(especially
3D
models)
should
be
easily
shared,
searched
and
retrieved.
3D
printing
technologies
supports
architects
in
experimenting
new
shapes
and
fast
creation
of
envisaged
models.
Big
Data
technologies
allow
to
collect
and
analyse
static
textual
data
like
maintenance
documents,
system
specifications,
drawings
and
similar
material
and
use
this
information
as
a
support
for
new
designs.
The
use
of
technology
to
design
and
build
smart
constructions
with
respect
to
their
energy
consumption
and
impact
on
the
environment
conditions
and
situations
is
considered
to
be
a
novel
and
particular
concept
in
modern
architecture.
That
requires
technologies
that
allow
an
accurate
modelling,
not
static
but
dynamic
(e.g.
time-‐dependent)
able
to
consider
the
energy
consumption
variations
in
function
of
the
changing
bioclimatic
conditions.
7.1 Mapping Desired Future Scenarios to Trends and Strong and Weak Signals
The
maturity
of
the
current
(and
presumed
evolution
of
future)
technologies
for
the
Architecture
sector
have
been
analysed
by
comparing
the
envisaged
technologies
with
trends
and
strong/weak
signals
of
changes
in
the
emerging
reality
that
can
either
hinder
or
support
the
desired
future
scenarios.
The
following
table
shows
how
the
envisioned
technologies
relates
with
trends
and
strong
and
weak
signals
gathered
from
the
different
stakeholders
or
coming
from
the
study
conducted
in
WP4.
Signals
Desired
future
Trends
Strong
Weak
scenarios
• User-‐friendly
immersive
• Cloud
Technology
• Inclusive
Architecture
environments
• Artificial
Intelligence
• Emergent
‘sandbox’
• User-‐centred
design
of
• Biometric
Systems
social
building
games
Integrated,
continuous
interfaces
• Motion
and
gesture
• Create
integrated,
real-‐
collaboration
(intuitive
human
controlled
Interfaces
time
collaboration
environments
computer
interaction)
• Big
Data
environments
• Augmented
Reality
• Enhancing
Connectivity
to
create
and
• Cloud-‐based
collaboration
between
disparate
share
creative
• Big
data
and
data-‐driven
stakeholders
works
design
• More
interoperability
and
interactivity
of
creation
software
• Cloud
sharing
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The
following
SWOT
analysis
is
used
to
compare
the
maturity
of
the
technologies
envisaged
in
future
scenarios
of
the
Architecture
sector
with
technology
trends
and
signals
emerged
from
WP4
activities.
The
analysis
of
current
strengths,
weaknesses,
opportunities
and
threats
of
the
future
Architecture
technologies
needed
for
the
realization
of
the
CRe-‐AM
stakeholders’
scenarios
contributes
to
identify
the
technologies
gap
and
to
draw
the
initial
roadmap
in
terms
of
recommendations
for
ICT
producers.
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WEAKNESSES
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OPPORTUNITIES THREATS
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Table
10:
Architecture
sector
technologies
SWOT
analysis
The
comparison
between
the
envisaged
technologies
extracted
from
the
future
scenarios
of
CRe-‐AM
stakeholders
of
the
Architecture
sector
with
technology
trends
and
signals
analysed
in
WP4,
together
with
the
SWOT
analysis
pointed
out
some
technology
immaturity
and
gap.
Table
9
shows
some
convergence
between
envisaged
technologies,
trends
and
signals
for
interdisciplinary
collaborative
design.
However,
some
concerns
remain
regarding
the
need
of
user-‐friendly
environments
because
neither
trends
nor
signals
go
in
such
direction.
Big
Data
analytics
as
a
supporting
tool
for
creative
buildings
design
is
another
technology
to
monitor.
For
the
construction
industry,
volume
and
variety
is
particularly
relevant.
From
project
planning
to
the
project
close
out,
a
lot
of
structured
as
well
as
unstructured
data
is
being
generated
and
recorded
for
each
construction
project.
Examples
of
those
data
includes
daily
work
report,
data
generated
from
various
sensors
and
equipment,
images
and
videos
of
the
construction
site,
etc.
Despite
their
utility
during
the
creation
process,
there
are
some
gaps
regarding
how
to
integrate,
use
and
visualise
the
massive
amount
of
rich
unstructured
data
that
existed
around
buildings.
According
to
our
stakeholders’
future
scenarios,
holographic
technology
will
play
a
more
prominent
role
in
the
creation
of
3D
architectural
models.
However
the
technology
seems
to
be
still
immature
and
far
from
offering
rich,
realistic
three-‐dimensional,
scalable,
and
–
definitively
important
for
a
creative
design
process
-‐
interactive
presentations.
A
similar
consideration
can
be
done
for
the
3D
printing.
Among
architects,
3D
printing
has
become
more
and
more
popular
over
the
last
few
years.
Although
a
3D
printer
is
not
to
be
expected
in
every
architects’
office
yet,
that
will
probably
change
soon.
The
design
process
in
which
architects
are
involved
takes
a
lot
of
time
and
is
often
very
stressful,
handmade
scale
models
are
a
waste
of
precious
time
in
that
sense.
To
save
some
of
their
valuable
time,
many
architects
already
adopted
3D
printing
into
their
design
process,
the
emergence
of
affordable
desktop
3D
printers
is
making
this
possible.
The
small-‐scale
physical
representation
of
the
artefact
can
also
inspire
the
architects
for
changes
or
improvements
of
the
model.
However,
only
a
few
techniques
are
currently
available
for
desktop
3D
printing.
The
research
should
go
in
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the
direction
of
different
3D
printing
techniques
and
the
selection
of
materials
available
for
printing,
giving
the
architects
the
ability
to,
more
and
more,
experiment
with
things
previously
unthinkable.
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with
extremely
low-‐cost
devices.
These
devices
have
been
rapidly
adopted
by
end-‐user
communities
and
a
number
of
different
applications
implemented
in
different
contexts,
including
3D
acquisition
and
medicine.
In
addition,
touch
screen
devices
are
now
part
of
everyday
life,
and
they
are
now
commonly
used
by
society
at
large.
Given
these
recent
developments,
natural
interfaces
are
nowadays
not
only
an
interesting
direction
of
research
for
the
3D
community,
but
also
a
promising
field
of
application
for
future
creative
sectors.
In
addition
to
the
media
community,
where
the
market
is
already
covered
by
several
large
industry
players,
there
are
other
fields
of
application
that
could
be
boosted
by
further
research
in
this
area.
These
include
the
fields
of
3D
Modelling
and
Collaborative
Environments.
Research
efforts
in
these
fields
should
be
focused
not
only
on
providing
new
ways
of
interaction,
but
also
on
an
effective
study
of
their
utility,
and
on
the
possibility
to
personalize
interaction
rules
in
order
to
fit
any
requirement.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
•
Media
• Design
• Architecture
• Games
2.
3D
Printing
Rapid
prototyping
has
been
developed
over
the
last
decade
to
support
industrial
design.
It
exploits
a
wide
variety
of
basic
technologies
to
create
real-‐world
tangible
reproductions
from
3D
digital
models.
While
initially
the
range
of
materials
was
very
limited,
modern
technologies
start
to
use
a
wider
range
of
materials
(plastic,
glued
gypsum,
steel,
ceramic,
stone,
wood,
etc.).
At
the
same
time,
printing
resolution
has
improved
substantially
and,
consequently,
accuracy
in
terms
of
reproduction
has
reached
high
standards.
The
majority
of
current
applications
envisaged
in
the
CRe-‐AM
scenarios
require
a
high
level
of
accuracy,
i.e.
the
printed
model
needs
to
be
a
highly
accurate
physical
copy
of
the
digital
shape.
For
example,
several
mentioned
applications
require
this
level
of
accuracy
for
aesthetic
reasons
(Art
sector)
or
for
performing
functional
tests
(Architecture
and
Design
sectors).
However,
different
contexts
(toys,
games
–
Games
and
Media
sectors)
do
not
require
the
same
level
of
accuracy,
or
even
prefer
the
production
of
an
illustrative
version
of
the
digital
model.
Hence,
by
considering
accuracy
and
reproduction
rationale,
we
can
classify
the
various
methods
into
two
broad
categories:
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• Accurate:
Modern
devices
enable
almost
exact
copies
of
a
given
shape
to
be
reproduced.
To
guarantee
high
reproduction
accuracy,
the
printer
and
the
reproduction
material
can
both
be
expensive.
Further
research
is
required
on
how
to
reduce
costs
in
this
field
without
compromising
on
quality.
• Illustrative:
These
methodologies
fabricate
approximate
copies
of
a
given
object,
usually
by
relying
on
standard
and
cheap
printing
technologies.
Further
research
is
required
on
how
to
improve
quality
of
production
whilst
maintaining
low
costs.
Based
on
our
scenarios,
the
technology
gap
consists
in
the
possibility
to
print
an
object
with
several
layers
of
different
materials
mixed
together.
The
usage
of
several
different
materials
may
also
be
used
in
the
future
to
reproduce
a
particular
degree
of
translucency
in
artworks
or
architectural
objects.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
• Architectural
• Design
• Games
• Art
3.
Automatic/semi-‐automatic
models
generation
tools
From
WP3
scenarios
it
is
evident
that
fascinating
3D
models
are
an
essential
element
in
the
success
of
videogames
and
almost
a
prerequisite
for
the
production
of
most
of
today’s
and
future
movies.
Following
on
from
the
diffusion
of
computer
graphics
technologies
in
the
manufacturing,
architecture,
design,
fashion
and
publishing
industries,
the
demand
for
new
and
appealing
3D
contents
has
strongly
increased.
Unfortunately,
the
creation
of
high-‐quality
3D
models
is
a
notoriously
time
consuming
and
expensive
activity.
For
a
small/medium
enterprise
that
lacks
3D
modelling
expertise
and
resources
this
burden
can
be
overwhelming
and
form
an
effective
barrier
to
market
entry.
A
first
solution
to
this
problem
could
be
to
support
a
major
shift
in
the
production
and
distribution
policy
of
3D
scenes,
moving
from
the
‘model-‐on-‐the-‐purpose’
modality
(where
every
time
a
3D
scene
is
needed,
it
is
modelled
from
scratch)
to
a
‘market
&
reuse’
of
3D
scenes
or
components.
But
the
major
issue
remains
how
to
enable
faster
production
process
of
good
quality
digital
3D
models.
Considering
all
the
economic
implications
previously
highlighted
research
activity
should
more
focus
on
the
automatic
and
semi-‐
automatic
3D
model
generation
topic.
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Even
if
some
of
these
academic
works
have
achieved
convincing
results
for
the
automatic
synthesis
of
new
range
of
3D
models
from
a
set
of
input
3D
meshes,
the
problem
of
automatic
or
semiautomatic
3D
models
generation
is
still
far
from
being
considered
solved
and
further
research
is
needed.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
• Architectural
• Design
• Games
• Art
• Media
Authoring
tools
for
creative
sectors
An
authoring
tool
is
a
program
that
helps
the
user
to
write
multimedia,
content
or
web
applications.
These
tools
usually
enable
users
to
create
or
adapt
a
final
application
merely
by
linking
together
objects
and
defining
relations
between
them.
Authoring
tools
dramatically
simplify
the
conception
of
new
tools
and
applications
and
allow
easy
experimentation
with
new
ideas
or
concepts.
An
authoring
tool
can
be
seen
as
the
canvas
for
invention,
where
a
simple
idea
is
easily
put
to
work
in
order
to
test
its
possibilities
and
feasibility.
Authoring
tools
are
simpler
to
use
than
programming
tools
(which
involve
mastering
a
programming
language)
and
tend
to
be
oriented
to
a
specific
domain
of
activity.
As
occurred
in
several
CRe-‐
AM
stakeholders’
scenarios,
authoring
tools
are
extremely
popular
in
creative
sectors;
they
are
well
developed
in
some
sectors
(such
as
web
conception
and
development)
but
in
others
a
lot
remains
to
be
done.
1.
Easily
designable
tools
Building
new
environments,
applications
or
software
is
becoming
increasingly
simple
for
any
user
without
any
specific
ability
for
software
programming.
Yet
there
is
still
an
important
gap
when
it
comes
to
tools
that
will
more
easily
permit
anyone
to
conceive
simple
or
complex
structures,
programs
or
applications
in
many
different
domains.
Tools
for
making
tools,
e.g.
for
graphic
design
and
content
management,
pose
a
particular
challenge.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
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•
Architectural
• Design
• Games
• Art
• Media
2.
Community
creation
Crowdsourcing
is
a
term
commonly
used
in
several
of
our
scenarios
meaning
that
the
collective
creation
of
objects
has
shown
of
growing
interest
for
several
CRe-‐AM
stakeholders.
Crowdsourcing
is
used
to
describe
the
power
of
communities
in
many
different
creative
sectors
for
the
knowledge
and
content
creation
or
sharing
and
collaboration.
This
is
a
completely
open
domain
for
the
future,
and
the
full
potential
of
community
action
is
far
from
being
understood.
In
the
analysed
contexts,
community
creation
concerns
both
knowledge
and
content,
where
share,
use
and
reuse
offers
a
very
strong
incentive
to
creative
users.
The
amount
of
potential
new
applications
covers
all
graphics
sub-‐domains
and
activities.
Challenges
for
future
research
filling
the
highlighted
gap
in
this
field
include
tools
to
enable
enhanced
community
interaction
and
methods
for
content
aggregation.
3.
Collaborative
environments
Collaborative
text
editing
has
been
a
‘felt’
need,
and
has
been
“on
the
verge”
of
happening
since
the
advent
of
the
Internet.
However,
usable
and
effective
solutions
have
only
become
readily
available
in
the
last
few
years.
Similarly,
3D
collaborative
environments
have
been
limited
so
far
to
proof-‐of-‐concept
screen-‐sharing
experiences.
The
ability,
for
a
group
of
users,
to
simultaneously
manipulate
a
3D
environment
is
still
a
need
for
creative
people
both
at
the
stage
of
authoring
as
well
as
at
the
stage
of
presentation.
Tablets
and
mobile
devices
are
becoming
viable
platform
for
3D
use,
and,
in
the
CRe-‐AM
desired
future
scenarios,
they
seem
a
good
candidate
for
the
development
of
a
new
generation
of
collaborative
tools.
In
order
to
answer
to
the
future
needs
of
CRe-‐AM
stakeholders,
some
possible
development
directions
filling
the
current
technology
gap
are:
-‐
Augmented
reality:
collaborative
does
not
mean
remote;
people
working
in
the
same
real-‐world
space,
sharing
localized
3D
content
through
AR.
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-‐
Natural
interaction:
the
actual
collaboration
interaction
between
users
should
exploit
touch
and
natural
interfaces,
more
than
building
upon
complex
proprietary
interfaces
like
most
of
the
current
3D
tools.
Complex
mouse
+
keyboard
interfaces
should
be
used
for
single-‐work
mode.
-‐
Lightweight
nodes:
using
tablets
and
mobile
devices
make
interaction
easier,
but
computation
harder,
thus
requiring
a
cloud
computation
support.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
• Architectural
• Design
• Games
• Art
4.
New
3D-‐4D
reconstruction
The
current
acquisition
pipeline
for
visual
models
of
3D
worlds
is
based
on
the
paradigm
of
planning
a
goal-‐
oriented
acquisition
-‐
sampling
on
site
-‐
processing.
The
digital
model
of
an
artefacts
(an
object,
a
building,
up
to
an
entire
city)
is
produced
by
planning
a
specific
scanning
campaign,
carefully
selecting
the
(often
costly)
acquisition
devices,
performing
the
on-‐site
acquisition
at
the
required
resolution
and
then
post-‐
processing
the
acquired
data
to
produce
a
beautified
triangulated
and
textured
model.
However,
in
the
future
depicted
in
the
desired
scenarios
the
acquisition
of
3D
objects
can
count
on
the
ubiquitous
availability
of
sensing
devices
that
deliver
different
data
streams
that
need
to
be
processed
and
displayed
in
a
new
way,
for
example
smartphones,
commodity
stereo
cameras,
cheap
aerial
data
acquisition
devices,
etc.
For
the
future,
a
change
of
paradigm
will
probably
be
necessary:
the
idea
being
that
the
community
should
be
able
to
take
part
in
the
reconstruction
process,
possibly
in
an
“incidental”
two
way
process
(i.e.
uploading
information
to
a
server
while
taking
photos
during
a
visit).
This
could
lead
to
the
possibility
of
obtaining
a
huge
amount
of
new
data,
but
also
the
necessity
to
provide
new
methodologies
to
analyse,
discard
and
process
information.
Moreover,
the
entire
dataset
should
move
from
3D
to
4D
data
capture,
where
not
only
the
spatial,
but
also
the
temporal
information
is
taken
into
account.
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The
acquisition
system
should
have
the
necessity
not
only
to
provide
a
3D
reconstruction,
but
also
to
detect
and
visualize
temporal
changes
and
possibly
extract
subsets
of
homogeneous
information
in
a
semi-‐
automatic
way.
The
development
of
new
methodologies
in
this
direction
can
open
up
new
challenges
for
the
creative
industry.
The
use
of
social
communities
to
extract
and
provide
information
can
be
extended
to
3D-‐4D
data,
and
extend
the
concept
of
information
sharing
in
a
new
and
powerful
way.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
• Design
• Media
Virtual
Reality
A
key
element
emerged
from
several
future
scenario
is
the
need
of
more
user
engagement.
This
can
be
reached
through
immersive
experiences
using
virtual
reality
and
3D
graphics.
Creating
the
feeling
of
reality
can
be
achieved
through
research
in
natural
interfaces
(e.g.
the
Wii
board,
Kinect,
etc.)
and
high
fidelity
computer
graphics.
In
the
latter
case,
computer
graphics
need
to
produce
real-‐time
and
highly
detailed
environments.
These
environments
also
need
to
be
perceived
as
real.
Novel
displaying
technologies
are
the
key
to
this.
For
example,
High
Dynamic
Range
Imagery
technology
(HDR)
allow
the
user
to
feel
real-‐world
light,
because
they
can
reproduce
a
huge
contrast
and
light
intensity.
Moreover,
revisited
head-‐set
displays,
e.g.
the
Oculus
Rift
by
OculusVR
Ltd.,
now
provides
a
better
immersion
experience
for
the
user
by
exploiting
what
the
users
really
want
such
as:
low-‐
latency,
low
price,
an
easy-‐to-‐use
Software
Development
Kit
(SDK)
for
developers,
good
stereoscopic
quality.
To
sum
up,
considered
the
analysed
trends
and
signals,
the
important
challenges
in
this
field
are:
natural
interfaces
(again),
immersive
display
(HDR
displays,
HDM
e.g.
Oculus
Rift),
and
high
fidelity
graphics,
all
of
which
still
need
to
be
pushed
forward
to
achieve
production
rendering
quality
in
real-‐time.
According
to
our
scenarios,
this
technology
gap
affects
the
following
creative
sectors:
• Media
• Games
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Content
circulation,
rights
management
and
preservation
The
preservation,
the
circulation
and
the
rights
management
of
digital
objects
are
topics
that
have
been
largely
mentioned
in
the
future
scenarios
collected
so
far.
Protecting
and
preserving
digital
data
derived
from
a
scanning
acquisition
of
an
artwork
or
being
the
digital
artwork
itself
are
nowadays
lifetime
commitments
for
a
cultural
institution
and
artists.
1.
Content
identification
and
tracking
Technology
for
content
identification
(who
is
the
owner,
where
can
I
find
this
content?)
as
well
as
content
tracking
(is
this
content
legally
used?)
are
strong
issues
subject
to
regular
discussions
between
the
right
holder
community
(we
have
to
be
able
to
keep
track
of
rights)
and
the
general
user
community
(we
should
be
able
to
use
any
content).
Without
trying
to
verify
all
content
circulating
on
the
web,
it
is
important
to
have
tools
for
marking,
identifying,
monitoring
and
tracking
the
use
of
content.
These
issues
may
have
important
economic
impacts
depending
on
how
content
is
used,
reused
or
adapted
and
who
is
using
it.
According
to
our
scenarios,
this
technology
gap
mainly
concerns
the
following
creative
sectors:
• Art
• Media
2.
Intellectual
Property
Rights
management
for
3D
data
Along
with
the
widespread
use
of
the
Internet,
shielding
digital
data
from
theft
and
misuse
has
become
a
major
issue
for
legal
data
owners.
A
lot
of
efforts,
in
terms
of
economic
and
human
resources
have
been
spent
in
recent
years
by
the
digital
entertainment
and
publishing
industry
in
order
to
enforce
the
protection
of
software,
digital
images,
movie,
audio
files
and
digital
books.
Digital
Right
Management
technologies
for
traditional
multimedia
data
are
nowadays
a
standard
practice
although
none
of
them
is
100%
effective.
Conversely
there
is
a
gap
in
those
technologies
that
have
been
specifically
developed
to
protect
3D
data
content;
and
this
kind
of
data
will
likely
become
more
common
in
almost
all
creative
sectors
as
emerged
from
the
analysed
desired
future
scenarios.
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FP7
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n
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n°612451
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Open
standards
are
definitively
needed
both
for
the
preservation
of
the
digital
data
and
for
the
metadata
associated
with
them,
providing
additional
valuable
info
on
the
content
itself
(who
create
it,
when
it
has
been
created,
what
the
virtual
model
represents
etc.).
Proprietary
data
formats
have
always
created
barriers
to
the
integration
among
digital
information
and
have
for
a
long
time
impeded
the
creation
of
a
suitable
open
and
standard
format
able
to
encompass
all
the
interoperability
issues.
Environment
descriptions
may
be
the
access
road
to
self-‐preserving
objects.
Managing
preservation
through
time
is
a
complex
issue
where
human
intervention
is
constantly
required
in
order
to
check
the
integrity
and
preservation
needs
of
a
digital
data.
These
validation
and
checking
actions
could
be
a
part
of
the
objects
themselves,
thus
creating
an
environment
capable
of
monitoring
the
state
of
the
preserved
objects,
even
of
different
natures,
and
managing
the
necessary
action
on
an
object-‐based
approach
that
could
guarantee
that
the
necessary
preservation
actions
are
done
in
the
precise
moment.
According
to
our
scenarios,
this
technology
gap
mainly
concerns
the
following
creative
sectors:
• Art
• Media
• Games
• Design
• Architecture
D5.1-‐
Gap
Analysis
Report
n
CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
Page
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9 Conclusions
This
report
focused
on
the
gap
analysis
of
the
technologies
emerged
from
the
desired
future
scenarios
defined
and
collected
by
the
participants
of
the
CRe-‐AM
events,
interviews
and
online
surveys.
The
analysis
concerned
the
definition
of
strengths,
weaknesses,
opportunities
and
threats
of
these
envisioned
technologies
and
their
comparison
with
technology
trends
and
signals.
The
result
was
the
definition
of
the
gaps
between
desired
and
future
technologies
in
the
five
creative
sectors
of
CRe-‐AM.
Some
identified
gaps
concerns
the
specific
creative
sector
(e.g.
multisensory
technologies
or
brain-‐
computer
interface),
others
-‐
like,
for
instance,
those
related
to
the
demand
for
an
increased
interactivity
and
personalisation,
crowdsourcing,
interdisciplinary
creations
and
the
creation
of
virtual
collaborative
spaces
-‐
are
more
transversal
and
cross
sector.
The
next
step
will
be
to
translate
the
gap
analysis
into
initial
recommendations
and
detailed
research
direction
with
the
medium-‐term
and
longer-‐term
perspectives
for
the
ICT
solutions
providers
(industry
developer
and
academic).
The
analysis
will
be
also
shared
with
the
CRe-‐AM
community
in
order
to
collect
feedbacks
to
be
used
in
the
refined
version
of
the
gap
analysis
and
final
roadmap.
D5.1-‐
Gap
Analysis
Report
n
CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
Page
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References
Bourgeois
III,
L.J.
(1996)
Strategic
Management,
From
Concept
to
Implementation.
The
Dryden
Press,
Fort
Worth.
Hill,
T.
and
R.
Westbrook
(1997)
SWOT
Analysis:
It’s
Time
for
a
Product
Recall.
Long
Range
Planning,
Vol.30,
No.1,
pp.
46-‐52.
Pearce,
II,
J.
A.
and
R.
B.
Robinson,
Jr.
(1997)
Strategic
Management.
Formulation,
Implementation,
and
Control.
6th
ed.
Irwin,
Chicago.
.
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• designated
a
leader
or
group
facilitator
who
had
good
listening
and
group
process
skills,
and
who
could
kept
things
moving
and
on
track.
• designated a recorder to back up the leader when the groups were large.
• briefly
introduced
the
SWOT
method
and
its
purpose
as
part
of
the
general
introduction
of
the
workshop
purposes.
This
were
as
simple
as
asking,
"Where
are
we
in
terms
of
technology,
where
can
we
go?"
• Gave
the
groups
about
20
minutes
to
brainstorm
and
fill
out
their
own
strengths,
weakness,
opportunities
and
threats
chart.
We
encouraged
them
not
to
rule
out
any
ideas
at
this
stage,
or
the
next.
o Reminded
groups
that
the
way
to
have
a
good
idea
is
to
have
lots
of
ideas.
Refinement
can
come
in
later
discussion,
also
online
on
the
CRe-‐AM
communities’
portal.
In
this
way,
the
SWOT
analysis
also
supported
valuable
discussion
within
the
groups
as
we
honestly
assessed.
o It
helped
to
generate
lots
of
comments
about
the
defined
future
scenarios,
desired
scenarios
and
trends
and
even
to
put
them
in
multiple
categories
if
that
provokes
thought.
Once
a
list
was
generated,
we
refined
it
to
the
best
15
or
fewer
points
so
that
the
analysis
can
be
truly
helpful.
D5.1-‐
Gap
Analysis
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n
CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
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Gap
Analysis
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CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
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Gap
Analysis
Report
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CRe-‐AM
FP7
Project
n
Grant
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n°612451
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Gap
Analysis
Report
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CRe-‐AM
FP7
Project
n
Grant
agreement
n°612451
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Gap
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CRe-‐AM
FP7
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n°612451
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Gap
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FP7
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