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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  

Project  Full  Title:   Creativity  REsearch  Adaptive  roadMap  

Grant  Agreement:     612451  

Project  Duration:   24  months  (Oct.  2013  -­‐  Sept.  2015)  


 
 
 

D5.1  Gap  Analysis  Report  –  v1  


 
   
Author:  Fabrizio  Giorgini      (Lattanzio)                                              
  for  TEC  futures  
 
   
Contributors:  Yiota  Vassilopoulou  (Uliv)   for  TEC  futures  
                                                                       Floriane  Maillet  (IMT)    
 
 

Task/WP  related  to  the  Deliverable:  Task  5.1  

Type  1:  R    

Reviewer(s):     George   Xydopoulos   (  


 
Surrey  )    

Approved  by:  Munir  Abbasi  (  Surrey)      

Contractual  Date  of  Delivery  to  the  EC:  M11  (  31/08/2014)      

   Actual  Date  of  Delivery  to  the  EC:  


 
Abstract:   This   deliverable   aims   at   analysing   the   different   characteristics,   advantages,   disadvantages   and  
opportunities   of   the   envisioned   technologies   supporting   creativity   in   the   five   industry   sectors   (Art,   Design,    
Media   &   e-­‐Publishing,   Games   and   Architecture)   in   relation   to   the   technology   trends   and   weak   signals   from  
WP4.  The  result  is  the  gap  analysis  between  desired  technologies  and  current/future  technology.        

Keywords:  Creative,  future  technologies,  Gap  analysis,  trends  ,  weak  signals    

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)  
 

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The  CRe-­‐AM  project  consortium  is  composed  of:  


 
SURREY   University  of  Surrey     United  Kingdom  
MENON   Reseau  Menon  E.E.I.G.     Belgium  
BCC   Black  Cube  Collective     United  Kingdom  
NCSR   National  Center  for  Scientific  Research  "Demokritos"   Greece  
LMU   London  Metropolitan  University     United  Kingdom  
IMT   Institut  Mines-­‐Telecom     France  
FLUX   Fluxguide  Ausstellungssysteme  Og     Austria  
Sigma       Sigma  Orionis             France  
Lattanzio   Lattanzio  Learning  SpA     Italy  
HOPE   Liverpool  Hope  University     United  Kingdom  
Uliv   The  University  Of  Liverpool     United  Kingdom  
IMA   imaginary     Italy  
ELIG   Linkspace  Management  Services  Gesellschaft  MBH   Austria  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Disclaimer  
 
All  intellectual  property  rights  are  owned  by  the  CRe-­‐AM  consortium  members  and  are  protected  by  the  applicable  laws.  Except  where  otherwise  
specified,  all  document  contents  are:  “©  CRe-­‐AM  project  -­‐  All  rights  reserved”.  Reproduction  is  not  authorised  without  prior  written  agreement.  
 
All   CRe-­‐AM   consortium   members   have   agreed   to   full   publication   of   this   document.   The   commercial   use   of   any   information   contained   in   this  
document  may  require  a  license  from  the  owner  of  that  information.    
 
All  CRe-­‐AM  consortium  members  are  also  committed  to  publish  accurate  and  up  to  date  information  and  take  the  greatest  care  to  do  so.  However,  
the  CRe-­‐AM  consortium  members  cannot  accept  liability  for  any  inaccuracies  or  omissions  nor  do  they  accept  liability  for  any  direct,  indirect,  special,  
consequential  or  other  losses  or  damages  of  any  kind  arising  out  of  the  use  of  this  information.  
Revision  Control  
 

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Version   Author   Date   Status  


0.1   Fabrizio  Giorgini  (Lattanzio)   29/08/2014   First  draft  
0.2   Fabrizio  Giorgini  (Lattanzio)   10/10/2014   Second  draft  
0.3     Fabrizio  Giorgini  and  Davide   27/10/2014   Third  draft  
Mustaro  (Lattanzio)  
0.4   Fabrizio  Giorgini  and  Davide   6/11/2014   Final  draft  
Mustaro  (Lattanzio)  
0.5   Fabrizio  Giorgini  (  Lattanzio)   7/11/2014   Final  Version  
0.6   George  Xydopoulos  and   10/11/2014   Review  and  approval  
Munir  Abbasi  (  Surrey)    
1.0   Lampros  Stergioulas  (   11/11/2014   Submitted  to  EC  
Surrey)    
 
 
   

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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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Table  of  Contents  


1   Introduction  ..........................................................................................................................................  11  

2   Methodology  for  the  Gap  Analysis  ..............................................................................................  13  

3   Art  ..........................................................................................................................................................  19  


3.1   Mapping  Desired  Future  Scenarios  to  Trends  and  Strong  and  Weak  Signals  .....................  21  
3.2   SWOT  Analysis  ..........................................................................................................................................  23  
3.3   Art  Sector  Initial  Gap  Analysis  .............................................................................................................  25  

4   Games  ...................................................................................................................................................  27  


4.1   Mapping  Desired  Future  Scenarios  to  Trends  and  Strong  and  Weak  Signals  .....................  30  
4.2   SWOT  Analysis  ..........................................................................................................................................  32  
4.3   Games  Sector  Initial  Gap  Analysis  ......................................................................................................  33  

5   Design  ..................................................................................................................................................  36  


5.1   Mapping  Desired  Future  Scenarios  to  Trends  and  Strong  and  Weak  Signals  .....................  38  
5.2   SWOT  Analysis  ..........................................................................................................................................  39  
5.3   Design  Sector  Initial  Gap  Analysis  ......................................................................................................  40  

6   Media(Media  and  e-­‐Publishing  ....................................................................................................  43  


6.1   Mapping  Desired  Future  Scenarios  to  Trends  and  Strong  and  Weak  Signals  .....................  47  
6.1   SWOT  Analysis  ..........................................................................................................................................  51  
6.2   Media  Sector  Initial  Gap  Analysis  .......................................................................................................  52  

7   Architecture  .......................................................................................................................................  55  


7.1   Mapping  Desired  Future  Scenarios  to  Trends  and  Strong  and  Weak  Signals  .....................  57  
7.2   SWOT  Analysis  ..........................................................................................................................................  59  
7.3   Architecture  Sector  Initial  Gap  Analysis  ..........................................................................................  61  

8   Cross-­‐sector  technology  gaps  .......................................................................................................  63  

9   Conclusions  ........................................................................................................................................  73  

References  ................................................................................................................................................  74  

Annex  I  –  SWOT  analysis  during  the  CRe-­‐AM  events  ..................................................................  75  


 

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Annex  II  -­‐  Technology  maps  ................................................................................................................  76  


 

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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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2 Methodology  for  the  Gap  Analysis  


This   chapter   details   the   methodology   used   for   the   gap   analysis   conducted   within   WP5.   The   aim   is   to  
provide   an   analysis   based   on   the   comparison   of   state   of   the   art   and   the   future   states.   Also   identify   and  
evaluate  the  impact  of  the  emerging  trends  on  innovations  in  creativity  supporting  tools  and  on  current  and  
prospective  implementations.  
According  to  the  Description  of  Work  (DoW),  we  focused  on  the  analysis  of  SWOT  (strengths,  weaknesses,  
opportunities  and  threats)  of  the  most  relevant  technologies  for  today’s  actual  approaches  and  tomorrow’s  
anticipated   solutions   identified   in   terms   of   strong   and   weak   signals   in   WP4.   The   results   of   these   SWOT  
analysis  is  the  input  for  the  gap  analysis  which  aims  to  identify  how  far  the  existing  solutions  that  support  
the  current  mainstream  processes  of  creativity,  the  related  communication  in  the    creative  industries,  the  
accompanying   management   of   resources   and   the   creation   of   associated   materials   are   from   the   future  
scenarios  emerged  from  WP3  activities.  
As  described  in  the  DoW  and  illustrated  in  D3.1  the  interconnections  between  the  main  work  packages  (i.e.  
WP3,  4  and  5)  that  lead  to  the  gap  analysis  is  as  follows:    
 

 
  Desired  Future  Scenarios  
 
 
WP3   and  Technologies  per  

  creative  sector  
 
  WP5  
 
 
   

  WP4   Sector  specific  ICT  trends  


  and  strong  &  weak  signals  
 
SWOT  and  
 
  Gap  Analysis  
 
 
 
Figure  1:  How  WP3,  WP4  and  WP5  are  interlinked  

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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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• Standardisation  and  Protection;  


 
From  each  group,  the  envisaged  ICT  technologies  supposed  to  contribute  to  the  realisation  of  the  visions  of  
our   stakeholders   are  extracted.  The  result   is  expressed   in   visual   maps   created  with   an   open   source  mind  
mapping  tool  (called  FreeMind2)  facilitating  the  visualisation  and  exploration  of  the  technologies.  The  map  
consists  of  a  central  theme  (the  group)  and  related  technologies  branching  out  that  are  connected  to  the  
central   node   via   relationship   hooks   (Figure   3).   The   technologies   are   distinguished   in   software   (SW)   and,  
when  necessary,  hardware  (HW)  technologies.      
 

 
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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Annex  I  –  SWOT  analysis  during  the  CRe-­‐AM  events  


Here  are   the   steps   adopted   in   the   project   for   conducting   events   and   a  gathering   data   to   produce   our  
analysis.  

During  the  CRe-­‐AM  workshops  we:  

• 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.  
 

Figure  5:  The  complex  world  of  new  media  art  


 
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   shown   a  
particular  interest  of  CRe-­‐AM  stakeholders  for  the  following  macro-­‐categories  of  ICT  technologies:  
 
• Interactive  virtual  and  augmented  technology  for  Artworks  creation  
• Technology  for  presenting,  exhibiting  and  interacting  with  Artworks  
• Technologies  for  preservation,  storage  and  protection  
 
A  more  careful  study  of  the  above  macro-­‐categories  in  terms  of  involved  ICT  technologies,  no  matter  if  they  
are  state  of  the  art  technologies  or  future  technologies,  led  to  the  definition  of  the  next  conceptual  maps  
representing  which  SW  and  HW  technologies  may  contribute  to  the  realisation  of  our  stakeholders’  desired  
future  scenarios.  
 

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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.  
 

3.2 SWOT  Analysis    

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  

3.3 Art  Sector  Initial  Gap  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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• Biofeedback  Gaming   • Augmented  reality     similar  hardware,  the  


Technology   • Real  time  visualization   player  can  see  objects  
• Play  Anywhere:  Any  Device,   and  interaction     in  the  3D  immersive  
Any  Location   • Multiple  screens   environment  and  can  
• Motion-­‐tracking  suits  with   • Games  to  interact  with   play  with  them  
accurate  body  motion-­‐capture   the  real  world   physically  in  the  real  
abilities   environment   world,  adding  touch  
• Secondary  gaming  device  for   • Gaming  to  interact  more   sensations  
players  and  multi-­‐screens     with  social  life   • Use  of  augmented  
• Cloud  gaming   gamification  will   reality  to  develop  
  penetrate  many  aspects   social  gaming  
of  our  life  as  education   schemes,  like  creating  
and  daily  activities   different  routes  or  
• Physicality  becomes  key   paths  which  people  
can  follow  in  the  real  
world  to  restaurants,  
games,  secret  spots,  
etc.  
• Unity/unreal  engines  
• Wearable  technologies  
• Cloud  Gaming  /  
Computing/  Streaming  
 
• Blurring  of  boundaries  between   • Real  Cross-­‐Platform    
digital  and  physical,  interfaces   development    
and  game  experiences  thanks   • Cross  platform  
to  3D  printing  and  scanners.   distribution    
• Open-­‐source  gaming     • Images  will  become  
• Game  DVR  and  Streaming  (e.g.   hugely  powerful  and  a  
User-­‐generated   Major  League  Gaming  and   crucial  way  of  conveying  
and   user-­‐ Twitch)   information  
• 3D  printing  combined  
oriented  
with  games  so  users  can  
contents   develop  special  tools  with  
3D  printers  that  can  be  
used  as  controls  of  the  
game  later  on  
• Real  time  visualization  
and  interaction    
• User  generated  content      
• Big  data  for  personalised   • Humanisation  of  AI   • Use  of  augmented  
gaming   • Gamification  will  be  part   reality  to  develop  
• Context-­‐aware  gaming.  A   of  our  lives     social  gaming  
context-­‐aware  game  uses   • Real  time  visualization   schemes,  like  creating  
Personalised   physical  and  digital  information   and  interaction     different  routes  or  
about  the  current  status  of  the   • Use  of  ‘big  data’  for   paths  which  people  
Games  
player  to  shape  how  the  game   immediate  and   can  follow  in  the  real  
is  played.     personalized  feedback   world  to  restaurants,  
• Blurring  of  boundaries  between   games,  secret  spots,  
digital  and  physical,  interfaces   etc.    
and  game  experiences  thanks   • Facial  recognition  
 

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to  3D  printing  and  scanners.   systems    


• Gamification  in  life  tracking  
technology  (e.g.  the  wearable  
fitness  tracker  connected  with  
friends  to  compare  your  
progress  with  theirs)    
 
 
Table  3:  Trends  and  Strong/Weak  signals  mapped  to  Desired  Future  Scenarios  
 

4.2 SWOT  Analysis    

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  

• Greater  control  over  the  games   • Gaming  addicts  


development;   • Disconnection  with  the  real  world  
• Reduced  production  costs  due  to  the   • Collaboration   issues   between  
reusability  of  code  for  other   technologies  and  creative  professionals  
products/platforms   • Not   enough   communication   between  
• Faster  time-­‐to-­‐market   creative   professionals,   technologists   and  
• To   adopt   greater   personal   responsibility   the  actual  audiences  
and  personal  power  creativity   • Real  Cross-­‐Platform  development  
• 'Real   life'   social   engagement   between   • Interoperability   issues   for   merging  
players   different   game   platforms   and   different  
• Games  for  educational  purposes   technology  
• Help  disabled  people  or  for  rehabilitation   • HW  costs  for  3D  holographic  screen  
• Big  data  technologies  and  games  analytics   • Still   too   high   costs   for   creative   gaming  
enhance   design   and   optimize   game   technologies   like   motion   controls,  
monetization  efforts   stereoscopic   3D,   mobile   augmented  
• More   interaction   and   engagement   with   reality,  immersive  environments  
VR  and  natural  interfaces   • Content  circulation,  rights  management  
• On-­‐demand   Gaming   as   a   Service   (GaaS)  

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solution   with   cloud   gaming   (multi-­‐device,  


no   hardware   and   software   w  
requirements).  

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  
 

4.3 Games  Sector  Initial  Gap  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
http://gaminganywhere.org/
 

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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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interactive   project  according  to  the  


rendering   of   paper/material/texture  used  for  the  final  
objects   version  as  well  as  its  resistance  under  
different  circumstances  
• Big  office  printer  brands  enabling  users  to  
use  pantone-­‐colour  cartridges.  
• Google  Glass  and  other  upcoming  
Wearables    
• Brain  interface  (commands  given  through  
electroencephalography)  
• Virtual  immersion  systems  like  CAVE,  
Oculus  Rift,  immersive  screens,  
interaction  systems  (Kinect,  joysticks,  
Flysticks),  driving  simulator  and  
augmented  reality    
• Cloud-­‐based  creative   • Easy  access   • New  forms  of  technologies  and  design  to  
apps     to  new   change  public    and  common  spaces  (like  
Advanced   • Sensor  technology   tools,   galleries,  museums,  archives  etc.)  into  
technologies   • Robotic  fabrication   materials   collaborative  and  user-­‐oriented  spaces  
for   the   • 3D  Printing   and   • Open  (public)  environments  for  individual  
objects   • Synthetic  biology   information   /  artistic  expressions  
modelling  and   • Crowdsourcing   (from  the   • Systems  enabling  collaboration  at  a  
collaborative   platform   industry)   distance  in  virtual  immersion  
design     • User   • Entire  shape  design,  styling  and  surfacing  
  oriented   workflow  tools  (e.g.  CATIA)  
  and  user   • Multi-­‐touch-­‐screens/walls  for  designers  
generated  
content  
 
Table  5:  Trends  and  signals  mapped  to  technologies  envisaged  for  the  desired  future  scenarios  of  Design  
 
 

5.2 SWOT  Analysis  

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  

• Crowdsourcing   supporting   smaller   • Greater  network  traffic  


companies,   without   the   budgets   to   tap   • Control   and   ownership   on   collaborative-­‐  
their  customers  or  a  broader  audience  on   generated  design  (IPR  issue)  
their  own   • Products  quality  lower  
• People   with   different   backgrounds   had   • Missing  high-­‐fidelity  3D  printing  
different,   yet   interesting   approaches   to  
the  idea  
• Quicker  design  and  production  
• Open   solutions:   larger   the   creative  
toolbox   (also   with   apps),   the   greater   the  
possibility  for  creative  excellence  
• 3D,   AR,   VR   allows   to   experiment   in   the  
world  of  bits  before  to  invest  resources  in  
the  world  of  atoms  

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  

5.3 Design  Sector  Initial  Gap  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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6 Media  (Media  and  e-­‐Publishing)  


New   media   technology   is   the   application   of   digital   or   computer   technology   to   mass   media,   specifically   in  
terms   of   storage,   distribution,   production   and   use.   E-­‐publishing   (or   electronic   publishing)   comprises   the  
digital  production  of  books,  newspapers,  magazines,  textbooks  and  other  published  assets.    
 
A  number  of  fields  emerged  from  the  study  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  where  creativity-­‐
led   and   end-­‐user   led   ICT   development   should   be   explored.   Within   them,   it   is   possible   to   distinguish  
technologies  supporting:  
 
• the  community-­‐based  content  creation  
• more  interactive  and  immersive  presentation  
• contents  analysis  and  personalization  
• streaming  and  broadcasting  of  high  definition  contents  
• Content  standardization  and  protection  
 
A   deeper   analysis   of   these   groups   of   technologies   allowed   to   identify   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  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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• Smart  connected  devices   and  virtual  


and  wearable  computing   • Demand  for  better  
that  allow  people  to   streaming  
measure,  monitor  and   technologies,  
visualise  activities  in   especially  technologies  
their  daily  lives.       that  allow  for  multi-­‐
• Mobile  with  Interactive  
streaming  
Technologies  (NFC  with  
• Increased  interest  in  
QR,  AR,  Gesture)  for  
meta-­‐technologies,  
content  interaction  
such  as  Twitch  TV,  
• Multi-­‐Channel  
Technologies  using   which  focus  on  the  
business  intelligence   consumption  of  media  
systems  to  get  user’s   and  publishing  content  
behaviour  and  
personalise  services  
• Cross-­‐Platform  
interoperability  
• Constant  Connectedness  
• Cross-­‐screen  technology  
(Digital  publishers  need  
to  be  able  to  deliver  
strong  content  across  
screens  in  the  most  
optimized  way)  
•  
• VP9  Ultra  HD  (4K)   • Personalized  hardware   • Demand  for  better  
Streaming  Technology   and  controllers   streaming  
• HEVC  (High  Efficiency   • Multi-­‐streaming   technologies,  
Video  Coding)  4K  codec   technology   especially  technologies  
• TICO  light-­‐weight   that  allow  for  multi-­‐
  compression   streaming  
Streaming   and   • Demand  for  more  4K  
broadcasting  technology   (UHD)  mobile  phones  
that  would  allow  the  
full  potential  of  current  
media  content  to  be  
exploited  

• Location-­‐Based  for     • Increased  concern  for  


Interactive  Marketing   the  personalisation  of  
• Social  Commerce  and   the  consumer’s  media  
Enhanced   technology   Social  Shopping   experiences  
for   contents   analysis   • Big  Data  (new   • Increased  concern  over  
and  personalization   technologies  and  data   big  data  issues,  
storage  solutions)  for   particularly  the  need  
personalised  contents   for  anonymity  and  
and  services     increased  security  
 

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• Smart  connected  devices   • The  incorporation  of  


and  wearable  computing   instant  messaging,  
that  allow  people  to   social  media  and  co-­‐
measure,  monitor  and   produced  marketing  
visualise  activities  in   into  film/TV  products  
their  daily  lives.      
• Multi-­‐Channel  
Technologies  using  
business  intelligence  
systems  to  get  user’s  
behaviour  and  
personalise  services  

• Several  business  models     • Concern  over  the  


have  been  proposed   distribution  of  media  
that  offer  an  alternative   and  how  it  could  be  
to  the  use  of  DRM  (   controlled  to  ensure  
Digital  Rights   profit  margins  
Management)    by   • Anxiety  over  payment  
content  providers  and   structures  for  media  
rights  holders   and  the  need  for  near-­‐
Content   standardization   • SiDiM  DRM  to  protects   field  (NF)  and  p-­‐to-­‐p  
and  protection   ebooks  and  other  digital   technologies  for  
products   micropayments  
• Multi-­‐format  Publishing  
and  Multi-­‐format  
standards  
(interoperability  in  API  
standards  for  multi-­‐
format  publishing)  

 
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   CRe-­‐AM  
 

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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.      
 

6.1 SWOT  Analysis  

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  

• “Access  for  all”  technologies   • Fragile  technology  


• Self-­‐publishing   • Commerciality   problems   –  
• Content   distributions   systems   (across   all   bypassing  publishers  and  publishing  
popular  distribution  channels,  social  platforms)     on  demand  
• Access   contents   at   book,   article,   chapter,   • Quantity   (poor)   content   vs   quality  
paragraph  level   content  
• Marketing  within  products   • Difficulty  of  production  
• Pay  –per-­‐use     • Option/choice  overload  
• 4K  quality  contents     • Artificial   social   environments,   with  
• Personalised  content,  on  demand   negative  impact  on  social  life  
• Interconnected  service  between  products   • New  DRM  needed  
• Enhanced  user  experience  
• More  user  satisfaction  

OPPORTUNITIES   THREATS  

• Democratisation  of  the  internet   • Limits  of  3D  printing  


• Broadband  Internet  access,  high  penetration  of   • Privacy  and  security  issues  
mobile   devices   and   increasing   computing   • The  funding  model  
power   provide   the   Media   creative   sector   with   • High  profit  margin  
a   favourable   environment   for   developing   and   • Linguistic  barriers    
exploiting  new  products  and  applications.   • Copyright  laws  
• Growing  number  of  digital  contents   • Content   and   apps   distribution   is  

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• 4K  screens  at  low  costs   nowadays   controlled   by   a   few  


• First  4K  streaming  channels   major   non   EU   companies   such   as  
• Growing  (4K)  mobile  market   Amazon,   Apple,   Google,   Microsoft  
• Wearable  technology  for  all   and   Facebook.   While   at   present  
• New   business   and   marketing   models   such   platforms   open   up   markets   to  
(individual   consumption   is   shifting   and   new   potential   users,   they   are  
evolving   quickly   in   the   digital   society,   which   imposing  a  number  of  requirements  
offers   seamless   opportunities   for   new   and   constraints   to   the   creative  
approaches  to  traditional  businesses)   industries.  
• Affordable  3D  printers   • Availability   of   high   speed   network  
• First  commercial  holographic  projectors   to  all  
• Ubiquitous   technology   adoption   facilitates   • Non-­‐EU   Competitors   (e.g.  
consumption   of   content   anywhere,   anytime   Singapore)   with   better  
and   on   any   device.   This   demand   is   being   infrastructure  for  broadcasting    
addressed   by   unprecedented   access   to  
enormous   quantities   of   commercial,   public  
sector  as  well  as  user  generated  content  from  
blogs   and   social   networks.   This   increased  
demand   opens   up   opportunities   in   innovative  
content  creation  and  distribution  channels.  
Table  8:  Media  sector  technologies  SWOT  analysis  
 
 

6.2 Media  Sector  Initial  Gap  Analysis  

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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• Software  that  can  process  


various  file  formats  in  order  
to  move  towards  universal  
applications  and  file  
formats.    
• Combined  use  of  digital  
tools  and  traditional  
approaches  
• Motion  and  gesture  
controlled  Interfaces  
• Tools  with  augmented  
simulation  capabilities:  
simulate  natural  and  social  
environment  
• Open  source  hardware    
• Visualisation  tools  for  more  
than  one  type  of  
professional:  Architects,  
Urban  planners,  local  
government,  and  engineers  
• Software  is  intrinsic  to  the  
sector  now  
• Tools,  which  support  the  
architect  to  fund  and  plan  
the  whole  architecture  
process.  
• Transmitting  of  knowledge  is  
becoming  more  important  
• Interoperability  is  very  
important  –  Most  software  
proprietary  and  closed  at  
the  moment.  
 
• Immersive  design   • Embedded  and  Connected   • Passive  sensing  
environment  linking   Devices   technology  
multiple  projectors,   • Tools,  which  ensure  safety  on   • Smart  buildings    
infrared  motion  sensors,   site.     • Building  Information  
and  visualization  and   • Materials  –  Cheaper  and   Modelling  (BIM)  
analysis  software   Stronger  Materials.   • BIM  Data  allowing  ideas  
Smart   • Better  insulation  -­‐  Phonic   being  assessed  as  they  
insulation     are  created.  
buildings  
• Mapping.  Measuring  ambient  
technologies   data  
• Building  Information  
Modelling  (BIM)  Data  is  now  
becoming  ubiquitous  
• Interoperability  is  very  
important  
 
Technologies   • Virtualization  and  high   • Architectural  Visualization    

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for   modelling   quality  visualization   • Holographic  Displays    


and   fast   • User-­‐centred  design  of   • Programmatically  Controlled  
prototyping   continuous  interfaces   ‘Deformable’  Surfaces  
(intuitive  human   • Artificial  Intelligence  
computer  interaction)   • Tools  with  augmented  
• Artificial  intelligence   simulation  capabilities:  
• Holograms   simulate  natural  and  social  
• 3D  printing   environment  
• 4D  printing,  which   • 3D  printing    
involves  printing  a  small   • 3D  scanning    
item  that  grows  much   • Simulations  using  real  physics  
larger  after  adding  water.   engines.  Realising  real  
• 3D  laser  scanning   environments  in  simulation  
• Immersive  design   • Technologies  that  allow  
environment  linking   easier  prototyping    
multiple  projectors,  
• Open  source  hardware    
infrared  motion  sensors,  
• Developing  your  own  
and  visualization  and  
technology.  More  architects  
analysis  software  
will  begin  to  develop  their  
• Cloud-­‐based  collaboration  
own  tools  to  make  
themselves    
• Fab  lab  technology  is  getting  
better  and  cheaper  
 
Table  9:  Trends  and  Strong/Weak  signals  mapped  to  Desired  Future  Scenarios  for  the  Architecture  sector  
 

7.2 SWOT  Analysis  

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.  
 
STRENGHTS   WEAKNESSES  

• Greater  access  to  open  tools   • Applications   (e.g.   photo-­‐realistic  


• Better  distributions  systems   rendering)  still  very  demanding  hardware-­‐
• Design   optimised   with   the   support   of   Big   wise  (CPUs,  memory,  and  storage).  
Data  analytics     • Interoperability  of  CAD  systems  
• Time   saving   with   highly   intuitive   user   • Adaptations   of   open   tools   originally  

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interfaces/tools   developed   for   other   sectors   (e.g.   film  


• Costs   reduction   with   cloud-­‐based   industry,  gaming).  
solutions   • Increasingly   ‘user   friendly   tools’   comes  
• Open   solutions   to   support   the   with   dangers.   User   friendly   makes  
development   of   creative   communities   decisions   on   your   behalf   and   limits   your  
(also   cross-­‐sector),   where   members   can   creativity  
contribute   and   retrieve   small   pieces   of   • Issues   of   privacy,   data   collection   for   Big  
creativity  (creative  hives)   Data  analytics  
• Smart   building   means   costs   and  
environmental  saving;  
• Rapid   prototyping   with   3D   printers,   3D  
scanners  and  Holographic  prints  

OPPORTUNITIES   THREATS  

• Growing   importance   of   Information   and   • Obstructionism   of   big   players   (e.g.  


Communication  Technologies  (ICTs),  social   Autodesk   –   3ds   max)   against   open  
and  environmental  capital  in  profiling  the   solutions  
competitiveness  of  (smart)  cities.   • Legislative   concerns,   in   terms   of   the   rate  
• Higher   computational   power,   reduced   of  change  of  technology  compared  to  the  
energy   consumption,   and   faster   data   rate  of  change  of  legislation  
communication   will   accelerate   the   • 3D  printing  costs  for  large  volumes  
development  of  biometric  applications  
• The   market   for   BAS   (Building   Automation  
System)   continues   to   grow,   not   only   for  
installation   in   office   and   industrial  
buildings  but  also  for  private  houses.  
• The   European   Union’s   (EU)   goals  
regarding  energy  transition  by  2020:  
       •   a   20%   reduction   of   primary   energy  
consumption,    
       •   a   20%   reduction   of   greenhouse   gas  
emissions    
       •   a   20%   production   of   the   EU’s   energy  
from  renewable  sources  
• EU   Legislative/regulatory   framework  
incentivizing   the   adoption   of   ICT   for  
energy  saving  
• Electricity  and  Gas  increased  costs  
• Construction   industry   is   revealed   as   highly  
receptive  to  new  technologies  

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Table  10:  Architecture  sector  technologies  SWOT  analysis  
 
 

7.3 Architecture  Sector  Initial  Gap  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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8 Cross-­‐sector  technology  gaps  


Advances  in  ICT  technologies  have  opened  up  a  myriad  of  new  fields  of  application  and  growth  perspectives  
for  the  creative  sectors.    
The   use   of   innovative   IT   solutions   offers   competitive   advantages   for   innovation   and   business,   not   only   in  
the  areas  of  the  creative  process  per  se,  but  also  within  the  production,  reproduction  and  distribution  of  
the  artefacts  created.  
The   objective   of   this   chapter   is   to   identify   opportunities   and   challenges   for   further   research   and  
development   for   those   technologies   emerged   from   desired   future   scenarios   having   a   high   potential  
application  in  more  than  one  CRe-­‐AM  creative  sector  in  the  short  to  medium  term.  
From   the   extensive   list   technologies   and   environment   tools   extracted   from   the   desired   future   scenarios  
presented  in  the  previous  chapters  the  ones  having  a  relevance  for  more  than  one  sector  are  presented  in  
the   following.   The   elaboration   of   the   proposed   research   directions   keep   the   trends   and   signals   of   WP4   into  
account.  
 
 
Content  creation      
Some   forms   of   creation   have   historically   been   accessible   to   all   (such   as   writing   or   drawing)   while   others  
have   required   developed   skills   and   technology   (such   as   music,   cinema,   sculpture,   etc.).   The   tendency  
emerged   from   several   of   the   analysed   desired   future   scenarios   is   the   need   of   tools   that   can   assist   and  
simplify   any   creative   process   with   the   result   that   lack   of   manual   ability   is   no   longer   an   impediment   to  
creating   and   accessing   complex   forms   of   creation.   These   tools   allow   users   possessing   a   relatively   limited  
knowledge  of  modelling  applications  to  create  digital  objects  of  interest.      
The  following  are  a  number  of  specific  orientations  for  future  research  which  could  support  creativity  and  
lead  to  an  evolution  in  digital  content  creation:    
 
1.  Natural  interfaces    
Natural   interfaces   have   been   an   interesting   topic   of   research   in   content   creation   for   several   years   now,  
although  most  of  the  proposed  solutions  have  been  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  

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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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A   high-­‐resolution   3D   model   of   a   cultural   heritage   masterpiece   is   a   valuable   product   with   an   intrinsic  


significant  commercial  and  cultural  value  as  well  as  a  3D  digital  artwork  created  by  an  artist.  Distributing  it  
in  an  unprotected  way  could  generate  a  loss  of  revenue  or  reputation  for  the  cultural  institution  and  artists  
owning  the  intellectual  property  rights  on  the  original  artefact.  
Other   application   areas,   such   as   entertainment   and   online   commerce,   may   also   require   protection   of   3D  
graphics   content.   3D   character   models   developed   for   use   in   motion   pictures   are   often   repurposed   for  
widespread  use  in  games  and  promotional  materials.  Such  models  represent  valuable  intellectual  property,  
and  solutions  for  preventing  their  piracy  from  these  interactive  applications  would  be  very  useful.    
In   the   CRe-­‐AM   context,   a   certain   number   of   artists   and   content   developers   have   reported   their  
unwillingness   due   to   the   lack   of   ability   to   prevent   theft   of   the   digital   contents.   Of   course,   that   represents   a  
research  direction  for  ICT  technology  providers  working  in  this  sector.  
 
According  to  our  scenarios,  this  technology  gap  mainly  concerns  the  following  creative  sectors:    
• Art  
• Media  
• Games  
• Design  
 
 
3.  Digital  data  preservation    
Who  and  what  we  are  depends  on  who  and  what  we  were  and  what  we  keep  of  our  past.  Archiving  is  an  
indispensable  activity  for  any  content  creator.  However,  never  in  the  past   has  our  society  been  so  fragile  
concerning  the  preservation  of  its  everyday  production.  Emerging  trends  in  this  field  reported  in  WP4  look  
at  how  archiving  can  be  conceived  as  a  part  of  content  production  in  any  domain  of  activity.  Concepts  like  
self-­‐preserving   objects,   preservation   within   production,   emulation   systems,   knowledge   preservation,  
quality  assessment,  are  some  of  the  directions  in  which  intensive  research  is  required  to  develop  solutions  
in   order   to   face   the   requirements   extracted   from   the   desired   future   scenarios.   New   objects   are  
continuously   appearing   which   bring   new   challenges   for   archiving   and   long-­‐term   preservation:   media  
objects,  2D-­‐3D  models,  3D  scanned  objects  composed  of  hundreds  of  individual  range  maps,  games,  hybrid  
objects;  these  represent  some  of  the  technology  gaps  and  challenges  for  the  future  of  digital  data  archiving.  

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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  
   
 
 

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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.    
 
 
 
 
 
 
 
 

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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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Annex  I  –  SWOT  analysis  during  the  CRe-­‐AM  events  


Here  are   the   steps   adopted   in   the   project   for   conducting   events   and   a  gathering   data   to   produce   our  
analysis.  

During  the  CRe-­‐AM  workshops  we:  

• 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.  

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Annex  II  -­‐  Technology  maps  


 
Art  Sector  –  Envisaged  ICT  Technologies  for  Future  Scenarios  

 
 
 
   

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Design  Sector  –  Envisaged  ICT  Technologies  for  Future  Scenarios  


 

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Architecture  Sector  –  Envisaged  ICT  Technologies  for  Future  Scenarios  


 

 
   

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Games  Sector  –  Envisaged  ICT  Technologies  for  Future  Scenarios  


 

 
 
   

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Media  Sector  –  Envisaged  ICT  Technologies  for  Future  Scenarios  

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