Gregor White | Abertay University (original) (raw)
Papers by Gregor White
Edward Elgar eBooks, 2013
The emergence of business models as a research topic has coincided with the growth of online mark... more The emergence of business models as a research topic has coincided with the growth of online markets and changes to commercial practices in the digital era. As digital distribution, production and payment mechanisms have resulted in decreased transaction costs, business models previously economically unviable have become profitable. These decreased transactions costs have enabled innovation and experimentation in new business models, especially in the creative industries, where the ability to produce, distribute and sell digital media via the Internet has led to significant changes in business models and market structure. This chapter presents an overview of business model theory and reports on research that examines changing business models in the digital media industry. As business model methodology matures, the literature moves towards a consensus on the definition and interpretation of business model theory and practice. The weaknesses of business models as both a method and an applied practice are discussed. The research focuses on firms based in the United Kingdom (UK), but the global nature of the Internet translates research themes internationally. The study examines three sectors of the creative industries: music, television and computer games. Case studies in each sector highlight the role of business models, innovation in business models and the overall change in the marketplace.
In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curato... more In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curators and museums professionals to debate and explore the challenges of collecting and exhibiting videogames and games design. Discussions around authorship in games and games development, the transformative effect of the gallery on the cultural reception and significance of videogames led to the exploration of participatory modes and playful experiences that might more effectively expose the designer's intent and enhance the nature of our experience as visitors and players. In proposing a participatory mode for the exhibition of videogames this article suggests an approach to exhibition and event design that attempts to resolve tensions between traditions of passive consumption of curated collections and active participation in meaning making using theoretical models from games analysis and criticism and the conceit of game and museum spaces as analogous rules based environments.
Design is being performed on an ever-increasing spectrum of complex practices arising in response... more Design is being performed on an ever-increasing spectrum of complex practices arising in response to emerging markets and technologies, co-design, digital interaction, service design and cultures of innovation. This emerging notion of design has led to an expansive array of collaborative and visual design methods. As such, designers now require communication and facilitation skills to demonstrate and share how such methods can shape innovation. The meaning of these design things in practice can't be taken for granted as matters of fact, which raises a key challenge for design to represent its role through the contradictory nature of matters of concern. This paper explores an innovative, object-oriented approach within the field of design research, visually combining an actor-network theory framework with situational analysis, to report on the role of design for fledgling companies in Scotland, established and funded through the knowledge exchange hub Design in Action (DiA). Key findings and visual maps are presented from reflective discussions with actors from a selection of the businesses within DiA's portfolio. The suggestion is that any notions of strategic value, of engendering meaningful change, of sharing the vision of design, through design things, should be grounded in the reflexive interpretations of matters of concern that emerge.
This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exch... more This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exchange (KE) with the digital media industries using survey, interview and case study evidence. It begins with a discussion of the terminology, mechanisms and motivations associated with KE. Evidence of the motivations of participants in KE are then examined through survey and interview evidence with the computer games industry and stakeholders. It concludes by examining new KE mechanisms via a Scottish case study in the digital media industries. Key words: knowledge exchange, knowledge transfer, creative industries, and computer games, SME 1 KE is defined as "collaborative project work with academics, which involves the discussion, exploration and exchange of ideas; or delivery of joint programmes." (Scottish Government, 2010) 2 We define industry in this context as for-profit firms in the digital media creative industries. The Department for Culture Media and Sport (DCMS) (2006) defines CI as twelve creative sectors; here we refer to the sector defined as software, computer games and electronic publishing, which we will collectively refer to as the digital media CI. Parts of this paper will more specifically refer to the computer games industry or computer games development industry. Other authors may refer to computer games as the video games or interactive entertainment industry. The computer games development industry is concerned with the making, designing and selling of games as opposed to the technological platforms and retail distribution outlets. 3 Knowledge Transfer is "the one-way transfer of skills and expertise from academia to government to inform the delivery and development of government policy." (Scottish Government, 2010), However, this definition is often widened to include transfer from academia to industry. 4 Knowledge Brokerage is defined as, "activity that 'links researchers and decision makers together, facilitating their interaction so that they are able to better understand each other's goals and professional culture, influence each other's work, forge new partnership and use research based evidence." (Canadian Health Services Research Foundation as cited by Scottish Government, 2010) 5 Knowledge Mobilisation is the "strategic dialogue carried out between Government and Research Councils to create the necessary 'authorising environment' and reward structures for knowledge transfer and knowledge exchange activity to take place." (Scottish Government, 2010). 6 Searching Google Scholar (March 1, 2013) for variations on KE and CI produced no papers on the subject; this suggests that the area is relatively new. However, this could reflect trends in terminologies rather than research trends.
What is a fan game? "A new game project, initiated by fans, which takes inspiration from a pre-ex... more What is a fan game? "A new game project, initiated by fans, which takes inspiration from a pre-existing video game… a fangame adds a significant new experience, differentiating it from minor tweaks, mods, or hacks that merely transform an existing game experience. A fangame project is judged to be motivated by love for the original game, rather than piggybacking on existing engine or source code to make a new product."
BCS Learning & Development, Jul 1, 2020
This paper contributes to the developing body of videogame exhibition knowledge by evaluating the... more This paper contributes to the developing body of videogame exhibition knowledge by evaluating the methods utilised within informal and formal contexts of videogames exhibition from the perspective of reception theory. The study of both large-scale exhibitions such as those by the Victoria and Albert museum and the Smithsonian American Art Museum alongside the one-night indie game night is a unique contribution to the field, with studies typically focussing on one given context. Reception theory and the hermeneutic circle provide lenses through which the active participative role of the player/reader in meaning-making can be evaluated. Exhibition method analysis across formal and informal contexts allows modelling of a connection between the need for player/reader specialist knowledge and the resulting co-participation in meaning-making possible. These models suggest the ways that exhibition methods and settings can shape audience profiles and the potential for co-participation. The results of this study may provide curators and game developers with alternative modes of thinking about player/reader meaning coparticipation across exhibition and audience contexts. Videogames. Exhibition methods. Reception theory. Co-participation in meaning-making.
Progress report on a digital platform and dual licensing model developed to unlock access to a Un... more Progress report on a digital platform and dual licensing model developed to unlock access to a University repository of new and legacy computer games based Intellectual Property (IP) assets for educational and commercial use. The digital creative industries have been identified by a number of governments as a priority area in delivering sustainable economic growth. Code Bar is an innovation that allows digital products to be commercially successful beyond the end of the Dare competition or coursework submission. To be selected for Code Bar, game products must be well designed for both player and market; technically robust (i.e. operating consistently and reliably on a single/multiple platforms), and be free from ambiguity around 3 rd party IP. We describe various technical, pedagogic and legal challenges in developing the digital platform, licensing model and packaging of computer games products for release through the platform. The model is extendable beyond computer games to other software products.
Palgrave Macmillan UK eBooks, 2013
Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty s... more Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty series, is not particularly unusual as millions of people do the same during launch week. Collectively, we contribute to the £490 million of sales in the week following Call of Duty’s release. Standing in line feels anachronistic in a world where ‘on demand’ has come to mean games at your fingertips, any genre, any format, any platform.
• Users may download and print one copy of any publication from Discovery Research Portal for the... more • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. DiA is an academic construct, which builds upon the knowledge inherent in the academy, offering this to the business community, especially the small and micro SME. DiA acknowledges the value of each team member in its achievements, a full list of those involved in the project are found at the back of the publication.
Oxford Art Online, Nov 11, 2021
Cultural Trends, 2011
List of figures List of tables List of contributors Acknowledgements Introduction: 1. The discipl... more List of figures List of tables List of contributors Acknowledgements Introduction: 1. The discipline of creativity Barbara Townley and Nic Beech Part I. Inherent Unknowability: 2. To draw thought - how can this be done differently? Aileen M. Stackhouse 3. Labour, work and action in the creative process Martin Dixon 4. Popular culture as carnival: the clash, play and transgression in the aesthetic economy Stephen Linstead Part II. Art for Art's Sake: 5. Art for art's sake: was it ever thus? A historical perspective Julian M. Luxford 6. The logics of art: analysing theatre as a cultural field Doris Ruth Eikhof 7. Turning rebellion into money: the clash, creativity and resistance to commodification Stephen Linstead Part III. Infinite Variety: 8. Communication, artists and the audience Christopher Randall 9. Art or honesty? Breaking the rules of the game with immersive museum theatre Paul Johnson 10. User-generated content and the participative market Gregor White Part IV. The Motley Crew: 11. The missing middle: management in the creative industries Chris Warhurst 12. Playing the system: design consultancies, professionalisation and value Guy Julier 13. Organising creativity in a music festival Jane Donald, Louise Mitchell and Nic Beech Part V. Ars Longa: 14. Juicy Salif as a cultish totem Laura Gonzalez 15. 'Time past': the value of remembrance in aesthetic experience Amy Parker 16. What is a creative field? Elizabeth Gulledge and Barbara Townley Managing creativity: concluding thoughts Index.
This paper contributes to the developing body of videogame exhibition knowledge by evaluating the... more This paper contributes to the developing body of videogame exhibition knowledge by evaluating the methods utilised within informal and formal contexts of videogames exhibition from the perspective of reception theory. The study of both large-scale exhibitions such as those by the Victoria and Albert museum and the Smithsonian American Art Museum alongside the one-night indie game night is a unique contribution to the field, with studies typically focussing on one given context. Reception theory and the hermeneutic circle provide lenses through which the active participative role of the player/reader in meaning-making can be evaluated. Exhibition method analysis across formal and informal contexts allows modelling of a connection between the need for player/reader specialist knowledge and the resulting co-participation in meaning-making possible. These models suggest the ways that exhibition methods and settings can shape audience profiles and the potential for co-participation. The ...
Design is being performed on an ever-increasing spectrum of complex practices arising in response... more Design is being performed on an ever-increasing spectrum of complex practices arising in response to emerging markets and technologies, co-design, digital interaction, service design and cultures of innovation. This emerging notion of design has led to an expansive array of collaborative and visual design methods. As such, designers now require communication and facilitation skills to demonstrate and share how such methods can shape innovation. The meaning of these design things in practice can’t be taken for granted as matters of fact, which raises a key challenge for design to represent its role through the contradictory nature of matters of concern. This paper explores an innovative, object-oriented approach within the field of design research, visually combining an actor-network theory framework with situational analysis, to report on the role of design for fledgling companies in Scotland, established and funded through the knowledge exchange hub Design in Action (DiA). Key find...
Progress report on a digital platform and dual licensing model developed to unlock access to a Un... more Progress report on a digital platform and dual licensing model developed to unlock access to a University repository of new and legacy computer games based Intellectual Property (IP) assets for educational and commercial use. The digital creative industries have been identified by a number of governments as a priority area in delivering sustainable economic growth. Code Bar is an innovation that allows digital products to be commercially successful beyond the end of the Dare competition or coursework submission. To be selected for Code Bar, game products must be well designed for both player and market; technically robust (i.e. operating consistently and reliably on a single/multiple platforms), and be free from ambiguity around 3 party IP. We describe various technical, pedagogic and legal challenges in developing the digital platform, licensing model and packaging of computer games products for release through the platform. The model is extendable beyond computer games to other so...
This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exch... more This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exchange (KE) with the digital media industries using survey, interview and case study evidence. It begins with a discussion of the terminology, mechanisms and motivations associated with KE. Evidence of the motivations of participants in KE are then examined through survey and interview evidence with the computer games industry and stakeholders. It concludes by examining new KE mechanisms via a Scottish case study in the digital media industries. Key words: knowledge exchange, knowledge transfer, creative industries, and computer games, SME 1 KE is defined as "collaborative project work with academics, which involves the discussion, exploration and exchange of ideas; or delivery of joint programmes." (Scottish Government, 2010) 2 We define industry in this context as for-profit firms in the digital media creative industries. The Department for Culture Media and Sport (DCMS) (2006) defines CI as twelve creative sectors; here we refer to the sector defined as software, computer games and electronic publishing, which we will collectively refer to as the digital media CI. Parts of this paper will more specifically refer to the computer games industry or computer games development industry. Other authors may refer to computer games as the video games or interactive entertainment industry. The computer games development industry is concerned with the making, designing and selling of games as opposed to the technological platforms and retail distribution outlets. 3 Knowledge Transfer is "the one-way transfer of skills and expertise from academia to government to inform the delivery and development of government policy." (Scottish Government, 2010), However, this definition is often widened to include transfer from academia to industry. 4 Knowledge Brokerage is defined as, "activity that 'links researchers and decision makers together, facilitating their interaction so that they are able to better understand each other's goals and professional culture, influence each other's work, forge new partnership and use research based evidence." (Canadian Health Services Research Foundation as cited by Scottish Government, 2010) 5 Knowledge Mobilisation is the "strategic dialogue carried out between Government and Research Councils to create the necessary 'authorising environment' and reward structures for knowledge transfer and knowledge exchange activity to take place." (Scottish Government, 2010). 6 Searching Google Scholar (March 1, 2013) for variations on KE and CI produced no papers on the subject; this suggests that the area is relatively new. However, this could reflect trends in terminologies rather than research trends.
In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curato... more In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curators and museums professionals to debate and explore the challenges of collecting and exhibiting videogames and games design. Discussions around authorship in games and games development, the transformative effect of the gallery on the cultural reception and significance of videogames led to the exploration of participatory modes and playful experiences that might more effectively expose the designer's intent and enhance the nature of our experience as visitors and players. In proposing a participatory mode for the exhibition of videogames this article suggests an approach to exhibition and event design that attempts to resolve tensions between traditions of passive consumption of curated collections and active participation in meaning making using theoretical models from games analysis and criticism and the conceit of game and museum spaces as analogous rules based environments.
Video game source code attracts copyright protection as a literary work, which lasts in the UK fo... more Video game source code attracts copyright protection as a literary work, which lasts in the UK for 70 years from the death of the author, or the last surviving author in the case of a joint work. However, due to corporate abandonment or technical obsolescence, many original video games remain unavailable in the marketplace. In response, some consumers have become 'prod-users', creating unauthorised reproductions of original video games using new software code. This paper analyses a dataset of 300 fangame projects to identify common features of production and distribution by fangame creators, as well as legal outcomes in cases where the original rightsholder has become aware of the unauthorised use. Multiple case study analysis provides a typology of fangame production and points the way to future empirical work to interrogate the likelihood of rightsholder objection under specific conditions such as length of market absence and potential for commercialisation.
The emergence of business models as a research topic has coincided with the growth of online mark... more The emergence of business models as a research topic has coincided with the growth of online markets and changes to commercial practices in the digital era. As digital distribution, production and payment mechanisms have resulted in decreased transaction costs, business models previously economically unviable have become profitable. These decreased transactions costs have enabled innovation and experimentation in new business models, especially in the creative industries, where the ability to produce, distribute and sell digital media via the Internet has led to significant changes in business models and market structure. This chapter presents an overview of business model theory and reports on research that examines changing business models in the digital media industry. As business model methodology matures, the literature moves towards a consensus on the definition and interpretation of business model theory and practice. The weaknesses of business models as both a method and an ...
Changing the Rules of the Game
Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty s... more Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty series, is not particularly unusual as millions of people do the same during launch week. Collectively, we contribute to the £490 million of sales in the week following Call of Duty’s release. Standing in line feels anachronistic in a world where ‘on demand’ has come to mean games at your fingertips, any genre, any format, any platform.
Handbook on the Digital Creative Economy
Edward Elgar eBooks, 2013
The emergence of business models as a research topic has coincided with the growth of online mark... more The emergence of business models as a research topic has coincided with the growth of online markets and changes to commercial practices in the digital era. As digital distribution, production and payment mechanisms have resulted in decreased transaction costs, business models previously economically unviable have become profitable. These decreased transactions costs have enabled innovation and experimentation in new business models, especially in the creative industries, where the ability to produce, distribute and sell digital media via the Internet has led to significant changes in business models and market structure. This chapter presents an overview of business model theory and reports on research that examines changing business models in the digital media industry. As business model methodology matures, the literature moves towards a consensus on the definition and interpretation of business model theory and practice. The weaknesses of business models as both a method and an applied practice are discussed. The research focuses on firms based in the United Kingdom (UK), but the global nature of the Internet translates research themes internationally. The study examines three sectors of the creative industries: music, television and computer games. Case studies in each sector highlight the role of business models, innovation in business models and the overall change in the marketplace.
In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curato... more In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curators and museums professionals to debate and explore the challenges of collecting and exhibiting videogames and games design. Discussions around authorship in games and games development, the transformative effect of the gallery on the cultural reception and significance of videogames led to the exploration of participatory modes and playful experiences that might more effectively expose the designer's intent and enhance the nature of our experience as visitors and players. In proposing a participatory mode for the exhibition of videogames this article suggests an approach to exhibition and event design that attempts to resolve tensions between traditions of passive consumption of curated collections and active participation in meaning making using theoretical models from games analysis and criticism and the conceit of game and museum spaces as analogous rules based environments.
Design is being performed on an ever-increasing spectrum of complex practices arising in response... more Design is being performed on an ever-increasing spectrum of complex practices arising in response to emerging markets and technologies, co-design, digital interaction, service design and cultures of innovation. This emerging notion of design has led to an expansive array of collaborative and visual design methods. As such, designers now require communication and facilitation skills to demonstrate and share how such methods can shape innovation. The meaning of these design things in practice can't be taken for granted as matters of fact, which raises a key challenge for design to represent its role through the contradictory nature of matters of concern. This paper explores an innovative, object-oriented approach within the field of design research, visually combining an actor-network theory framework with situational analysis, to report on the role of design for fledgling companies in Scotland, established and funded through the knowledge exchange hub Design in Action (DiA). Key findings and visual maps are presented from reflective discussions with actors from a selection of the businesses within DiA's portfolio. The suggestion is that any notions of strategic value, of engendering meaningful change, of sharing the vision of design, through design things, should be grounded in the reflexive interpretations of matters of concern that emerge.
This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exch... more This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exchange (KE) with the digital media industries using survey, interview and case study evidence. It begins with a discussion of the terminology, mechanisms and motivations associated with KE. Evidence of the motivations of participants in KE are then examined through survey and interview evidence with the computer games industry and stakeholders. It concludes by examining new KE mechanisms via a Scottish case study in the digital media industries. Key words: knowledge exchange, knowledge transfer, creative industries, and computer games, SME 1 KE is defined as "collaborative project work with academics, which involves the discussion, exploration and exchange of ideas; or delivery of joint programmes." (Scottish Government, 2010) 2 We define industry in this context as for-profit firms in the digital media creative industries. The Department for Culture Media and Sport (DCMS) (2006) defines CI as twelve creative sectors; here we refer to the sector defined as software, computer games and electronic publishing, which we will collectively refer to as the digital media CI. Parts of this paper will more specifically refer to the computer games industry or computer games development industry. Other authors may refer to computer games as the video games or interactive entertainment industry. The computer games development industry is concerned with the making, designing and selling of games as opposed to the technological platforms and retail distribution outlets. 3 Knowledge Transfer is "the one-way transfer of skills and expertise from academia to government to inform the delivery and development of government policy." (Scottish Government, 2010), However, this definition is often widened to include transfer from academia to industry. 4 Knowledge Brokerage is defined as, "activity that 'links researchers and decision makers together, facilitating their interaction so that they are able to better understand each other's goals and professional culture, influence each other's work, forge new partnership and use research based evidence." (Canadian Health Services Research Foundation as cited by Scottish Government, 2010) 5 Knowledge Mobilisation is the "strategic dialogue carried out between Government and Research Councils to create the necessary 'authorising environment' and reward structures for knowledge transfer and knowledge exchange activity to take place." (Scottish Government, 2010). 6 Searching Google Scholar (March 1, 2013) for variations on KE and CI produced no papers on the subject; this suggests that the area is relatively new. However, this could reflect trends in terminologies rather than research trends.
What is a fan game? "A new game project, initiated by fans, which takes inspiration from a pre-ex... more What is a fan game? "A new game project, initiated by fans, which takes inspiration from a pre-existing video game… a fangame adds a significant new experience, differentiating it from minor tweaks, mods, or hacks that merely transform an existing game experience. A fangame project is judged to be motivated by love for the original game, rather than piggybacking on existing engine or source code to make a new product."
BCS Learning & Development, Jul 1, 2020
This paper contributes to the developing body of videogame exhibition knowledge by evaluating the... more This paper contributes to the developing body of videogame exhibition knowledge by evaluating the methods utilised within informal and formal contexts of videogames exhibition from the perspective of reception theory. The study of both large-scale exhibitions such as those by the Victoria and Albert museum and the Smithsonian American Art Museum alongside the one-night indie game night is a unique contribution to the field, with studies typically focussing on one given context. Reception theory and the hermeneutic circle provide lenses through which the active participative role of the player/reader in meaning-making can be evaluated. Exhibition method analysis across formal and informal contexts allows modelling of a connection between the need for player/reader specialist knowledge and the resulting co-participation in meaning-making possible. These models suggest the ways that exhibition methods and settings can shape audience profiles and the potential for co-participation. The results of this study may provide curators and game developers with alternative modes of thinking about player/reader meaning coparticipation across exhibition and audience contexts. Videogames. Exhibition methods. Reception theory. Co-participation in meaning-making.
Progress report on a digital platform and dual licensing model developed to unlock access to a Un... more Progress report on a digital platform and dual licensing model developed to unlock access to a University repository of new and legacy computer games based Intellectual Property (IP) assets for educational and commercial use. The digital creative industries have been identified by a number of governments as a priority area in delivering sustainable economic growth. Code Bar is an innovation that allows digital products to be commercially successful beyond the end of the Dare competition or coursework submission. To be selected for Code Bar, game products must be well designed for both player and market; technically robust (i.e. operating consistently and reliably on a single/multiple platforms), and be free from ambiguity around 3 rd party IP. We describe various technical, pedagogic and legal challenges in developing the digital platform, licensing model and packaging of computer games products for release through the platform. The model is extendable beyond computer games to other software products.
Palgrave Macmillan UK eBooks, 2013
Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty s... more Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty series, is not particularly unusual as millions of people do the same during launch week. Collectively, we contribute to the £490 million of sales in the week following Call of Duty’s release. Standing in line feels anachronistic in a world where ‘on demand’ has come to mean games at your fingertips, any genre, any format, any platform.
• Users may download and print one copy of any publication from Discovery Research Portal for the... more • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. DiA is an academic construct, which builds upon the knowledge inherent in the academy, offering this to the business community, especially the small and micro SME. DiA acknowledges the value of each team member in its achievements, a full list of those involved in the project are found at the back of the publication.
Oxford Art Online, Nov 11, 2021
Cultural Trends, 2011
List of figures List of tables List of contributors Acknowledgements Introduction: 1. The discipl... more List of figures List of tables List of contributors Acknowledgements Introduction: 1. The discipline of creativity Barbara Townley and Nic Beech Part I. Inherent Unknowability: 2. To draw thought - how can this be done differently? Aileen M. Stackhouse 3. Labour, work and action in the creative process Martin Dixon 4. Popular culture as carnival: the clash, play and transgression in the aesthetic economy Stephen Linstead Part II. Art for Art's Sake: 5. Art for art's sake: was it ever thus? A historical perspective Julian M. Luxford 6. The logics of art: analysing theatre as a cultural field Doris Ruth Eikhof 7. Turning rebellion into money: the clash, creativity and resistance to commodification Stephen Linstead Part III. Infinite Variety: 8. Communication, artists and the audience Christopher Randall 9. Art or honesty? Breaking the rules of the game with immersive museum theatre Paul Johnson 10. User-generated content and the participative market Gregor White Part IV. The Motley Crew: 11. The missing middle: management in the creative industries Chris Warhurst 12. Playing the system: design consultancies, professionalisation and value Guy Julier 13. Organising creativity in a music festival Jane Donald, Louise Mitchell and Nic Beech Part V. Ars Longa: 14. Juicy Salif as a cultish totem Laura Gonzalez 15. 'Time past': the value of remembrance in aesthetic experience Amy Parker 16. What is a creative field? Elizabeth Gulledge and Barbara Townley Managing creativity: concluding thoughts Index.
This paper contributes to the developing body of videogame exhibition knowledge by evaluating the... more This paper contributes to the developing body of videogame exhibition knowledge by evaluating the methods utilised within informal and formal contexts of videogames exhibition from the perspective of reception theory. The study of both large-scale exhibitions such as those by the Victoria and Albert museum and the Smithsonian American Art Museum alongside the one-night indie game night is a unique contribution to the field, with studies typically focussing on one given context. Reception theory and the hermeneutic circle provide lenses through which the active participative role of the player/reader in meaning-making can be evaluated. Exhibition method analysis across formal and informal contexts allows modelling of a connection between the need for player/reader specialist knowledge and the resulting co-participation in meaning-making possible. These models suggest the ways that exhibition methods and settings can shape audience profiles and the potential for co-participation. The ...
Design is being performed on an ever-increasing spectrum of complex practices arising in response... more Design is being performed on an ever-increasing spectrum of complex practices arising in response to emerging markets and technologies, co-design, digital interaction, service design and cultures of innovation. This emerging notion of design has led to an expansive array of collaborative and visual design methods. As such, designers now require communication and facilitation skills to demonstrate and share how such methods can shape innovation. The meaning of these design things in practice can’t be taken for granted as matters of fact, which raises a key challenge for design to represent its role through the contradictory nature of matters of concern. This paper explores an innovative, object-oriented approach within the field of design research, visually combining an actor-network theory framework with situational analysis, to report on the role of design for fledgling companies in Scotland, established and funded through the knowledge exchange hub Design in Action (DiA). Key find...
Progress report on a digital platform and dual licensing model developed to unlock access to a Un... more Progress report on a digital platform and dual licensing model developed to unlock access to a University repository of new and legacy computer games based Intellectual Property (IP) assets for educational and commercial use. The digital creative industries have been identified by a number of governments as a priority area in delivering sustainable economic growth. Code Bar is an innovation that allows digital products to be commercially successful beyond the end of the Dare competition or coursework submission. To be selected for Code Bar, game products must be well designed for both player and market; technically robust (i.e. operating consistently and reliably on a single/multiple platforms), and be free from ambiguity around 3 party IP. We describe various technical, pedagogic and legal challenges in developing the digital platform, licensing model and packaging of computer games products for release through the platform. The model is extendable beyond computer games to other so...
This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exch... more This paper seeks to examine the mechanisms and motivations for University-Industry knowledge exchange (KE) with the digital media industries using survey, interview and case study evidence. It begins with a discussion of the terminology, mechanisms and motivations associated with KE. Evidence of the motivations of participants in KE are then examined through survey and interview evidence with the computer games industry and stakeholders. It concludes by examining new KE mechanisms via a Scottish case study in the digital media industries. Key words: knowledge exchange, knowledge transfer, creative industries, and computer games, SME 1 KE is defined as "collaborative project work with academics, which involves the discussion, exploration and exchange of ideas; or delivery of joint programmes." (Scottish Government, 2010) 2 We define industry in this context as for-profit firms in the digital media creative industries. The Department for Culture Media and Sport (DCMS) (2006) defines CI as twelve creative sectors; here we refer to the sector defined as software, computer games and electronic publishing, which we will collectively refer to as the digital media CI. Parts of this paper will more specifically refer to the computer games industry or computer games development industry. Other authors may refer to computer games as the video games or interactive entertainment industry. The computer games development industry is concerned with the making, designing and selling of games as opposed to the technological platforms and retail distribution outlets. 3 Knowledge Transfer is "the one-way transfer of skills and expertise from academia to government to inform the delivery and development of government policy." (Scottish Government, 2010), However, this definition is often widened to include transfer from academia to industry. 4 Knowledge Brokerage is defined as, "activity that 'links researchers and decision makers together, facilitating their interaction so that they are able to better understand each other's goals and professional culture, influence each other's work, forge new partnership and use research based evidence." (Canadian Health Services Research Foundation as cited by Scottish Government, 2010) 5 Knowledge Mobilisation is the "strategic dialogue carried out between Government and Research Councils to create the necessary 'authorising environment' and reward structures for knowledge transfer and knowledge exchange activity to take place." (Scottish Government, 2010). 6 Searching Google Scholar (March 1, 2013) for variations on KE and CI produced no papers on the subject; this suggests that the area is relatively new. However, this could reflect trends in terminologies rather than research trends.
In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curato... more In 2014 Videogames in the Museum [1] engaged with creative practitioners, games designers, curators and museums professionals to debate and explore the challenges of collecting and exhibiting videogames and games design. Discussions around authorship in games and games development, the transformative effect of the gallery on the cultural reception and significance of videogames led to the exploration of participatory modes and playful experiences that might more effectively expose the designer's intent and enhance the nature of our experience as visitors and players. In proposing a participatory mode for the exhibition of videogames this article suggests an approach to exhibition and event design that attempts to resolve tensions between traditions of passive consumption of curated collections and active participation in meaning making using theoretical models from games analysis and criticism and the conceit of game and museum spaces as analogous rules based environments.
Video game source code attracts copyright protection as a literary work, which lasts in the UK fo... more Video game source code attracts copyright protection as a literary work, which lasts in the UK for 70 years from the death of the author, or the last surviving author in the case of a joint work. However, due to corporate abandonment or technical obsolescence, many original video games remain unavailable in the marketplace. In response, some consumers have become 'prod-users', creating unauthorised reproductions of original video games using new software code. This paper analyses a dataset of 300 fangame projects to identify common features of production and distribution by fangame creators, as well as legal outcomes in cases where the original rightsholder has become aware of the unauthorised use. Multiple case study analysis provides a typology of fangame production and points the way to future empirical work to interrogate the likelihood of rightsholder objection under specific conditions such as length of market absence and potential for commercialisation.
The emergence of business models as a research topic has coincided with the growth of online mark... more The emergence of business models as a research topic has coincided with the growth of online markets and changes to commercial practices in the digital era. As digital distribution, production and payment mechanisms have resulted in decreased transaction costs, business models previously economically unviable have become profitable. These decreased transactions costs have enabled innovation and experimentation in new business models, especially in the creative industries, where the ability to produce, distribute and sell digital media via the Internet has led to significant changes in business models and market structure. This chapter presents an overview of business model theory and reports on research that examines changing business models in the digital media industry. As business model methodology matures, the literature moves towards a consensus on the definition and interpretation of business model theory and practice. The weaknesses of business models as both a method and an ...
Changing the Rules of the Game
Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty s... more Standing in line at the supermarket checkout, clutching the latest in Activision’s Call of Duty series, is not particularly unusual as millions of people do the same during launch week. Collectively, we contribute to the £490 million of sales in the week following Call of Duty’s release. Standing in line feels anachronistic in a world where ‘on demand’ has come to mean games at your fingertips, any genre, any format, any platform.
Handbook on the Digital Creative Economy