This project aims to revolutionize landscape, site, and artefact analyses by bringing new transformative digital recording methods and computed analysis to fields that are traditionally labour intensive. The scale of the resultant technology and capability will generate a paradigm shift in the way that spatial and functional data are studied in heritage sciences. Conventional 'refit analysis' requires an expert to study thousands of individual pieces from prehistoric archaeological sites and try to find pieces that fit together, eventually reconstructing objects, such as stone tool cores. Due to the size and complexity of these sites, it makes them important for understanding past human behaviour, however this also makes them the least understood by archaeologists and the public. The amount of effort this requires increases exponentially with assemblage size and generally entire sites can not be studied. Automation of this process will transform working practices bringing rapid and total surveys in reach of many more projects. The implications of such capability are widespread. At a site and landscape level the addition of digital recording, automated capture and processing to augment landscape survey will enhance the ability to archaeologically record and resolve complex surface scatters in landscapes, this will also allow sites that have previously been too remote and inhospitable to be surveyed. Work can then be done faster and allow areas for targeted survey to be identified easily and safely. At a macro scale, the method will resolve complex associations facilitating interpretation through visualisations and aiding physical reconstruction. The generation of high fidelity digital output will enable closer working of researchers across traditional boundaries and will benefit the specialist and nonspecialist alike. These combined transformative scalable approaches to refit analysis will have broad application to all disciplines working with objects across the arts and humanities - ranging from three-dimensional artists to heritage professionals such as conservators/ restorers and even impacting on other disciplines such as forensic science. Outputs of the project will be highly visual and are tailored to maximise impact with the involvement of a visual artist as an integral part of the project team. The project teams involved in the various work packages involve high profile international co-investigators.

The DEEP FILM Access Project (DFAP) aims to unlock latent opportunities that exist within big and complex data sets generated by industrial digital film production. Filmmaking as a process recently reached a scale and complexity where a new on-set 'data wrangling' role has emerged to manage the data generated by the camera(s) alone - further complicated by inter-relating Computer Generated Imagery and shooting in Stereoscopic 3D. Even small independent productions film on multiple cameras, increasing linearly the volume of raw material and exponentially the inter-relations between data items. Furthermore, data generated by the creative process, such as director and crew notations on quality, on the logistics and organisation of each shot, on props information and more, is recorded separately from camera data. Currently, the archival conventions for all this data contains duplication and opportunities for error; it also makes it impossible to search different kinds of data in an integrated way. As film completes its transition from photo-chemical to digital, new archival methods and processes are needed to cope with the data which also offers the potential for novel in-depth analysis of the film making process and results. DFAP will develop an integrated process and framework for the management of all of the assets created by digital feature film production. First, we will design classifications and definitions that will standardise the description, layering and interlinking of data assets and enable them to be openly accessible online. Then, we will define a way in which this information can be integrated with the records made by all those who work on the making of the film (actors, crew, etc). Consequently, it will be possible to jointly interrogate the data generated by the cameras and the data generated by the creative process. DFAP will explore the range of questions that this joint interrogation opens up, and how these questions might lead to film production data being used in new ways, across academic disciplines and industry professions, to challenge and expand existing knowledge and practices. The new approach developed by DFAP will be tested and evaluated using British film director Sally Potter's latest release, Ginger & Rosa (2012), as a pilot. A period feature shot entirely on location in the UK, with a 3.5 million pound budget and a crew of over 155 members, it is almost entirely digital in all aspects. It provides an emblematic example of an industrial digital feature film production in contemporary Britain. DFAP will use the pilot to gain a sense scale and to define what its integrated system would require to be applied to other projects and materials. The findings and outcomes of DFAP will be presented in peer reviewed journals and conferences. A project website will document the project as it develops, as well as its findings. In addition, the integrated dataset created as a result of the Ginger & Rosa pilot will be made openly accessible via Sally Potter's online archive.

This project is the first to systematically investigate the potential of listening as a legitimate and reliable methodology for research across the arts and humanities and into science, social science and technology. It positions listening as an emerging investigative approach, able to: access new information relevant to the pressing problems of social exclusion, dementia, lung health, auscultation (medical listening) and speech recognition, and deliver new insights to curation, music, art, urban planning and civil engineering, where sound can reveal hidden potentialities and contribute to our understanding of culture and how we live together. To evidence and develop listening's capacity as a reliable research tool, this project sets out, through partnerships and embedded co-working staged over five carefully organized phases, to observe, document and analyse listening and to develop protocols of best practice for its shared application across disciplines. Historically benefits of listening have been neglected in most disciplines due to its perceived unreliability. Recently there has been a marked sonic turn across the arts and humanities, with a growing interest in sound and listening. However in science, despite evidence of a broad interest in sound, listening is used mainly as a qualitative process, considered to lack legitimacy and viewed as subjective, peripheral to established data analysis methods, and being in need of technological (visual) verification. This project is invested in the value of listening as a reliable research method, emphasising for the first time the cross disciplinary benefit of a sonic turn and providing its theoretical discussions with a shareable vocabulary. It will make a major contribution to studies of sound as well as to the practical application of listening across disciplines by establishing listening protocols and resources to build legitimacy and consensus. Thus, this project seeks to enable the potential of listening to yield scholarly and non-academic benefits for an array of questions that we are facing currently, making a radical contribution to current scientific and cultural problems, and impacting powerfully on the development of knowledge production and interpretation. The project team is based at London College of Communication (LCC), University of the Arts London (UAL) and University of Southampton (UoS). The project unfolds through strategically timed, planned exchanges and embedded co-working with national and international academic and professional partners. The collaboration between CRiSAP (Centre for Research in Sound Arts Practice) at LCC and ISVR (Institute of Sound and Vibration Research) at UoS presents a unique context, instituting the meeting of scientific and artistic perspectives on listening this project seeks to explore. The primary context is the AHRC network project of the same name, led by the PI and Co-I in 2016/17. This project will build on the international network meetings and the findings generated there, which serve to inform and validate its purpose, method and scope. To ensure public participation and access, the team will work in close partnership with Resonance FM (a global broadcasting station) and Points of Listening a public engagement program and will pursue outreach events: the Being Human Festival www.beinghumanfestival.org/, The Winchester Science Centre - science outreach for kids, and the Southampton Science and Engineering Festival www.southampton.ac.uk/per/university/festival/index.page. Outcomes include: A project website, which makes the research processes and the listening protocols publicly available; a book of case studies, which serves as an educational resource, presenting the protocols in a format that can support their implementation in all relevant curricula; a glossary to facilitate shared working and consensus building; a peer reviewed article, and a special issue of the peer reviewed Journal of Sonic Studies.

The creative industries are crucial to UK social and cultural life and one of the largest and fastest-growing sectors of the economy. Games and media are key pillars for growth in the creative industries, with UK turnovers of £3.5bn and £12.9bn respectively. Research in digital creativity has started to be well supported by governmental funds. To achieve full impact from these investments, translational and audience-facing research activities are needed to turn ideas into commercial practice and societal good. We propose a "Digital Creativity" Hub for such next-step research, which will produce impact from a huge amount of research activity in direct collaboration with a large group of highly engaged stakeholders, delivering impact in the Digital Economy challenge areas of Sustainable Society, Communities and Culture and New Economic Models. York is the perfect location for the DC Hub, with a fast-growing Digital Creativity industry (which grew 18.4% from 2011 to 2012), and 4800 creative digital companies within a 40-mile radius of the city. The DC Hub will be housed in the Ron Cooke Hub, alongside the IGGI centre for doctoral training, world-class researchers, and numerous small hi-tech companies. The DC Hub brings: - A wealth of research outcomes from Digital Economy projects funded by £90m of grants, £40m of which was managed directly by the investigators named in the proposal. The majority of these projects are interdisciplinary collaborations which involved co-creation of research questions and approaches with creative industry partners, and all of them produced results which are ripe for translational impact. - Substantial cash and in-kind support amounting to pledges of £9m from 80 partner organisations. These include key organisations in the Digital Economy, such as the KTN, Creative England and the BBC, major companies such as BT, Sony and IBM, and a large number of SMEs working in games and interactive media. The host Universities have also pledged £3.3m in matched funding, with the University of York agreeing to hire four "transitional" research fellows on permanent contracts from the outset leading to academic positions as a Professor, a Reader and two Lecturers. - Strong overlap with current projects run by the investigators which have complementary goals. These include the NEMOG project to study new economic models and opportunities for games, the Intelligent Games and Game Intelligence (IGGI) centre for doctoral training, with 55+ PhDs, and the Falmouth ERA Chair project, which will contribute an extra 5 five-year research fellowships to the DC Hub, leveraging £2m of EC funding for translational research in digital games technologies. - A diverse and highly active base of 16 investigators and 4 named PDRAs across four universities, who have much experience of working together on funded research projects delivering high-impact results. The links between these investigators are many and varied, and interdisciplinarity is ensured by a group of investigators working across Computer Science, Theatre Film and TV, Electronics, Art, Audio Production, Sociology, Education, Psychology, and Business. - Huge potential for step-change impact in the creative industries, with particular emphasis on video game technologies, interactive media, and the convergence of games and media for science and society. Projects in these areas will be supported by and feed into basic research in underpinning themes of data analytics, business models, human-computer interaction and social science. The projects will range over impact themes comprising impact projects which will be specified throughout the life of the Hub in close collaboration with our industry partners, who will help shape the research, thus increasing the potential for major impact. - A management team, with substantial experience of working together on large projects for research and impact in collaboration with the digital creative industries.