zOLD Cluster Summary Bids PUBLIC - Creative Clusters 2017
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Creative Industries
Clusters Programme
Creative Clusters: Project Summaries
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Key ContactProject SummaryRegion
Dr Jon Wardle
National Film and Television School
Dr Jonathan Glazzard
Professor, Carnegie School Of Education
Leeds Beckett University
Rationale: This project proposal offers a multi-disciplinary, creative and dialogic consideration of the ways immersive learning through performance arts may be utilised to enhance community development, cohesion and knowledge-sharing. At a time of cultural austerity, this collaboration will pool together expertise from participatory Theatre companies, the mental health sector and the education sector.

For many arts organisations, cuts in funding due to the history of UK cultural policy has meant that they seek to work collaboratively with Universities to engage in processes which articulate the ‘social value’ of their work in order to critically reflect this work and gain funding. Similarly the health sector, with significant funding cuts, looks for cost effective solutions to improving public health. Significant changes to inequalities in the UK socio-economic landscape have also led to further demands for mental health services (Rooke, 2014).

A recent document by the Department for Education (2016) advised schools on supporting the growing number of children with social and emotional disorders. The policy mentions the importance of schools Intervening ‘well before’ the issue (listed as loss or separation, life events and traumatic events) develops into a mental health problem however this is often problematic in a system which favours accountability and testing. More worryingly, a recent report by the House of Commons Education and Health Committee (2017) on the role of Education and children’s mental health stated that schools were struggling to support children with mental health problems.

The multi-disciplinary partnership outlined in this project seeks to critically explore the role of collaboration, participation, co- construction, experience of immersion and reflection through participatory arts, as a process to promote mental well-being in young people. The project draws from academic literature which articulates the power of participatory theatre and drama to building community, confidence and agency through the simulation of life skills rehearsal and problem solving exercises. (Anderson and Dunn, 2013)

Strategy and Vision: Envisaged as suite of case studies, involving partnerships with community-facing performance providers, academic researchers, theatres and museums, this project will seek to establish authentic, immersive storytelling at the heart of provision that addresses issues of voice, identity and agency for those displaced, marginalised and under-represented.

The case studies will look particularly at exploring current artistic practice as a way to develop meaningful intervention strategies to support young people’s mental well­being as well as also raising awareness of specific mental health needs and issues. The case studies will involve children and young people as participants, creators and researchers in order to generate performances, immersive experiences that foreground aspects of intergenerational storytelling, shared experiences and expressions of identity, resilience and community.
Yorkshire and Humber
Prof. Maurizio Borghi
Professor in Law & Director of CIPPM
Bournemouth University
This Creative R&D Partnership addresses the challenge of exploiting the business potential of UK film and television archive material. The material available in UK archives represents an immense wealth for the UK creative industry, which can be used for a myriad of purposes, ranging from educational benefits to commercial re-use in products so diverse as advertisements, documentaries, and feature film productions. Realising such potential presents, however, significant challenges.

The proposed Partnership addresses, in particular, the following challenges:

• Developing infrastructures in the areas of digitisation, restoration, and long­term archiving of analogue and digital film and television
• Funding large­scale digitisation of film material (e.g. through public­private partnerships)
• Streamlining the process and establishing best practices of clearing copyright for creative re­use of film and television material
• Promoting, disseminating, and licensing such material (in particular by establishing and consolidating links with film and television production companies, and other creative industries)
• (Re­)training of skilled professionals along the whole value chain of film archiving and production (e.g. in IP clearance and licensing, restoration, computer graphics, etc.).

The challenge of opening up archives more fully hinges on two main challenges that this project aims to combine: IP and technology. In the last decade, film archives’ attempts to design policies that allow access to its digital collections has brought its role as a mediator of content to the fore. The mission of film archives, particularly the public sector archives, is often focussed on the preservation of and the provision of access to its holdings. However, in response to the pressures of digitisation and funding, these institutions feel compelled to take far-reaching decisions over whether a film will be digitised or not based on whether there is clear copyright ownership. As a result, many collections lay dormant.

With the copyright reform of 2013, the UK government has introduced a licensing scheme for orphan works (i.e. works without identified or located rights owners), as well as a national system for copyright clearance: the Copyright Hub. Both of these schemes have yet to prove their full potential, and creative industries generally, and many parts of the film sector in particular, have not been able to fully benefit from the possibilities that access to archival collections can provide.

The scenario sketched above is playing out in a current media landscape in which not only the technical know-how of analogue film and television material is quickly disappearing, but also many historic formats and standards have become obsolete. Fully supported by the scientific support from the HEI partners, which will take the form of developing algorithms, tools and workflows for the digitisation, restoration, and licensing of film and television material, the archives do not only act as research partners, but also as customers who assign orders to local SMEs. This will lead to an efficient and secure asset management of the digitised moving image material, which in turn, presents a viable solution that opens up huge economic benefit for local SMEs, which will resonate beyond geographic boundaries.
South West
Professor David Collins
Professor of International Economic Law
City, University of London
The challenges facing this cluster which will be addressed by our partnership are those relating to the pressing need for novel high performing business models with respect to the international trade of UK creative industry products.

In particular, the project will identify policy needs in terms of e­commerce and services negotiations in the UK’s future bilateral trade and investment treaties following Brexit. Such issues will be at the forefront of international treaties with the US and Asian partners. There is every evidence that the cluster identified above has unused capacity and could very much join the ranks of the UK’s strongest exporters.

Many of the small creative sector firms in this cluster are not exporting internationally to the extent that they should be, focusing instead on serving national or even local markets. This is the consequence of a poor understanding of the online marketplace, including strategies for optimizing advertising and sales through highly modernized websites and other on-line sales tactics.

These firms also lack an appreciation of the value of the intellectual property which they have created, not recognizing that there are inventions which could attract IP rights and which could be leveraged through better branding and licensing.

Moreover, there is a weak understanding of tax issues as they relate to having an international presence, sourcing materials from abroad and in some cases re-structuring in a manner to take advantage of small business and employment incentives in place in the UK.

Finally, our partnership will address the need to adopt an international trade policy on the part of the UK government with the objective of serving the needs of creative clusters with global potential, such as the one upon which this project if focused.
Professor Neil Forbes
Acting Associate Dean Research, Faculty of Arts and Humanities
Coventry University
This R&D Partnership will focus on productivity: scaled up SMEs; talent development (entry, diversity, training and CPD given rapid skills life in the sector); and innovation, especially through supply chains and exporting manufacturers.

Currently, in the cluster, Coventry has slow employment growth and issues with talent retention; Leamington Spa experiences skills shortages while its workforce lacks in diversity limiting its ability to design new content that will appeal to current and future audiences (Roper et al. 2017 also supported by Nesta 2017). Similarly, at national level, the creative industries have been identified as having a productivity challenge of ‘the long tail’ (the sector has more and smaller micros than on average) and a skilled labour challenge given the mix of technical, creative and commercial skills required (Brighton et al., 2016). Indeed, challenges of diversity, productivity and talent retention are felt across all creative industry clusters (Nesta, 2013).

In a recent local industry survey, the cluster identified the following challenges:

1. Collaboration through diversity – The cluster needs to be able to attract diverse talent that will reflect future customers allowing them
to tap into new market segments.
2. Cross­fertilisation between the games industry, other digital creatives and advanced manufacturing – There is a need to expand new
products and services beyond content (Nesta, 2013) to benefit from distribution and devices in the international market.
3. Engaging with large business – there is need to nurture relationships with large corporates that can serve as launchpads for
innovative startups.
4. Talent retention – there was thought to remain an outflow of talent to cities with more established digital creative sectors.
5. Premises/Space of fusion – the development of new spaces, beyond techno­centres and hubs, allowing fused businesses to interact with each other and the local communities to spill out the benefits of the cluster.
6. The public profile of the Coventry and Warwickshire Cluster – There is a sense among digital creatives that their sectors are overshadowed by the gaming sector in Leamington.

The Coventry and Warwickshire cluster is well placed to address such challenges:

(1) it is an area of diverse, young, international population with a fast-expanding soft infrastructure (i.e. cultural amenities, tolerance, openness and lifestyle options);
(2) it is home to two HEIs (Coventry University and University of Warwick) with outstanding SME engagement track records and excellent links to local large manufacturing firms (e.g. Arup; JLR) enabling them to bring together creative enterprises with large companies in ways not achieved in recent KTP initiatives (AHRC 2017, Creative Exchanges).

Current initiatives in this direction include:

1. The City of Culture 2021 bid and Cultural Strategy in Coventry, with the support of the WMCA and C&WLEP, have built significant momentum in harnessing public, HEI and private support and investment in the broader area of economic growth through cultural place-making.
2. New digital strategy in the City of Coventry and DCMS-funded improvements to the digital infrastructure and connectivity.
3. Development of a new cultural quarter in Leamington Spa to provide workspaces for artistic, educational, digital, computer gaming, performance arts.
West Midlands
Angus Phillips
Director, Oxford International Centre for Publishing Studies
Oxford Brookes University
The value of the UK publishing industry for sales of books and journals is £4.8bn (Publishers Association, 2016): 70 to 80 per cent of sales are from the consumer, educational and academic publishers based within the region of the cluster. This world-leading sector demonstrates a strong export performance – 54% of total revenues in 2016; and the UK publishes more book titles per head of population than any other country.

Technology is changing media consumption, reading habits, and buying behaviour. It is also redefining what it means to be an author, a creator of content, and a publisher. Early work with stakeholders has identified seven key challenges:

1. International markets
The prospect of Brexit casts doubt on whether UK publishers can maintain their exclusive access to European markets. The opportunity is to work in fast-growing markets such as China, and discover new markets in Asia and South America. There are possibilities for boosting the translation market and giving greater attention to global voices.

2. Open content
Publishers are faced with competition from freely available content, and there are further challenges from the Government’s open
access mandates. The need is to create new business models that broaden access and address the demand for open content and resources.

3. Reading
Social media has created more readers than ever, but what is the future of long-form reading? There are challenges in many areas of publishing, from literary fiction to monographs. The opportunity is for authors and publishers to rethink forms, narratives, and approaches, and create engaging and immersive reading experiences.

4. Inclusion
Employing diverse talent is an imperative for creative industries; publishing must respond to a diverse buying audience and have access to a wider talent pool. The challenge for the publishing industry is how to build inclusion from the inside; the opportunity is to work with younger audiences from different backgrounds to develop new forms of content.

5. Retailing
The dominance of online channels (for print and digital) means grappling with pricing and how content is discovered. How can new audiences be built through D2C models, and how can social media be used to aid discoverability and build new reading networks? What business models best capture these new communities?

6. Self-publishing
Self-published authors are active across industry sectors, and are innovative in their approaches to marketing and publicity. Are there new ways to work with self-published authors, from platforms to innovative business models such as freemium? What are the implications for IP copyright and protection, and how can these be safeguarded?

7. Skills
Entrepreneurship, agility and new skills are key to the development of the industry and its future success. How might publishing make best use of social media data, machine learning, virtual and augmented reality, and creative leadership? How can traditional craft skills be preserved?

Our approach matches several of the pillars in the Green Paper, Building our Industrial Strategy (January 2017), and complements regional strategic aims, such as in the Strategic Investment Plan: Oxfordshire Creative, Cultural, Heritage and Tourism Sectors (2016).
South East
Professor Jake Kaner
Associate Dean for Research, School of Art & Design
Nottingham Trent University
The global market for smart textiles is expected to reach 4 billion GBP by 2020 (SE 3624, 2015) and 130 billion USD by 2024. This cluster intends to bring together disparate sector players (Industry, HEIs and regional development) to greatly increase E Midlands and UKPlc market share.

The Gartner hype cycle (2015) provides the stages of emerging technologies and shows that the current position is that the industry is in the trough of disillusionment. This requires R&D in sensing accuracy, soft goods manufacturing (fashion) domain knowledge in informatics (big data) and feasibility in actuation (enabled by this proposed cluster) to climb onto the slope of enlightenment leading to a paradigm shift, sustainable growth and added value.

As identified in the Realising the growth potential of UK fashion and the textile manufacturing (TAP, May 2017) the report recognised specific barriers to growth, such as, buyer knowledge, micro size supply chains, skills shortages, image of the industry, lack of large firms, confidence to invest and payment terms.

The current industry in the East Midlands is tired and requires this stimulus to develop its product and compete in the world market by bringing the parts (HEIs with fashion textile and concept textile research capacity, yarn manufacturers, textile producers, fashion houses, software developers and retailers) of the solution together. Through the cluster we will meet the identified challenges as a strong and energetic regional consortium, working closely with other partners to bring in expertise and know how in fashion innovation such as our existing partnerships in Manchester and elsewhere.

The successful commercialisation of smart textiles relies on finding a compelling need or opportunity and enabling the textile and electrical component infrastructures to work together. Merging smart textiles and fashion textile interests, led by user needs, will result in economic growth. The industry needs a skilled workforce to achieve this which can be provided through industry/university partnership using tools such as the NTU distinctive advanced skills provision based upon industry research cooperation and DTP research development programme.

The third generation of wearables (Harper, 2016) represent a significant opportunity to develop new and build on, established smart textiles manufacturers and the fashion industry, to adopt sensors in yarn (ATRG, 2017) creating smart textile fabrics that meet the end user need for fashion that can improve lives through providing data that informs lifestyle leading to improved health and increased leisure activities. A further opportunity exists using computerised flatbed knitting technology to increase the value chain (Dias, 2016), an example of a technique which could be adopted by industry developed in an HEI.

The cluster will offer the development of standards such as washability and consumer safety. For example, Levi’s developed a jacket with Google that retails at £350, but is only guaranteed for 10 washes.

The cluster will work closely with the LEP (D2N2) which identifies strategic investment priorities such as ‘innovation’ and ‘employment and skills’ in priority sectors including the ’creative industries’ (D2N2 Growth strategy, 2015).
East Midlands
Dr Terry Perk
Associate Head of School: Fine Art & Photography
University for the Creative Arts
In the context of Kent’s regeneration areas and housing developments the challenge is to develop new methods for engagement, curatorial models and artistic activity that has currency in terms of content and delivery mode.

This research partnership will take the form of technologically underpinned projects that marry creative practice with new technology – utilising digital processes and toolkits to create artworks that involve and engage these new communities. It will provide models for a radical extension of the cultural footprint in the region and expansive access to cultural forms, enriching place-making for new build developments and providing a platform for seeding the emergence of new digital arts businesses and commercial product development, in terms of skills and expertise, from existing partners.

Challenge 1: Developing methods of audience and cultural engagement where there is little or no cultural infrastructure.

Approach: The extensive building programmes across Kent are creating vast communities of housing/new estates that have little or no cultural footprint. The research will seek to explore new and innovative ways of engaging with communities in these large housing developments through the development and implementation of new hybrid digital technologies to support and deliver content in these contexts.

Measurable outcome: Programme of cultural interventions and evidenced expansion of activity by the partner organisations in these areas. Reciprocally, there would be a broadening of awareness of the creative industries evidenced in increased visitor numbers from new communities to existing activities and galleries. The development of commercial technologies to support such activity.

Challenge 2: Developing skills in new technologies to deliver digital cultural content in collaboration with cultural and creative partners.

Approach: Through the development of specific arts projects, the R&D will enable partner organisations to commission cultural content that can be carried through the use of these new and hybrid technologies.

Measurable outcome: A specialised skill-base amongst cultural partners to support and lead on further innovation in this area. A training ‘tool­kit’ that supports the use and implementation of these technologies within the cluster and across the sector.

Challenge 3: To innovate new forms of spatial intervention that enhance delivery of cultural content within housing projects.

Approach: Developers will work in partnership with creative organisations to inform and test innovative strategies to aid the delivery of design solutions to enhance and support the emergence of community cohesion through cultural engagement using multi-disciplinary research teams (Games, Visual Artists, Architects, Programmers, Curators).

Measurable outcome: A number of design recommendations will be implemented by building developers that allow for the installation of digital visualisation to engage communities.

Challenge 4: New businesses and commercial development

Approach: Informed by the research and working with partners through local business growth hubs and the universities in-house entrepreneurial programmes new innovative products will be development around digital technologies and curatorial toolboxes.

Measurable outcome: Growth in the number of creative SMEs in the region
South East
Professor Jon Dovey
Director REACT
University of the West of England, Bristol
South West
Professor Morag Shiach
Professor of Cultural History and Director of Creativeworks London
Queen Mary University of London
This project focusses on the ‘Crafts’ sector (including digital crafts) in the Thames Corridor. Recognising that the Craft sector is less dominated by London than other sub-sectors of the creative economy this project will strengthen national networks and supply chains for Craft businesses across the UK, and will also promote opportunities for international trade for UK-based Craft businesses.

The Craft sector is understood as including the vibrant and growing maker technology movement, which is particularly active in East London. Targeting the maker community, this project will address growth by reaching new communities of creative people. Their approach to innovation and problem-solving may be different from larger businesses with traditional engineering teams.

There are barriers at the moment to sharing of ideas between the business community and maker upstarts; one of them is that a large traditional engineering and product development team might not understand or recognise the value of creative maker approaches. On the flip side, there is a barrier for smaller players in that they still don't have access to the kinds of tools, facilities and economies of scale that a large company has, so they are forced for reasons of cost and access to work with outdated technologies.

The maker community largely operates on an open source ethos. Most hardware and software in the sector is fully open under licenses like Creative Commons or GPL. This poses interesting challenges when dealing with larger companies working on more traditional IP models. For the SME, the question might be how to avoid a larger business taking over their ideas without compensation, or how to assess the value of the IP they generate when it is open source. For a larger business, the question could be how to incorporate open- source materials into a business structure in a way that remains competitive if other parts of their business model rely on trade secrets and patents.

The key Challenges for the Craft sector are:

A disconnect between craft-driven thinking and large tech companies
- Inhibitors to realising full innovation potential of new tech (business processes as drag on innovation potential)
- ­Attitude barriers – not understanding potential contributions of makerspace produced tech
- Lack of understanding of IP issues in SMEs and microbusinesses, inhibiting the development of new business models
- Lack of access to finance for microbusinesses, particularly for BME-led businesses
- Access to the people, skills, supply and distribution chains businesses need to thrive and grow trade opportunities

The approach to addressing these challenges is:

- ­Universities as ‘honest brokers, able to curate exchanges and collaborations between large and small businesses
- Working with researchers to develop and test IP and business models
- ­Skills training – creative leadership, wearable technologies, innovation and entrepreneurship, business­readiness and migrant communities
­- Building international networks and partnerships – focus on IP and Trade
- Research collaborations focussed on textiles, crafts and health, ethical wearables
- Support the creation of strong international links and partnerships for UK businesses
- Support the Craft sector, policymakers, funders and researchers by improving the quality and accessibility of rich-data sources and independent analysis.
Professor David Owen Norris
Head of Keyboard and Percussion Studies, Professor of Music
University of Southampton
1. Collections of early pianos are finding it difficult to stay open, with important heritage instruments in the UK being sold abroad.
2. The craftsmen who repair or reproduce early pianos are reaching retirement, without a new generation coming forward to take over from them.
3. The classical recording industry is in crisis. It requires a paradigm shift analogous to the ‘early music’ recording boom of the 1980s, which benefited from a new technology, the CD.

These challenges affect music-lovers and the whole music industry, including a host of self-employed pianists and piano teachers.

Southampton’s Music Department and ISVR collaborate on research into historical methods of tuning keyboard instruments. Pianos today are almost exclusively tuned in equal temperament, where all semitones are the same size, making all keys equally out-of-tune.

Historically, this blunt compromise was rejected in favour of more subtle tuning systems designed to maximize the number of ‘sweet’ keys, where the key of C major might be acoustically pure, while F sharp major was unusable. Such ‘mean­tone temperaments’ have been revived for pre-19th century harpsichord performances and recordings since the 1980s, but not for later music.

By the nineteenth century, sophisticated tuning methods had been developed in which all keys were usable, their differing ‘key­colours’ highly prized. Pianos were tuned in these temperaments, which did not fall out of use until well into the second half of the nineteenth century. Since then, however, they have never been revived.

Consequently, we never hear the piano music of Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Chopin, Liszt or Brahms tuned as the composers expected to hear it.

R&D-led strategies to address the challenges:

1. A widely promoted concert series given by rising stars from the RCM (an existing partner of Southampton University in several research projects) will develop a taste for nineteenth-century temperaments, and eventually lead to the potential re-recording of the core of the classical repertoire: nineteenth-century piano concertos, chamber music and solo piano pieces. Besides restoring the correct tuning systems, the performances and recordings will incorporate other aspects of nineteenth-century piano-playing in which UK scholars are prominent, such as dislocation (not playing the notes all together) and rubato (particular ways of playing out of time). It will also have important effects for the way that other instruments are played together with pianos.

2. The interactive possibilities of app technology will provide new ways of adding value to downloaded recordings, allowing filmed expert commentary, scores, and pictures enhancing the basic audio and video performance files to be accessible on any web-linked device.

3. Craft furniture makers and piano builders can train apprentices to build replicas of historical pianos – new routes into highly­skilled creative jobs. These apprentices will also be qualified to service the museum sector, others setting up their own businesses and potentially becoming important builders in their own right.

These innovations in ways of hearing music, interactive recordings, musical education, and skills training fulfil many of the strategies in the recent APDIG report and the UK Music Manifesto.
South East
Professor Marie Gillespie
Co-Director of the Centre for Research on Socio-Cultural Change
Open University
Our challenge starts from the disruptive impact of technological innovation and the resulting risks faced by the creative industries in the creative silicon strip emerging between Oxford, Cambridge and the Milton Keynes TTWA. New spatial relationships have produced economic, social and cultural risks for communities, civic and arts organisations and businesses that creative clusters can help resolve.

Technological innovation, international migration and mobility reconfigure spatial relations demanding a new, more productive balance between geographical and digital proximities. Smart innovations applied to cities, workplaces, homes and bodies offer promising solutions but they fail without creative academic, artistic and industry expertise to bridge between technology, communities and lived experience. Equally, accounting for the economic value of cultural participation in civic and arts infrastructures is a recognised challenge.

We would address this by developing a Cultural Dashboard to measure and evaluate participation using real-time, sentiment and social media analytics in combination with apps and smart devices. Our cluster will:

1. review and define the networks and infrastructures that arrange the best fit between innovation and risk, between technology and creative sectors, and between digital creative enterprises and local communities
2. provide online learning resources that address skills gaps in creative and technology industry sectors
3. produce a Cultural Dashboard for evaluating participation using data-driven research methods and the Cultural Value Model (CVM) pioneered at our partner HEIs
4. develop a CIC specialised in designing ‘smart’ place­based experiences.

Digital technologies are integral to contemporary creative industry practice. Convergence dynamics have blurred the lines between the creative and technology sectors as content creation and delivery platforms merge. This has resulted in major deficits in skills, knowledge, resources, collaborative practice and infrastructures across both sectors that must be addressed to facilitate cross- fertilisation in the coming decades.

The National Infrastructure Commission Interim Report identified the opportunity presented by the corridor stretching across Oxford-Milton Keynes­Cambridge and north to South East Midlands Local Enterprise Partnership (SEMLEP) as a ‘silicon valley’ of technology and innovation. At the two poles, Oxford and Cambridge boast established arts, cultural and technology infrastructures while Milton Keynes and Peterborough, strategically positioned in the centre, have more recent but carefully cultivated infrastructures.

Here, technology, transport and logistics industries are expanding rapidly and the arts and creative sectors have been planned to nurture economic growth and promote socio-cultural cohesion and well-being. The corridor has a strong record in planned cross-sectoral innovation and is gaining prominence in the UK’s creative geography. Its combination of innovative, risk­taking enterprises; organic and planned arts infrastructures mean there are real prospects for a digital creative hub to thrive here. Milton Keynes’ 2023 European Capital of Culture bid illustrates this ambition.

Yet there are real challenges in arranging, connecting and sharing the skills, knowledge and resources needed to produce a digitally enabled, creative cluster that can not only benefit the region and provide but provide a nationally and internationally scalable model. These challenges include opening the sector to broader participation across ethnically diverse, young, and underrepresented populations – addressing this is a central plank of our expertise and our offer.
East of England
Flora Samuel
Professor of Architecture in the Built Environment
University of Reading
The challenge is evident in a series of disconnects between industry and other sectors, highlighting the need for active development of a tailored R&D pipeline that focuses both on the geographical cluster and the creative sector.

Disconnect between the creative economy and architecture – Architecture professionals have an important role to play as gatekeepers between the creative economy and construction, facilitating the development of new tools, services and experiences in the process. However, they are failing in this role, lacking in research skills and marginal to creative sector debate. National strategy on improving construct innovation, for example the Construction 2025 and Digital Built Britain (UK Gov, 2015, 2013), largely ignore connections to the creative economy.

Disconnect between industry and academia - A series of AHRC-funded projects supporting the development of research in architectural practice show the need for improved R&D linkages between industry and academia (Samuel, 2017). Practitioners working in the built environment have a project-based finance system and minimal business planning, meaning that money is rarely set aside for developing knowledge with others (Lu and Sexton, 2009).

Creating a place for the creative economy – The quality and affordability of the environment plays an important role in the development of creative clusters (Mateos-Garcia and Bakhshi, 2016, p. 7), which in turn play a key role in regeneration (Punter, 2011). Building on the model of the Reading 2050 strategic plan (Reading 2050, 2016) the hub will develop and implement a place-making strategy using both space and events to foster the creative economy. This connects with the aspiration of Bath and North East Somerset Council to establish itself as a ‘centre of imagination and inventiveness’ (BATHNES, 2016).

Capitalising on intangible and tangible heritage - Historic England identifies new opportunities for the social and economic value of heritage, with research urgently needed to examine the role of the historic environment in place-making and its relationship to well- being and economic value (Historic England Research Agenda 2017, p. 6-7). New government research suggests that economic performance of creative, knowledge and tourism industries may be positively correlated with the concentration of heritage assets: The Role of culture, sport and heritage in place shaping, Healthy Cities (UK Gov, 2017). They prioritise better understanding of contested heritage and how new approaches to interpretation, including digital technologies, can be used to convey multiple narratives (p.8).

Need for a tailored R&D talent pipeline ­ Reading suffers from ‘a relative scarcity of talent, relevant research and knowledge exchange, as well as low levels of local networking – that may, unless addressed, hold back future growth’ (Mateos­Garcia and Bakhshi, 2016, p. 40). Thames Valley LEP’s ‘Local Growth Fund Skills Capital Project Prospectus’ highlights the need for a talent pipeline particularly with regard to digital technology jobs (Thames Valley LEP, 2017b) while West Berkshire (Newbury) is losing talent to neighbouring clusters (West Berkshire, 2012). More explicit links are needed to a series of relevant regional strategies such as Creative South East (Creative SouthEast, 2016) which recognize the role of the creative economy in growth.
South East
Professor Teal Triggs
Associate Dean, School of Communication
Royal College of Art
eX: Extending Human Experience

The opening years of the twenty-first century have seen an unprecedented acceleration in the pace of change associated with human- machine experiences during which limited design consideration has been given to ethical, cognitive, behavioural and psychological factors. Rapid technology development has created both significant advantages and opportunities, for example, in enhancing naturalistic modes of human-machine interaction, and critical and ethical problems, such as in the extensive influencing of audience behaviour through data analytics and digital social media. IBM predicts that ‘the relationship between humans and computers will remain interactive and collaborative’ (IBM 2017), mirroring an observation in the UK government’s independent review of growth in the artificial intelligence industry that ‘Perhaps the real productivity gain from artificial intelligence will be in showing us new ways to think.’ (DCMS and BEIS 2017).

The intricacy and fluidity of our conversations with digital products and services is increasing, but must remain human. As the process of creating technology becomes far closer to human behaviour it is critical that the creative industries actively take part in the development of new computational systems and interactions as they become more experience-led. eX aims to establish a new era of human extended design to support an emerging paradigm shift in industry and society from engineering Hard technologies (of computational power and infrastructure) to evolving new types of Soft technologies (of behavioural and experiential systems) and human-oriented, relational and adaptive business, organisational and delivery models, products, services and experiences. Responding directly to core needs identified by our industry partners for critical design, multi-disciplinary knowledge, ethical and predictive practice frameworks and cross-sector collaboration in these areas, eX will expand partnership networks and address skills capabilities and gaps across London’s globally­orientated creative­tech clusters, and the vertical industries and organisations (both social and governmental) they interact with; to develop products, services and experiences that respond openly and knowingly to human needs and requirements.

Building on the partnership’s deep knowledge and experience of cross­sector collaboration, eX will be a dynamic platform for connecting leading design, digital media, computer science, cognitive and behavioural neuroscience research with businesses at the cutting edge of the UK’s digital and creative industries, public and community organisations and government. Four of London’s principal creative-tech clusters will form an axis around which eX will operate, from Tech City to White City, the Knowledge Quarter and the Southbank, acknowledging that these parts of London’s creative economy are defined by their convergences, (inter)national nodes and
networks, interlinked value chains and collaborative practices, as much as by their geographic localities. eX will look boldly at supporting innovation across London’s ecosystem of creative­tech clusters to widen access, increase participation, develop skills, enhance social and individual empowerment, inform policy and stimulate economic growth. Through enhancing local capabilities and building scalable opportunities that are flexible and responsive to contexts and needs, our intention is to strengthen the ability of London’s creative economy to lead the design of new forms of extended human experiences to drive national growth and enhance international competitiveness.
Professor Carola Boehm
Associate Dean, School of Creative Arts and Engineering
Staffordshire University
At the heart of our vision lies the potential of the synergy between

a) meeting the challenge of increasing the number and size of creative micro/small-cultural producers in the area of materials, ceramics and moving image; and
b) adopting new materials, processes, technologies and business models that support innovation in highly personalised, high quality cultural artefacts and arts-based services.

These businesses/producers share common challenges and opportunities as creative producers, and present scope for significant positive interaction at the local level to drive innovation and growth. The challenges below address some of the key pillars in the UK Govt Industrial Strategy, the focus being on the areas capable of being addressed (at least in part) through strategic partnerships involving research-intensive HEIs.

- Product and process Innovation - increasing R&D in product development (including new forms of early stage open innovation) in creative content, design, smart materials, nano-technology, lasers, process automation, 3D immersive technologies and market engagement.
- Changing consumer behaviour – ability to react quickly to changing demand in the context of rapid technological and consumption changes.
­- New business models – to address the threats and opportunities associated with rapid technological development, including
shared/smart IP solutions, and therefore enable to allow a larger critical mass of local innovation to reach international markets.
­- Distribution – ability to embed and enculture innovation for distribution chains, allowing the clusters to implement solutions for
demand-led markets (away from supply-led distribution models), use disruptive technologies to connect consumers more directly with producers, and identify innovative income streams based on co-production and smart-contract solutions.
­- Creative talent and entrepreneurship – including addressing specific skills shortages, developing and retaining a high quality talent pool of creative producers, innovators and business leaders to ensure a sustainable future for these industries and their supply chains.
- Facilities, equipment and space – with both clusters heavily reliant on specialist equipment, access to the latest prototyping and production technologies in an appropriate setting, again enabling open innovation with research partners and the wider creative and cultural sector.

In addition to these, each cluster faces specific challenges. For ceramics for example, differentiating/insulating the sector from the impact of mass volumes of low cost tableware is an enduring challenge, along with energy efficiency and decarbonisation of the supply chain and production process.

All this requires competency in engaging customers and underpinning this with new business model innovations. Thus we believe there is a productivity potential to be unleashed, based on bringing together three areas of new knowledge:

a) Disruptive new technologies leading to innovation in business models, focussing on supporting an increasing number of individualised “niche businesses” (such as blockchain technology, different crowd­funding models, distributed ledgers, smart contracts, etc);
b) Experimental materials and their advanced technology-supported use (such as metal 3-D printers, advanced mould technology, sensors, connectivity, augmented reality)
c) Driving innovation with Culture3.0 and OpenInnovation 2.0 (e.g. user-experience focusses, co-creation, open platforms, producer- consumer ambiguity; non-linear R&D, co-ownership, socially distributed knowledge, shared ownership)
West Midlands
Prof Niloy J. Mitra
Professor of Geometry Processing , Virtual Env. and Computer Graphics, Dept. of Computer Science
University College London
Technology plays a major role in our daily life, both at work and at home. The impact of data-driven methods (broadly artificial intelligence) is expected to severely disrupt the current job market as reiterated by multiple recent reports (PwC’s Global Artificial Intelligence Study: Exploiting the AI Revolution 2017). Already AI is having major impact in many creative workflows: prominent examples include news, product placement, graphic art, architecture, music, etc. where automation is influencing traditional creative workflows. In the near future, AI will change how we create and consume (PwC's Global Data and Analytics Survey 2016). The changes will be disruptive, to say the least. This leads to several challenges that our proposed initiative will address.

First, we are witnessing major changes regarding how we create. For example, news, movies, product design, reviews are no longer being created and quality controlled by traditional publishing and media producers, but being produced via Internet places like YouTube, Instagram, Facebook, etc.

Second, we are witnessing a paradigm shift in how creative content is being disseminated. Instead of traditional static media, we have transitioned to dynamic media this is regularly targeted and customized according to the target viewers. Very little is understood how such media and content spreads and affects our perception.

Finally, lack of organizations offering suitable training is resulting in only a handful of self-taught pioneers leading the creative content generation, particularly for the new media formats. This is undesirable as it leads to shrinkage of jobs rather than AI helping to boost overall productivity and GDP.

We have a choice. We can wait for others to solve the above challenges, or we can lead from the front and actively seek solutions.

A recent report (Growing the AI Industry in the UK, 2017) emphasize the importance of (a) access to suitable big data, (b) access to trained personnel, and (c) access to novel methods. In collaboration with major creative tool provider(s), CreateAI proposes to address the challenges highlighted above. The goal of the endeavor is to create new create tools, publish current research prototypes as developed products, and to train next generation creative artists (these align with Building the Industrial Strategy pages 25-50). The proposal is to focus on news, graphic art, architecture, and movies as target case studies given that UK is widely considered to be world leaders in these disciplines.

Adobe boasts of access to a worldwide user-base of highly skilled creative artists who regularly create artworks using Creative Cloud products. This provides a unique opportunity -- to capture, analyze, and learn from creative content workflows and develop smart content creation tools. Since 2011, UCL and Adobe have actively collaborated to develop CreateAI tools. The proposed initiative is to open up creative big data for research, train personnel (both new students and also retrain existing workforces), and expose research tools to a much wider audience and positively influence and shape the creative workforce in UK.
Professor Emily Caston
Professor of Screen Industries and Director of the Music and Screen Research Institute
University of West London
The challenges addressed in this bid were highlighted in the evidence presented to the Parliamentary Enquiry on Advertising in September.

The core R&D issue is digital. The brands need technological innovation and support to better understand and predict the movement of their audiences online and avoid losing approximately one third of investment in advertising arising from inaccurate data (data collection and analytics). The brands are also keen to develop new models for audience engagement and brand storytelling as an alternative for the old models of interruptive 30/60 second advertising thwarted by the rise of AdBlocker. Our Creative R&D Partnership will identify and trial new digital technologies for tracking consumer behaviour online to support targeted branded content. It will also trial interactive and immersive branded content with our creative laboratory partners Rattling Stick and Sony. The Imaginarium Studios in Ealing has offered its facilities as an R&D laboratory. Film London, which, has represented games and VR for over ten years, will support this R&D activity. The partnership will tackle the data challenges arising from advertising fraud by working with the new Research Institute of Cyber Security at UWL which specialises in working with commercial partners to combat online data security and fraud (a specialist area of Professor Vladlena Benson).

The Partnership will also address a serious skills shortfall likely to be exacerbated by Brexit: up to 40% of the technically skilled staff in some companies is European. The post production and VFX sector recruits its technical and creative personnel from Denmark, Germany and France. Technical and creative training provision in Britain has long been considered severely inadequate by the industry. We will make proposals for a nationwide digital skills programme in schools, as well as a specialist portfolio of training schemes and apprenticeships in FE and HE. For this we will draw on the expertise of the Ideas Foundation and the MetFilm School and will launch an industry-led undergraduate programme in branded content.

The Partnership will also work with the British Film Institute to address opportunities for boosting film production outside London. (Over half UK branded content is shot overseas). While high-end TV drama and feature films benefit from tax breaks, branded digital content does not. We will work with the British Film Institute and Film London to explore the options for tax breaks in branded content in order to stimulate growth outside London.

The partnership will work with the British Film Commission (a subsidiary of Film London) to assist the cluster to access new markets in China and India. Larger companies in the cluster such as MPC have already established successful offices in the USA, Canada, Mexico, China and India. But with an average core employee size of 12 and an average annual turnover of only £4 million, the smaller SMEs in our cluster lack the resources to start up offices abroad. The partnership will identify strategic ways the Government could support the companies to enter these new markets.
Dr Sara Jones
Senior Lecturer in Creative Interactive System Design
City, University of London
Engaging Emerging Technologies (EET) aims to create a catalytic partnership bringing together academic and creative sector partners from London, Cambridge and Manchester, all key clusters in Nesta’s Geographies of Creativity Report (2015), in the following Creative Industries sub-sectors: Visual/Performing Arts and Music, Crafts, and Museums and Libraries.

It seeks to address a major challenge experienced by organisations in each of these sub-sectors; namely that they do not have the capability or capacity to absorb rapidly emerging technologies such as AI, big data or data driven process. EET will focus on enhancing the potential of the Creative Industries to incorporate such technologies in new products, services and experiences, in order to generate new IP and value, increase productivity and enhance long-term resilience for the Creative Industries themselves, as well as benefitting broader audiences, consumers and communities, and driving growth in the economy as a whole.

Arts Council England and NESTA Digital Culture 17 report informs us that, compared to four years ago, fewer arts and culture organisations define themselves as experimenting with digital technologies, and capacity deficiencies found then still remain. The recent Bazalgette Independent Review of the Creative Industries states that ‘the digital era...represents an enormously exciting opportunity for further innovation’. It reminds us that the Creative Industries bring value not only to themselves but also to the wider economy. Citing the UN Report on Creative Economy 2013 it points out that ‘investments in innovation in the creative sectors also lead to results that contribute to the overall wellbeing of communities, ...quality of life and cohesion’.

Whilst the digital era undoubtedly presents significant opportunity, it also presents challenges. The Innovating through Crafts: Opportunities for Growth (KPMG 2016) report points out that ‘international competitors are catching up, investing heavily in creative education, in R&D and in facilities that bring together physical making and the digital worlds’. Craft is a sector recognised for supporting innovation in other sectors such as transport (e.g Bentley’s recognise craft innovation as integral to their production). Such threats therefore present a serious challenge to the innovation potential not just of the Creative Industries, but also of other sectors. As Digital Culture 17 also notes ‘Despite continued increases in how important and impactful digital is becoming for business models....the majority of organisations feel they only have basic skills compared to their peers’.

EET brings together a diverse and complementary partnership to mitigate such challenges and drive development of skills sets necessary for the future outlined in the Bazalgette Review, including: blended technical and creative skills, collaborative, interdisciplinary working, entrepreneurialism and enterprise. EET partners include HEIs (City, University of London, Imperial College London, the Royal College of Art, Manchester Metropolitan University, and members of the TCCE network), key national institutions (The British Library, Victoria and Albert Museum and Crafts Council), collaborative research and network organisations (TCCE, Knowledge Quarter) and Create London. Together we will develop a robust programme to address the challenges identified above, enabling the Creative Industries to demonstrably exploit their potential, both here and internationally.
James Bennett
Professor of Television & Digital Culture, Media Arts
Royal Holloway University of London
We will address Next-Generation Storytelling as a challenge for screen industries to produce compelling content for emergent technologies. Using an innovative story lab approach that will be led by world-leading industry and arts and humanities researchers in story form, this partnership will draw on psychology, engineering and computer science to link technological form with creative process.

Our challenge will address:

(1) Next Generation Storytelling
(2) Emergent Value Networks
(3) Data in the creative workflow
(4) Audience Engagement.

The partnership includes trade bodies and leading companies from film, television, gaming, immersive, theatre, visual effects and a range of SME networks. It will link London with the conurbation immediately to its west, providing a gateway between creative content and technology to build the stories for tomorrow’s audiences.
South East
Prof. Anthony Steed
Professor in the Virtual Environments and Computer Graphics, Department of Computer Science
University College London
Virtual reality has come a long way since the 1990s. While several high-end engineering and training applications have continued to use the technologies because of their impact, with the recent release of consumer virtual reality headsets, virtual reality is enabling new forms of content, from re-invigorating the games industry, through to creating more impactful news reporting.

The Bazalgette review highlights immersive technologies as an important emerging creative area that has the potential to grow enormously. A recent PwC report identified immersive as a disruptive trend in global entertainment markets. This is one of several reports that consider the potential impact of the impact of the general class of near-eye displays, which includes virtual reality, but also upcoming augmented reality displays.

We identify several opportunities. First, the UK is already a leading developer of virtual reality (VR) content, with early demonstrations of award-winning content coming from companies in diverse industries such as film post-production, theatre, games, TV and advertising. These industries have been early adopters of technology, but they have worked independently. Second, augmented reality has to the potential to have very significant impact across the whole of computing, and thus across society. New forms of experience and thus new opportunities are only just being discovered. Third, the UK and the South East in particular, has deep experience in supporting areas that are vital to the development of a vibrant content market, for example, world-leading university research on core technologies, a mature and flexible production industry and excellent venues and spaces for training and exhibitions. Finally, immersive technologies have a broad potential to impact the full range of creative and engineering domains, from changing the end-user experience with new AR experiences, through to new tools to facilitate collaborative design work with next-generation collaborative VR.

The overall aim is place London and the South East as the best place in the world to do creative immersive technology work. Already, many of the technology suppliers (Facebook, Sony, Google, etc.) have a large presence in London. An emerging cluster of immersive companies could exploit, and provide new avenues for development, for the world-class film, TV, games and theatre.

To achieve this, there are four main needs. First is a pool of engineering and design talent that can exploit these new and emerging technologies. At the moment, content development is high cost and part of this is the cost of bringing designers and engineers up to speed, or hiring new types of talent such as games developers.
Second is broad access to facilities and technologies that can speed up development. Hardware is changing very quickly and given development schedules, it is important to develop for upcoming platforms, not existing platforms.

Third is access to events, exhibitions and workshops where experience can be shared. There are a lot of commercial exhibitions that don't really delve into the details.

The final need is a functioning marketplace for VR technologies, from development talent through to consumer delivery.
Gail Mountain
Professor of Applied Dementia Research
Bradford University
People in Britain are living longer, healthier and more productively than ever before. Yet the social and economic benefit of longer, healthier lives is not being fully realised at a time when Great Britain needs this the most. Instead, we live in a world governed by generational and ageist stereotypes, barriers and divisions, exacerbated by social class and ethnic origins. This is hampering social and economic progress and causing divisions that are increasing health inequalities.

The partnership will look to establish a world-leading hub of intergenerational research and creative exploration through the lifecycle, from birth to dying. Driving new ideas, new processes, new products, new services and new business models to explore a world where age no longer defines us. The R&D collaboration will leverage the very best of research, design and creativity in improving the way our society, communities and industries reshape themselves around the changing needs and demands of the demographic shift, along the entire life course.

The design-led intergenerational research delivered by the hub will be underpinned by design workshops where new ideas and prototypes can be developed and tested collaboratively. This fast-track research and development environment will facilitate the rapid conversion of ground-breaking research into high-value products, services and processes, utilising emerging digital technologies to develop a community engagement model.

The workshops will explore the utilisation of new developments in digital technologies, such as Big Data, AI, Wearable Sensors, IoT or 5G for the creation of cleaner, healthier, smarter and more passionate cities and neighbourhoods, to provide more accurate profiles of the aging process for various individuals and communities and enabling better engagement with health and social care professionals, leading to better health and wellbeing outcomes.

The challenges facing the exploitation of these developments will be discussed to develop workable solutions and roadmaps engaging with partners from the media, architecture, service design, urban regeneration and film alongside schools, workplaces, high streets and social media to learn a new ageless language. The collective value of design-led prototyping and product/service development will be evidenced by regional and national economic growth, improvements in citizen wellbeing, reduction in demand for health and social care services, and improvements in pensions’ value.

The University of Bradford is situated close to, and connected well with the creative clusters of Leeds and Harrogate. Hence, important for this new British 'Department of Intergenerational Exploration' to be headquartered in Bradford, home to some of the most diverse and the most disadvantaged communities in Britain. This is a world leading bench to bedside research initiatives and therefore a rich test bed which will feed into the existing hub and stimulate the research agenda. These include the renowned cohort study “Born in Bradford, the most recently established Wolfson Centre with University of Leeds, Bradford and Bradford Health Trusts which will further develop research into living and ageing in Bradford, including the Biobank with blood samples to support studies on metabolic growth and genetics, linked to national NIHR, DoH and other European studies addressing health and longevity inequalities.
Yorkshire and Humber
Professor Damian Murphy
Reader in Audio and Music Technology
University of York
The Creative Media Labs R&D Partnership (CML) will address the challenges our industry partners are identifying. The overarching vision has emerged from Screen Yorkshire’s 5­year Growth Plan for the Yorkshire and Humber Screen Industries Hub, which identifies three pillars for growth in the Y&H region

(i) content;
(ii) skills and
(iii) infrastructure.

CML will provide the means by which these pillars become embedded and future-proofed. Regarding content: how can we ensure that storytelling and content-creation methods and opportunities evolve to meet the expectations of audiences experiencing the next generation of digital, interactive and immersive screen- based technologies? Regarding skills: how can we ensure that the industry is continuously developing skills for these new forms of content? Regarding infrastructure: how can we enhance collaboration between micro-companies, SMEs and researchers and develop the dynamic business models that can capitalise on these innovations and support growth, for this and other out-of-London clusters?

Digital screen-based technologies are developing at an incredible pace, opening up new ways to imagine, create, consume and participate in mediated stories. We are in the midst of one of the most significant transformations in the production, circulation and consumption of entertainment and information. For instance, the growth and importance of Virtual and Augmented Reality has already been recognised by industry with the development of ImmerseUK (one of our partners), and by the Research Councils, InnovateUK and the Industrial Strategy Challenge Fund. The innovative application of interactive and immersive technologies for non-linear storytelling presents both significant challenges and opportunities for the creative industries, and particularly for our cluster. The Yorkshire screen industries must rise to this, and other, significant challenges if it is to grow and compete on a global scale.

Our overarching goal is to translate cutting-edge research into screen-based industry and business contexts that will maximise impact regionally, nationally and internationally. Specific challenges already being articulated by our partners in these early stage discussions include the development of:

• New immersive audio­visual storytelling environments for next generation non­theatrical filmmaking;
• Interactive narratives, personalised story experiences, and viewer­generated and controlled content;
• Content for a plurality of end point delivery and consumption choices;
• Algorithmic media content and AI in the development of digital stories;
• The interaction between digital companion content and live or onscreen delivery channels;
• Big data to enhance the experience of computer games and eSports;
• Technology, tools and craft wisdom suitable for exploiting the convergence of broadcasting and games industries;
• Open, innovative tools for wider independent and art­tech networks and communities of practice to explore and enrich the capability to deliver new audience experiences and participation;
• Distribution platforms that can provide improved access to a range of digital stories and cultural experiences for more diverse and inclusive audiences and users in an on-demand culture;
• Innovative business models for growing the screen industries in the era of digital disruption;
• High­value skills and talent for the creative exploitation of next generation digital technologies.
Yorkshire and Humber
Nic Beech
Vice Principal and Head of College of Arts and Social Sciences
University of Dundee
The Dundee Creative Industries Strategy launched in October 2017 following a broad industry-led consultation process with regional stakeholders and a key focus on regional businesses. This process allowed the Tayside Creative Industries Cluster to identify its development challenges. The R&D partnership will adopt these as its own:

- Strengthen the connection between students, academic institutions and the local creative sector
- Support the development of sustainable businesses/practices
- Maintain and develop networks to enable established creative businesses from different disciplines to share perspectives and to provide role models and mentors for young professionals
- Explore current creative employment opportunities within the sector, so that career progression routes and pathways can be more clearly identified.
- Build awareness beyond the city of Dundee as a viable creative base.

The Dundee Creative Strategy aligns with current, high-priority national and regional strategies: the six challenge areas in the Industrial Strategy Challenge Fund, detailed in the call; the four priority challenge principles identified by Scottish Enterprise and Creative Scotland (investing together, innovating for the wider economy, increasing inclusivity and increasing international profile). Furthermore, the Dundee Cultural Strategy 2015­2025 frames our development goals, most saliently to become Scotland’s leader of culture­led regeneration (2.3) and to create a healthy, more equitable and economically successful city (2.4). Measures to promote cluster growth and sustainability in this composite policy context must address challenges that inhibit product, service and experience innovation and diversification, sustainable investment models, market diversification, internationalization and sector development.

Working practices in this cluster are characteristically solution focused and iterative; innovations are not systematically captured or tested for generalization or re-use value. Downward pressure on value chains has inhibited SMEs from taking on the risk of high-value innovative activity. Increasing capacity for innovation and knowledge sharing would provide opportunities to add value through developing technologies and processes that have applications beyond existing use contexts.

This cluster, (especially its dynamic Micro-SME segment), needs to better identify and exploit geographic and market sector diversification opportunities. Companies in this space need opportunities to showcase innovations, share market intelligence, access technical know-how and innovation expertise. Cross-sectoral innovation, supported by the anchoring presence of secure HEIs, would accelerate new product, service and market development.

Sector Intensification
One of the biggest challenges and risks to the sector is talent acquisition and retention. Dundee produces an extraordinary supply of creative graduates. The creative workforce in the region is predominantly comprised of young, creative professionals working in micro- SMEs. Opportunities currently attract that population toward larger, metropolitan regions. Better local retention and utilization of talent would be possible through a focus on innovative career pathways and professional development, through supporting emerging new organizational models.

Micro-SMEs are the dynamic lifeblood of the creative industries. Business Gateway argues that international growth is best fostered by a network of medium-sized firms. To square the circle, collaborative approaches would provide the international connectivity, market access and deal-flow of large organizations, while maintaining Micro-SMEs entrepreneurial dynamism.

5. Sub-sectors

• Design: Product, Graphic and Fashion Design • Film, Television, Radio and Photography
• IT, Software and Computer Services
• Publishing
• Museums, Galleries and Libraries
Prof Evelyn Welch
Provost & Senior Vice President (Arts & Sciences)
King's College London
Our cluster partners know that there is an opportunity – one that hasn’t been seen since the emergence of the World Wide Web a quarter of a century ago – to build a new marketplace for production and exchange in the creative industries. To do this we need to address four key challenges: 1. The relationship between the digital (particularly the immersive digital world) and the physical experiences; 2. Questions of copyright, co-production, open access and payment 3. New forms of marketing and ethical business models that protect innovative start-ups during their crucial early growth phases and perhaps most importantly 4. How do we ensure universities, businesses and regions produce and sustain creative talent to ensure a successful and diverse workforce for the future.

The disruptive challenges of emerging technologies are well known for our clusters in augmented and virtual reality, immersive technologies, telecommunications, software development, and fabrication. Can virtual reality enhance traditional forms of entertainment and how? What are the implications of co-production and distribution for IP and copyright legislation? What innovative business models might it support? Can we design ethically robust and culturally diverse online marketplaces? Can high-performing multi-disciplinary teams involve public as well as corporate stakeholders? Can talent pipelines produce graduates with technical as well as cultural and business knowledge?

These issues are not theoretical but immediate and very pressing for growing creative clusters in London and the South-East, an area which drives economic success not just locally but nationally and internationally. The cluster includes multiple vertically integrated supply chains already delivering products, services, and experiences in augmented and virtual reality, big data, minimal computing, 3D fabrication, artificial intelligence, open education, animation, and digital cultural heritage. Nascent cross-cutting capabilities in contemporary and next-generation content management systems, telecommunications, platform economics, policy development, and intellectual property how need to be further developed. Talent pipelines, both into and out of the regions, need to be better co-ordinated and calibrated to emerging industry requirements. Programme and project management capabilities will ensure cohesive business strategies are developed and delivery is cost-effective, measurable, and transparent.

The NextTech Marketplace will be designed with reference to the NESTA Geography of Creativity Report (2016). It will align to and enable the Industrial Strategy Challenge Fund (2017) by basing programme design on industry-driven challenges and co-delivery across sectors. It will deliver important components of the UK Digital Strategy (2017), leveraging enhanced connectivity offered by UFB to create a diverse and sustainable market ecology and an enduring legacy. It will experiment with models, products, and services that could be deployed in support of the Fourth Industrial Revolution. It will contribute to the Strategy for Next Generation Mobile Technologies (2017) by delivering products over 5G testbeds. It will support the Thames Estuary Production Corridor, the South East Local Enterprise Partnership, the London Economic Action Partnership, the Dorset Local Enterprise Partnership, and the digital strategy of Bournemouth Borough Council.
Professor Justin Lewis
Professor of Communication, School of Journalism, Media and Cultural Studies
Cardiff University
Cardiff University’s Creative Cardiff team have, over the last three years, worked closely with industry partners (freelancers, micro­SMEs, SMEs, large ‘anchor’ creative businesses and strategic or representative industry organisations located within the cluster) in order to identify and understand the challenges facing different creative industry sectors and businesses. We have now, in partnership with University of South Wales (USW) and Cardiff Metropolitan University (CMU), focused these efforts, conducting one-to-one interviews and industry workshops to identify what, within the cluster, may be inhibiting opportunities for businesses to use R&D to innovate and grow.

Our work indicates that while there are specific issues within different creative sectors, the key and overarching challenge identified by industry at all levels within the cluster is connectivity - of people, knowledge, ideas, skillsets, sectors, organisations access to resources (e.g., business advice) and spaces. Many businesses succeed because they draw on skills and expertise from across the creative industries and across traditional disciplinary/sectoral boundaries to innovate. The need to develop “T­shaped” graduates and creative professionals runs through this narrative. So, for example, addressing the complex challenges of service/experience design draws on skills from design, architecture, visual and audio-visual arts, music, literature/journalism/marketing alongside technical, coding and engineering disciplines. In Film/TV, skillsets that had previously been considered distinct – creative, technological, and business – now need to be combined and nurtured cohesively to ensure producers are successfully innovating. Our work also suggests that in a cluster dominated by freelancers and micro-businesses, there are a particular set of challenges around their understanding of and access to R&D.

Our aim is to significantly broaden the scope and expertise of Creative Cardiff by working with partner HEIs and other organisations to develop networks and opportunities for R&D focussed research-industry interventions. We propose to work with creative businesses of all sizes in the cluster to develop an infrastructure that maximises connectivity and creates new space and opportunities for innovation. We recognise that collaborative R&D does not ‘just happen’, but involves a series of experiences and interactions. The objective is thus to support, sustain and grow opportunities for interaction, knowledge sharing and collaboration between the three HEIs; researchers from creative and non-creative disciplines and creative businesses. We will develop partnerships with organisations rich in tech expertise and pilot (with Alacrity Foundation, Tramshed Tech and others) creative tech start-up and acceleration. This will involve addressing substantial problem relating to procurement, IP, skills, access to research/data and internationalisation.

The bid complements Welsh strategy, including:

• Innovation Wales Strategy, Welsh Govt.
• The Cardiff Capital City Deal (which brings together 10 Councils in South Wales).
• Heart of Digital Wales: A Review of the Creative Industries for Welsh Assembly Government, and subsequent sector prioritization in ED strategy
• The Well­Being of Future Generations Act
• The Cymraeg 2050 Welsh Language Strategy
• The Big Picture: Broadcasting in Wales

We will also draw on best practice outlined in various UK-wide strategies, such as:

• NESTA's work programme since its Manifesto for the Creative Economy • Creative Industries Council Create Together
• Create UK Creative Industries Strategy
• The Bazalgette review
Chris Fremantle
Senior Research Fellow, Gray's School of Art
Robert Gordon University, Aberdeen
The Partnership will focus on the needs of the creative industries in the North of Scotland, concentrating on how digital can help develop new business models and enhance existing business practices in order to grow the economic impact of the cluster.

Enhancing digital resources is vital in supporting creative industries dispersed across remote, rural and island communities in the Highlands and Islands and will underpin the ‘shared experience’ approach to encouraging collaboration and co­production across creative sub­sectors. Including creative industries located in the North East of Scotland within HIE’s existing cluster both expands the network of connected businesses in the North of Scotland while also strengthening the ability of cluster to develop and internationalise their offerings and to tap into new markets.

Four interconnected areas of R&D focus have been identified:

1. New products, services and experiences. R&D will focus on how digital can help create innovative new business opportunities across the region and how an enhanced digital ecosystem can support the generation and monetisation of new offerings from established businesses, new start-ups and commercial partnerships. Scenario generation will be used to identify emerging technologies and trends that can be adopted and exploited by organisations across the region. R&D will focus on integrating more immersive technologies and remote participation into the delivery models of appropriate businesses, exploring how products, consumption platforms and providers can engage remote participants and consumers to develop new business models and exploit international markets.

2. Business analytics to better understand and harness available data. The thousands of creative industries businesses networked across the North of Scotland generate and collect data through their business interactions. The partnership would seek to digitally enhance the existing networks of business interactions through a digital ecosystem of social media, pooled data analytics and advanced digital services supporting collaboration, production and distribution of media content.

3. Enhancing engagement: A key element of the R&D programme will be around external interface and more effective engagement with consumers, followers, supporters, collaborators and financiers in order to improve marketing and (international) market reach and widen the opportunities for co-production, virtual participation, diversification, creative financing and risk mitigation.

4. Identifying skills gaps to underpin training and course development. Data would also be used to identify gaps in the skills pool and to identify opportunities for new training, degree and postgraduate courses. One of the key issues for the Highlands and Islands - in particular - is the loss of talent to urban centres. One of the long-term outcomes of the partnerships will be to boost the creative industries’ skills base by equipping local talent with the skills and leadership development to set up their own businesses or to join creative industry businesses in the North of Scotland.

The approach is consistent with the following national and regional strategies: Creative Industries Strategy 2016-2017 (Creative Scotland);
Realising Scotland's full potential in a digital world: A Digital Strategy for Scotland; Creative Industries Strategy: Highlands and Islands Enterprise; and Aberdeen Culture Strategy - Ambition 2: becoming Scotland’s creative lab.
Henry Chapman
Reader in Archaeology and Digital Humanities
University of Birmingham
The creative sector needs to respond to a continually changing environment that includes rapidly evolving digital technologies, a need for new business models attuned to changing consumer behaviour, and new ways of expanding into international markets. These challenges are increasingly significant within the contexts of superdiversity, Industry 4.0 and ‘Brexit’, and are reflected in the need for product innovation, high-level and evolving employee skills and greater collaboration between HEIs and creative industries.

There are exciting opportunities for growth, making better use of digital 3D design and printing in jewellery, transferring business models between subsectors (e.g. from the music industry that experienced the digital revolution earlier to other subsectors), and exploring innovative ways to build new forms of experience across museum and performing arts subsectors through greater digital engagement. Furthermore, the diverse population is a major asset with unrealised creative and entrepreneurial potential. Drawing upon diverse talents, regardless of age, gender and sexuality, and including less engaged regions, is vital for the sustainability and growth of Birmingham’s creative economy.

The Birmingham Region R&D Partnership builds on long-term collaboration between UoB, BCU and regional creative industries. With long-standing reputations for cross-sector co-produced research, and world-leading research in superdiversity, we focus on the development of new products, services and experiences, developing new production processes, and reaching new global markets through bespoke cross-sector R&D relationships. The Partnership foregrounds the opportunities of equality and diversity and collaboration to achieve a deeper understanding of co-creation to focus on new business models, enhanced international trade and skills development.

We will accelerate and scale-up our existing work to establish sustainable mechanisms that draw together sectors, repositioning and re-evaluating the role of HEIs in the R&D process for creative industries from all areas of the city and beyond. In doing so, we will harness the potential latent in the superdiverse and young to contribute to a radically enhanced economic, cultural and educational ecosystem for the creative industries that builds on wider industrial strategies (e.g. DCMS 2017). The ‘Scale­up Report on UK Economic Growth’ (Coutu 2014) shows that the barriers to growth are overcome through coordinating efforts between LEPs, HEIs and private organisations at a local level, and that investments in STEM alone are not enough.

As drivers for change, UoB and BCU have strong reputations as 'engaged universities' (Trippl et al. 2015) committed to enriching the economic and cultural life of the city and region. New developments include the purchase of city centre premises by UoB, the development of BCU’s Eastside Campus in the city’s creative industries quarter, and their establishment of STEAMhouse. Close collaborations with the City Council, LEP and consortia like Culture Central, creative industry organisations like Crafts Council, public sector organisations like the BBC, and a raft of creative industry micro-businesses and SMEs, speak to the strong foundations of the partnership. As holders of numerous AHRC awards for work in the creative industries, UoB and BCU are well-placed to act as expert partners in building sustainable regional growth and new kinds of world-class research.
West Midlands
Prof. Martin Kretschmer
Professor of Intellectual Property Law and Director of CREATe Centre (School of Law)
University of Glasgow
Lucy Brown
Programme Leader Film & TV / Digital Film Production
University of Greenwich
London is home to a dense film and television cluster. However the diversity of London’s workforce as a whole and the diversity of the population being trained at university level is not represented in those working in its film and television sector. This matters to us as one of the most diverse universities in the UK in terms of BAME students and students from a low socio-economic background. BAME employment in the sector is 3%, despite 69% of film jobs being in London and the south east, and the fact that London is 40% BAME. The result is a lack of diversity in the national story that the UK is telling through its screen media. This weakens the UK’s ability to meet the expectations of contemporary audiences and limits its ability to impact on world markets. Furthermore, it restricts its capacity to attract and retain talent, with many creative workers, both in front of and behind the camera, abandoning the industry due to lack of opportunity and progression, or heading abroad, particularly to the US, where they feel there is a greater range of opportunity.

There is a need to innovate in areas such as recruitment and within the structures, practices and cultures of production. We propose three main aspects to the challenge:

1. The film and television industries are characterised by informal recruitment practices and information sharing, combined with strict hierarchical working structures requiring new entrants to work their way up from the bottom rung of the ladder for low or no pay and endure excessive working hours. Bullying, whether deliberate or inadvertent, is often part of their initiation into the industry, while at the same time they are also expected to demonstrate a high level of sociability with their fellow workers. This challenging working environment mitigates against diversity of all kinds, including gender, race, disability and class backgrounds.

2. The established tendency towards recruitment and content risk avoidance in an unpredictable marketplace is another stumbling block. Innovation is required in order to achieve diversity of workforce, products and experiences and such innovation requires informed and calculated risk. Research therefore also needs to be carried out into how to facilitate greater risk taking, within both the small and micro businesses that produce much of the content and the large organisations under whose umbrella this content is commissioned, produced and distributed.

3. Innovation is required in current storytelling norms and formats, which do not have the necessary appeal to engage a diverse audience or the younger generation. The average age of the BBC TV viewer is now over 60 with streaming devices such as Netflix and Amazon growing in popularity with a younger demographic. Competition for screen time is fierce with 16-24 year olds spending as much time on text communications as watching TV or films (Ofcom). This inhibits the ability of British producers to develop products that reach diverse and segmented audiences at a time when those audiences have become easier to reach through online platforms and distribution methods.
Rosamund Davies
Senior Lecturer, Media and Creative Writing
University of Greenwich
London is home to a dense film and television cluster. However the diversity of London’s workforce as a whole and the diversity of the population being trained at university level is not represented in those working in its film and television sector. This matters to us as one of the most diverse universities in the UK in terms of BAME students and students from a low socio-economic background. BAME employment in the sector is 3%, despite 69% of film jobs being in London and the south east, and the fact that London is 40% BAME. The result is a lack of diversity in the national story that the UK is telling through its screen media. This weakens the UK’s ability to meet the expectations of contemporary audiences and limits its ability to impact on world markets. Furthermore, it restricts its capacity to attract and retain talent, with many creative workers, both in front of and behind the camera, abandoning the industry due to lack of opportunity and progression, or heading abroad, particularly to the US, where they feel there is a greater range of opportunity.

There is a need to innovate in areas such as recruitment and within the structures, practices and cultures of production. We propose three main aspects to the challenge:

1. The film and television industries are characterised by informal recruitment practices and information sharing, combined with strict hierarchical working structures requiring new entrants to work their way up from the bottom rung of the ladder for low or no pay and endure excessive working hours. Bullying, whether deliberate or inadvertent, is often part of their initiation into the industry, while at the same time they are also expected to demonstrate a high level of sociability with their fellow workers. This challenging working environment mitigates against diversity of all kinds, including gender, race, disability and class backgrounds.

2. The established tendency towards recruitment and content risk avoidance in an unpredictable marketplace is another stumbling block. Innovation is required in order to achieve diversity of workforce, products and experiences and such innovation requires informed and calculated risk. Research therefore also needs to be carried out into how to facilitate greater risk taking, within both the small and micro businesses that produce much of the content and the large organisations under whose umbrella this content is commissioned, produced and distributed.

3. Innovation is required in current storytelling norms and formats, which do not have the necessary appeal to engage a diverse audience or the younger generation. The average age of the BBC TV viewer is now over 60 with streaming devices such as Netflix and Amazon growing in popularity with a younger demographic. Competition for screen time is fierce with 16-24 year olds spending as much time on text communications as watching TV or films (Ofcom). This inhibits the ability of British producers to develop products that reach diverse and segmented audiences at a time when those audiences have become easier to reach through online platforms and distribution methods.
Dr Paul Thompson
Reader, School of Film, Music & Performing Arts
Leeds Beckett University
The music industry’s principal challenge is that, of all the creative industries, it has been the first and most profoundly tested by digitization. The music business is also disproportionately dominated by London and the South East ­ over 50% of England’s main talent development fund is awarded to bands and microbusinesses in London despite attempts to work against the talent drain and traditional infrastructure that is almost exclusively London-based.

The need to address and overcome the economic impact of these challenges presents two significant opportunities for our Creative R&D partnership to produce a socially-inclusive and geographically- distributed music industry fit to compete in the global markets of the 21st Century.

Firstly, as music consumption has shifted from purchasing physical units to renting digital ‘streams’, 20th century business models that relate to new content and its production require a re­imagination.

Secondly, the effectiveness of the industry’s investment in talent and progression routes for micro­businesses that release content from beyond the traditional metropolitan channels, can be analysed and transformed through a granular sifting of industrial processes – from the emergence of music acts and micro businesses in their localities, to market entry and onwards. Both of these opportunities present the possibility of identifying and engaging with clusters of micro­businesses across the UK’s Northern M62 corridor which are suitably placed for support, engagement and investment.

PRS Foundation’s talent development strategy, which incorporates a partnership with leading music technology company Spotify, has already begun to evidence the impact of pre-commercial investment in music micro-businesses, as well as expedited support for those based outside London. The proposed Creative R&D Partnership however provides an opportunity for a deeper and broader analysis of this and other aspects of the business growth ladder for music companies. This will include working with SMEs across the northern corridor, to drive the skills and sector development needed for sustainable growth across live, publishing and recording.

The outcomes of the partnership will contribute to, and be supported by, regional economic growth strategies and the investment envisaged for the cultural and creative industries across the four main cities, and local authority areas. The collateral impact of the partnership’s work on social inclusion and wellbeing will help to expose new opportunities for training in specialist areas to as before untapped creative industry talent. The partnership’s work also compliments elements of national strategy, such as the music industry’s impact on regional tourism (UKMusic, 2017), recommendations for growth of the talent pipeline and a more diverse workforce (Bazalgette, 2017), and proposals for a regionally-focused growth investment scheme (CIC/Bazalgette, 2017).

Working together, the HEIs and their industry partners aim to deliver a self-sustaining model of market-successful music products from regionally-located and locally-generated musicians and music businesses. This will involve formalising existing working agreements and collaborations within localised area centres and across the northern region, allowing a high volume of knowledge exchange, mobility of products, and leading to enhanced development and increased viability of commercial growth on a national scale.
Yorkshire and Humber
Professor Sarah Harper
Professor of Gerontology
University of Oxford
One of the biggest challenges facing the UK is the ageing of its population. Over the next two decades the proportion of people over 75 will increase from 1 in 12 to 1 in 7. The key challenges are succinctly outlined in the recent UK government Foresight Review on the Ageing Population, chaired by Harper. Both this and other subsequent government responses have acknowledged the importance of design and creativity in addressing these challenges which stretch across health, housing, work places, education, the physical environment and transport. In particular there is strong evidence that reducing and delaying the onset of late life mental and physical frailty, and thus lengthening active ageing, will be key to the UK’s successful ageing. Maintaining late­life health and well­being not only directly reduces health costs, but also enables older adults to remain active and contributing for longer to the economy, while reducing pension costs and importantly the need for social care.

There is now evidence that health and wellbeing are determined primarily by a range of social, economic and environmental factors and that these are influential across the life course. The solution to the UK’s ageing population is thus a life course approach which integrates a design-for-life framework into all aspects of our society and economy. In addition, from the health benefits of social prescription including museums and the creative arts, through creative design in life-long homes, through the digital and creative technological advances needed within smart workplaces and transport systems, the creative industries can and are playing an increasing role in designing for our future selves. Importantly, as well as supporting skills for younger workers, these industries will play a key role in the recruitment, retention and retraining of older workers, increasingly seen as a necessary component for driving economic productivity, and in harnessing the potential of Third Age capital to be a significant contributor to regional economic activity.

Our collaboration will create and develop a design-for-life framework, which will support and enable sustainable appropriate skills within and from the creative industries to tackle the ageing challenge. It will also develop a life-ecology approach for design and creativity. There will be local outcomes which will benefit the immediate joint clusters, national outcomes as a sustainable model of integrating creative industries into the national challenge of population ageing, and business opportunities from the design and implementation of new creative solutions to ageing.

The proposed R & D collaboration will thus create and develop a design-for-life framework within a skills for the South-West strategy; develop a life-ecology approach for design and creativity, and energise new business opportunities and collaborations. The collaboration will focus on the South-West and M4 corridor but will network this into the wider UK, Europe and internationally. This will create a sustainable skills framework extending out of London via the M4 into the South-West and South Wales; a model of design-for- life framework which can be up scaled across the UK, and exciting business development opportunities internationally moving forward.
South East
Professor Frank Lyons
Associate Dean (Research and Impact)
Ulster University
The creative industries challenge for the Northern Ireland region emerges from two distinct sources. The first is a policy imperative as articulated in key Government-led publications:

Draft NI Programme for Government (NI Executive, 2016­2021)
NI Draft Industrial Strategy (DfE), 2017)
UK Industrial Strategy Green Paper (BEIS, 2017)
Innovation Strategy for Northern Ireland (DfE, 2014 – 2025)
Independent Review of the Creative Industries (Bazalgette, 2017)

Secondly, these imperatives exist against a backdrop of societal issues which the region’s universities have long been exploring:

• The ongoing civil unrest referred to as the ‘Troubles’. The central issue this created for the emerging creative industries was (and is) that any form of cultural behaviour is locked in the region into a perceived binary opposition.
• This binary opposition was then underlined by the collapse of the traditional/heavy industries which were the economic lifeblood of the area; shipbuilding, textiles and heavy engineering.
• When the creative industries did begin to emerge in the Belfast context (and in some of the larger cities such as Derry/Londonderry) they developed in small and disparate ways which resulted in a fragmented, disconnected workforce of SMEs and microenterprises which struggle to deliver growth and international reach.

The challenge for this cluster can be articulated in an overarching theme: ‘The Creative Industries: the New Heavy Industries in Northern Ireland’ with three underpinning themes:

1. How sectors/clusters work across sector boundaries and within changing sectors in the particular context of a small jurisdiction, and in differently constituted organisations and firms (e.g. size and stage of development, including sole trader and SME models)
2. Training as strategy, policy, and response to needs; picking up on the challenge of ‘fusing’ creative, digital, and IT skills; building on recognition of film education strategy at schools level in NI, extending and revitalising the approach to management, intellectual rights, and export issues;
3. The interaction between the creative industries, political leadership, and public awareness; a central question of cultural policy and related issues of advocacy.

Discussions with industrial partners around these three overarching themes has helped define a range of specific challenges and associated proposed interventions which might include:

1. Leadership training–sector­specific training and mentoring programmes need to be developed which address a deficit of leadership skills in the range of disciplines in the clusters
2. Skills development – audit current needs and provision and build training programmes and new courses which address the core technical and creative skills associated with a given sector or business
3. Access to public and private finance – investigate and recommend im­proved models which address project­driven needs of the clusters
4. Sales, marketing and support for new products – exploration and devel­opment of models for selling sustainably into markets outside UK (including RoI)
5. Review of infrastructure and action plans for expansion and enhancement of businesses– fast, medium and slow spaces for research, development and production and the creation of business environments conducive to entrepreneurship and start-ups within the creative industries.
Northern Ireland
Graeme Thompson
Pro Vice Chancellor, Dean of the Faculty of Arts, Design and Media
University of Sunderland
The challenge to be addressed by our creative R&D cluster is how post-industrial 'left-behind" places like Sunderland can use partnership investment in culture and creative industries to transform their economy, physical assets and image.

The revitalisation and modernisation of Sunderland is critical to ensuring jobs and prosperity are generated for current and future generations. The loss of traditional industries, automation of manufacturing and a historic emphasis on ‘out of town’ development has led to a long and sustained decline over 40 years. Sunderland currently has the lowest business stock per capita, the lowest business start-up rate and the fourth highest Youth Claimant Count of the top 63 UK cities. It also performs poorly on numerous other indicators like educational attainment, mental health, child poverty and level of life satisfaction. It is also one of the least diverse cities in one of the least diverse regions of the UK. The challenge for Sunderland is how to re-invigorate itself and become an attractive and vibrant place to live, work and play.

The city’s response to replacing defunct sectors such as ship­building was to focus on production­based industries like automotive.

This has been successful but provides mainly medium skilled assembly-line jobs. The current challenge is to develop highly skilled graduate-level jobs in our creative and cultural cluster. This will address the talent and skills shortage, attracting and retaining graduates, increasing ¬productive value and inward investment, whilst also creating the vibrancy, infrastructure and profile of a modern 21st century city.

This forward-thinking, innovative partnership approach has been highlighted by Sir Peter Bazalgette in his Independent Review of the Creative Industries (September 2017). "A key factor in the National Glass Centre's success was its acquisition by the University of Sunderland, which galvanised the City of Sunderland to see the creative economy as a tool for regeneration. The move then inspired the City Council and the local business community to invest in a series of high-profile cultural projects."

Sir Nicholas Serota, Chair of Arts Council England added: “What Sunderland is doing through its partnership is remarkable and a template for using culture as a tool for regeneration - the path you have set out on is not something I have encountered anywhere else." The challenge to be addressed by our creative R&D cluster is how places like Sunderland can develop partnership investment in culture and creative industries to transform their economy and image. The research will examine the elements of such an approach and the role of significant players such as the University, Central and Local Government and the Private Sector. The success of this ‘Triple Helix’ approach of university-industry-government interaction will be examined as the key to innovation in an increasingly knowledge-based economy.

Working with the Institute for Public Policy Research and our partner the Culture, Place and Policy Institute at the University of Hull, we will examine how cultural and creative industry interventions in Sunderland impact on the Industrial Strategy and deliver against smart specialisation priorities set by the North East LEP.
North East
Trevor Keeble
Dean, Faculty of Creative and Cultural Industries
University of Portsmouth
The PCRCC members have identified a number of specific challenges faced by the Creative Industries in Portsmouth (Ekinsmyth, 2016). The local economy of Portsmouth is, in itself, a challenge as the PCRCC is located in a deprived area. Portsmouth’s Joint Strategic Needs Assessment (2016) identified that 22% of dependent children under 20 are living in poverty. The Index of Multiple Deprivation (2015) ranks Portsmouth 63rd out of 326 local authorities, and indications are that the deprivation is worsening. A consequence of this is that there is a severe deficit of cultural education within the City’s population which this partnership aims to address. The clusters current strength can be evidenced through its great success addressing these challenges.

Creative and Business Skills Acquisition and Development:

The Creative Census (2016) demonstrated clearly the need for the University to work in partnership with local businesses to provide a ‘networked’ facility for creative technologies and production. Alongside this, the creative enterprises of the PCRCC also require greater access to virtual and interpersonal networking. The University offers a comprehensive support programme for its graduate Creative Entrepreneurs from Start-up to SME in dedicated spaces but this needs to be enhanced and extended to encompass partnership working with a range of other businesses, particularly those outside the creative sector to which creative enterprises will bring value.

Strategic development of Start-Ups / Micro business into SMEs:

58% of Portsmouth’s creative industries are sole traders, largely recent start­ups. Many are working part­time, multiple jobs or self­ employed making them hard to track accurately through traditional means. Thus, the focus for development is both increasing the number of micro / SME’s and increasing their revenue. The principal challenge faced by the PCRCC is therefore to provide the infrastructure to effectively support the micro-economies which have been identified as being at its heart. A priority for the PCRCC will be to build Business to Business engagement.

Longer term cultural programming and engagement:

A currently disjointed approach to cultural programming within PCRCC further limits the growth of the economy. Portsmouth ranks highly for significant Heritage assets (32nd), but only 239th for activities (RSA Heritage index), making the creation and support of activities that fully utilise this outstanding heritage vital. Initiatives such as Victorious Festival and the Victorian Christmas Festival at the Historical Dockyard have shown how successful PCRCC initiatives can be. Despite this, large sections of the local population within the cluster are not engaging. The development of new products, services and experiences will address this directly.

Portsmouth has a wealth of creative talent, much of it emerging from the University. Ensuring our creative, artistic and cultural expertise is realised and presented through the innovative and cutting-edge user and participant approaches that we believe to be a particular strength of our creative talent will be key to addressing our challenges. Future and Emerging Technology is one of the University’s 5 Strategic Research Themes and the partnership has significant capabilities in creative technologies, engineering and other STEM disciplines.
South East
Professor Lizzie Jackson
Head of Creative Technologies
London South Bank University
Our challenges are from the moving image and performance sectors, in relation to emerging digital technologies, growth, export opportunities and skills development, post Brexit. Of the 10 pillars outlined in the UK Industrial Strategy (2017) we will be addressing six: research and innovation; skills; infrastructure; business growth and investment; procurement; and trade and investment.

1: Pinewood Studios hosts a community of companies and experts that bring artistry and technology together ‘under one roof’. Their current challenge is to bring these companies together, so they can align production processes, to ensure maximum impact creatively, technically and commercially. We will create a ‘Pinewood Creative Technical Hub’ with companies such as RED, Aerial Motion Pictures Ltd, Sohonet and The Third Floor.

2: The Royal Shakespeare Company are well established in streaming their content to schools. But they face creative and technical challenges, which include object based broadcasting; audience data; and development of immersive technologies.

3: The National Theatre want to equip themselves with the potential offered by future digital performance, stage and distribution technologies to enhance the user experience. This includes design/making phase, telling the story as part of the production, audience experience and Learning and Education work.

4: BT want to look at the production ‘grammar’ for 4k/8k with HDR for digital cinematography ­ TV series and Sports capture is very different. Their challenges are around network capacity and the availability to support UHD (4K/8K) on 5G and high speed broadband networks.

5: Currently there is a fragmented approach to education and skills for the creative industries. We will draw together relevant industry apprenticeships, CPD courses, degree level study and post-graduate study with input and support from all of the cluster partners. There is potential for bespoke degrees too, e.g. LSBU’s MBA in Global Leadership for the Creative Industries.

6: The lack of diversity is a major challenge across the creative and culture sectors. We will set targets and develop a diversity policy to underpin all of our work in this project. We look to encourage diversity in the uptake of our CPD courses and skills and knowledge transfer programmes too.

Opportunities this cluster offers are:

· amplification of R&D
· cross-sector working (Film/TV/Games/Performance)
· economic growth
· skills development
· training
· Bridging London and Toronto screen / performance sectors · Modelling and measuring export potential UK-Canada.
· Potential Manchester-London connection, to support HS2 investment (several institutions have indicated interest)

We will develop Hubs designed to offer small and medium sized co-working spaces for screen/performance SMEs to:

· offer incubation facilities, IPR advice and business training
· rapid prototyping
· modelling
· assisting early stages of development · testing, iteration, and release
· cross-sector understanding
· market development
· shared learning and skills development

We have begun conversations with Buckinghamshire LEP and London LEAP and also have support from Digital Greenwich and Southwark Council. We are also working with the Mayor of London’s office to align with their creative and culture strategies. The City of Toronto has similar East / West strategies and is keen to link to London to enable international collaboration R&D and incubation initiatives.
Professor Chris Speed
Programme Director, Design Informatics
University of Edinburgh
Data driven innovation (DDI) is transforming society and the economy. The Edinburgh Creative R&D Partnership identifies the significant opportunity to extend stakeholder understandings of data driven technologies toward the development of new products and services across the creative industries. Technologies including AI/Machine Learning, Natural Language Processing, Blockchain and Social Computing require human centered approaches (Human-Data Interaction) to increase adoption, boost talent, and support the co- design of solutions toward new markets.

As defined in the Edinburgh Science and Innovation Audit, Data Driven Innovation defines the growing strategic importance of data in driving economic growth and productivity. Edinburgh city region already has remarkable data­driven innovation strengths (two ‘Unicorns’, myriad SMEs, strongest research University in UK and Europe). Extending our strengths directly toward the Creative Industries will involve corralling our regional data, importing the best global datasets and delivering a step-change in skilling and entrepreneurship. Through its ability to train world-class talent at scale, establish fast-growth research-led companies and undertake collaborative projects at scale that drive data adoption, the University of Edinburgh will play a key role in enabling this transformation.

The Creative Informatics R&D partnership will build capacity across HEI and the Creative Industries in the Edinburgh region, through the development of partnerships and programmes toward the economic benefit of the sectors involved. The partnership will provide a framework in which the creative industries and data science can intermix to develop data driven experiences and business models that offer understanding and subsequent application, whilst ensuring that human and social interests remain front and centre.

Creative Informatics focuses upon benefits for the Creative Industries through the four primary Challenges:

How can Data Driven Innovation support access and engagement to new audiences?
How can Data Driven Innovation support the development of new modalities of experience?
How can Data Driven Innovation unlock hidden value in archives and data sets?
How can Data Driven Innovation reveal new economic models for the creative industries?

Calibrated to capitalise on existing R&D infrastructures, the partnership will connect a network of microbusinesses, through startups/scale ups, to large data businesses that require research to extend development and talent, with cultural partners who require support in adapting to the digital economy. With close ties to Scottish Government and UK Policy makers, underpinned by an international centre for excellence in data science, the partnership offers a rare constellation to understand, define and design new models of development for the Creative Industries.

The Research and Development partnership is drawn together through the deep research expertise of Edinburgh University’s datascience, including AI, computational linguistics and design informatics, new economic models for the creative industries, and legal frameworks for machine creativity. Edinburgh Napier University’s reputation for human­centred design and user experience research in the fields of place-based interactions, augmented environments, IoT, digital entertainment, personal technologies. The innovation hub CodeBase that has established the fastest growing tech startup community in Europe, and Creative Edinburgh, the largest network of creatives in the region that leads Scottish design.
Prof. Ji Ming
Professor, Speech, Image and Vision Systems
Queen's University, Belfast
This Unlocking Media Access (MediaHub) Creative R&D Partnership will address the challenge of access to broadcast and interactive media (film, TV, video, theatre, recorded lectures, museums, galleries, web, games) through automated subtitles and enhanced audio description (EAD) employing cutting-edge Artificial Intelligence (AI) methods such as speech recognition in noisy environments and image processing. Of particular importance will be new innovations on TransMedia mapping of media into and out of MultiModal semantic representations.

Government regulators such as Ofcom, charities such as Action on Hearing Loss (AOHL) and Royal National Institute of Blind People (RNIB) and the international broadcast and interactive media industry articulate regularly the need for more accurate, faster and less costly subtitles and enhanced audio description (EAD). There is a clear market opportunity here for the UK to become a world leader solving this yearning challenge and industry need.

This MediaHub Creative R&D Partnership relates to the Film/TV, software/IT and museums & galleries specialism sector clusters across 3 UK geographic region clusters (London, Manchester, Belfast) bringing together Arts/Humanities, Social Sciences and STEM for solving broadcast and interactive media needs and satisfying regional and national strategies identified in the ``Independent review of the creative industries'' by Sir Peter Bazalgette (September, 2017).
Northern Ireland
Professor Joe Yates
Executive Dean - Faculty of Arts, Professional and Social Studies
Liverpool John Moores University
As a creative, digital and cultural hub, Liverpool City Region is vibrant, distinctive, dynamic and pioneering. Our creative and cultural clusters have historically taken risks, challenged tradition, pushed boundaries and challenged orthodoxy. This track record has global recognition, particularly built on our world-leading heritage and cultural economy.

However, there is a clear opportunity to support a step change in growth, innovation and productivity by harnessing and clustering both sectors together and to support their joint interaction and creative and digital innovations that will drive productivity and growth with other key growth across all sectors across of the City Region’s economy.

This programme can formalise and further develop our existing clusters, to facilitate a paradigm shift in the creative ecology of the city region and make a significant impact in driving economic and social growth and increased productivity for our businesses.

This project will look to address key blockages articulated by the creative industries cluster: to support better access to the creative assets of our cultural and University sector, to inject world leading interdisciplinary R and D into the cluster to support the development of market-ready IP, support the up-skilling and empowerment of private sector entrepreneurial acumen. This will unlock greater energy and dynamism of our creative sector and facilitate increased the economic performance.

This programme would look to move the cultural and creative digital sectors from co-existence to co-creation.

The programme will provide a framework for creative exchange, which challenges and transgresses traditional disciplinary boundaries and opens up new vistas in research, innovation and product design. This addresses key sectoral and business challenges in LCR:

• A focus on developing robust models for scale up within the Creative industries and empowering the sector to harness and leverage their Intellectual assets
• The need for the cultural sector to find new approaches to develop new products, and access new income streams to lead to greater
financial sustainability
• The challenge and opportunity for both sectors to jointly provide new products, approaches, and business models that will drive
innovation across the economy.
• Accessing an appropriately skilled workforce remains a blockage for many LCR businesses. This sits alongside a broader workforce
diversity challenge and a need to support business through the professional development of the existing workforce.
• A clear need for space and support to experiment around new approaches to investment, engagement and exploitation of creative
• There is an opportunity, not fully exploited, to mobilise creative cultural assets in a more strategic manner to inform product
development and propel business growth.
• Opportunity to get ahead of the game on disruptive technologies such VR and AI
• There is a need for better connect to national and international programmes and assets. This includes playing a greater role in the development of the Northern Powerhouse, links across the M62 and exploiting programmes and expertise from Catapults and other national agencies.
• There is a need to increase exports and attract inward investment from abroad. The sector can better maximise opportunities afforded by International Business Festival, DTI and British Council.
North West
Professor Mark Goodwin
Deputy Vice Chancellor for External Engagement
University of Exeter
Our cluster proposes a focussed R&D programme between the digital technology sub-sector and the creative industries represented in the Experience Economy. These creative subsectors account for 60% of our creative industries businesses and over 76% of creative jobs (BRES, 2016).

The Experience Economy is driven by consumer demand for culture, heritage and urban spectacle. Within this market, ever increasing audience expectation is driving innovation and the adoption of new technologies in exciting, playful and imaginative ways. The Culture White Paper (2016) recognises UK cultural capital as a significant growth and export asset, as well as a key magnet for tourism and inward investment. The heritage sector alone accounts for 2% of GDP, contributing £26bn/year to the UK economy. In the South West, national and international tourism is an industry worth over £10.6bn to the UK economy, representing the largest tourism market in the UK outside of London and the South East (Visit England, 2015).

The UK Industrial Strategy Green Paper (2017) indicates that much of the UKs current and future prosperity depends on our ability to adopt, commercialise and exploit new digital technology. The Southwest CI R&D Partnership is ideally placed to provide an internationally recognised test-bed for new and innovative products, services in the Experience Economy, utilising emergent and immersive digital technologies to provide audiences, cultural consumers and experience providers with a platform from which to build the future of audience engagement, cultural consumption and heritage interaction.

The overarching challenge within our R&D Partnership is to strengthen and enhance the eco-system between the digital technology sub-sectors and the creative businesses and organisations which make up the Experience Economy. Our aim is to drive collaboration in these areas, to address specific cultural, economic and commercial barriers to co-creation between sub-sectors. This will build knowledge, expertise and world leading skills to test the boundaries of what is possible and to secure the UKs position as a leading innovator in this field. Our vision is for a step change in audience experiences which draw upon novel and innovative creative content, ideas and story-telling and combine this with new technologies, digital media and service delivery models in order to generate additional value for creative businesses and the UK economy.

Research and industry surveys carried out by our LEPs (2016) have identified numerous structural barriers to growth for Southwest Creative Industries. In order to achieve our vision we will strengthen the mechanisms that enable a greater knowledge and understanding of the skills, assets and expertise that these sub-sectors and our partner universities bring to bear in the R&D process; we will develop and test new collaboration models to overcome issues of capacity to engage in the process of enquiry, co-development of ideas, and progression to product delivery; we will strengthen the mechanisms for what Sir Peter Bazalgette (2017) describes as “creative cross-over” across a unique and disbursed urban/rural/coastal creative community; and through our programme of focussed and developmental R&D activity and investment we will initiate a step change in talent development, retention and expansion.
South West
Prof. Paul Nightingale
Professor Of Strategy (SPRU - Science Policy Research Unit, Business and Management, School of Business, Management and Economics)
University of Sussex
The Brighton Partnership’s industry­defined challenges are:

1. Exploiting disruptive technological change. The cluster has significant existing digital capabilities, and expertise in online and offline creative content. Emerging technologies (i.e. 5G, immersive, etc.,) are creating both lucrative opportunities and also potential disruptive threats as they change customer and audience tastes and expectations. The challenge is to conduct effective R&D to turn emerging technologies into highly profitable products and services that can be exploited in international markets. (Research Themes Addressed: Product and Service Innovation; Collaboration; Equality & Diversity; Skills Shortages; International Trade)

2. Capturing Value. While the local cluster is extremely effective at creating value, it has been less effective at capturing value at both the firm and cluster level. This partly reflects the clusters’ SME­based industrial structure (where local firms are in weaker positions when collaborating with larger corporate clients), but also the need to develop new IPR strategies, business models, and innovation management practices to capture more economic, social and cultural value from their creative and cultural outputs. (Research Themes Addressed: New Business Models, IP & Regulation; International Trade; Investment)

The cluster has other challenges (harnessing talent, high property prices, office space etc.) but industry regards these as the top two, as shown in presentations to BEIS, the successful Digital Catapult bid, and the Brighton Immersive Technology Lab accreditation.

Integrating the research strengths of the local universities, diverse cultural and commercial creative actors and industry in a Creative R&D Partnership will enhance firms’ ability to engage with more diverse individuals and communities, improve product and service development, and enable firms to move into new markets with superior products and services that are better aligned with their ability to strategically capture monetary and non-monetary value.

This will help local firms and enterprises scale-up nationally and internationally, increase GVA and the returns from investment in innovation, and support a virtuous circle of investment, job creation and growth. It will have important economic spill-over effects, as the B2B nature of much of this activity will help diffuse productivity-enhancing technologies more widely (e.g., AR for developers, architects, health and education).

These industry challenges directly relate to local and national strategies. They are central to the local Economic Growth Plan and the thinking behind the recent Greater Brighton City Deal that unlocked £170 million of investment to create 8,500 jobs and grow the cluster. Both challenges are central to plans for the GBCR Smart Specialisation Strategy, the Coast to Capital LEP’s thinking on enhancing productivity in the M23 corridor, and the recent recommendations of the Innovation South Science and Technology Audit.

At the national level our challenges are aligned with the devolution-City Deal agenda to use industry, local government and university partnerships so local knowledge can address local problems. It also strongly supports the Industrial Strategy’s aim to align UK research excellence in STEM and Arts (STEAM) with industry to enhance productivity and job creation.

These strategies all provide mechanisms to significantly extend the benefits of the Partnership beyond the local cluster.
South East
Professor Lorna Fox O'Mahony
Executive Dean of the Faculty of Humanities
University of Essex
The digital and creative industry is highlighted by the government as a priority for growth, and in the SELEP region creative industries employ 30,000 people and generate £2.5 billion in GVA – the largest GVA contribution of any LEP outside of London. The region is poised to deliver expansion opportunities. The Industrial Strategy Green Paper assumes that prosperity and economic benefit is spread equally and uniformly across the South East of England (SE); however it is not. There are disparities in wealth and productivity within the SE that are greater than between the SE as a whole and the North and the Midlands. The ONS data on sub-regional productivity published in January 2017 illustrates that whilst the SE and London are the only regions of England to exceed the national average measures of GVA per head, the difference between the SE and London is far greater than between the SE and the NE. Within Kent and Essex there are areas that have lower GVA per head than many comparators in the Northern Powerhouse and Midlands Engine.

The majority of creative sector businesses (96.4%) freelance or micro-business and the economic geography of our region means that these creative innovators are widely dispersed, with many working in isolation and find it difficult to access finance or find dedicated affordable workspace, resulting in fewer opportunities to access know how and limited opportunities for collaboration and scaling up. This creates a lack of awareness about local expertise, and inhibits ability to tap into skills development, R&D innovation and business support programmes. The Creative Industries Federation have identified skills shortages as the biggest issue facing the UK's creative industries in particular jobs that need a mix of creative and technical skills.

Working across the geography and with the identified clusters, this partnership will seek to develop the sector to achieve economies of scale through an easy-to-access integrated ecosystem of access to innovation; talent development and CPD; workspace and facilities; and opportunity to collaborate with other businesses or share areas of good practice and expertise. Information, trust and face-to-face interactions are key currency for many creative professionals; investment which supports this can also create spill-over benefits in terms of wider place-shaping and regeneration.

This ‘integrated ecosystem’ will enable micro­businesses and freelancers to access R&D from across the universities expertise: from humanities to the sciences and social sciences, including areas such as digital creative practices, theatre performance, practice, and production, visual arts, data visualisation, immersive technologies, virtual reality/augmented reality, projection mapping, sound technology, serious games, 3D animation and VFX, artificial intelligence. Bespoke creative enterprise support will enable skills development to take place as part of practice, utilising virtual reality/mixed reality labs and other technology driven spaces so enabling practitioners to use emerging technologies as part of creative practice and product development. Such access to skills, from peer to peer learning to bespoke CPD programmes and apprentice will also support talent development to ensure that the area builds and grows its creative community.
East of England
Professor Vanessa Toulmin
Director of City and Cultural Engagement, Sheffield City Region
University of Sheffield
It is clear from partner conversations that the future is volatile and unpredictable. Few organisations have time or capacity to think or act
into the future, yet all know from experience that the sector’s pace of change in terms of technology and markets is exponential. We will
work with the sector to create a vision that is sustainable and future-proofed, addressing the challenges faced by makers and producers. Our name for this process is ‘Future­making’.

The SCR growth plan identifies an urgent need to create more jobs, more highly skilled occupations and more businesses. With particular reference to the Creative and Digital Industries (a key sector in the growth plan) we will emphasise business growth, start up development, talent development. We will select the areas defined within NESTA criteria with potential to operate into national/international markets and sectors where SCR has a combination of expertise, facilities, assets, a business base and access to growth markets.

We will address the needs of the SCR and develop mechanisms based on existing and developing partnerships. In addition to our creative collaborations, the two universities work in partnership in advanced manufacturing, engineering and healthcare and robotics. An expansion into creative and digital would draw on significant experience and expertise. It is our intention to find a pattern of co- production that will embrace and understand the myriad of sole workers, creative practitioners and micro-industries that make up the creative industries that are a strength of the Sheffield City Region.

Our partnership has identified three challenges, both economic and methodological:

1. Scaling-up. How can organisations scale to meet the needs of the future markets? We see the need to create pipelines, and routes of connectivity. What R&D is needed to allow a small company to grow, for a local company to explore the world potential of its products? Future-making will explore how small businesses might cluster around production and what needs to be in place to scale organisations to meet the challenge of larger or more technically diverse contracts.

2. The Challenge to plan and design for the future. How can research and development help the sector plan for the future? How can we facilitate the type of making and production that will drive forward the creative economy in the region? What resources, both human and physical, will we need in place to make this vision a reality? Future-making is about making sense of the present in order to develop a vision for the future that is grounded in cutting edge research across our two Universities.

3. Defining and demonstrating the role of Universities as Placemakers in the creative industries. Future-making will locate our project within the historic, philosophical and practical traditions of the arts and humanities and through social science methodologies, collaboratively direct research to provide economic renewal and growth.. Research will be led and grown both within the HEIs and the sector so that it is co-produced, multi-engaged and directed into key culturally economic areas of growth potential and impact.
Yorkshire and Humber
Professor Martyn Evans
Professor of Design, Head of Manchester School of Art Research Centre
Manchester Metropolitan University
While the creative and digital sector in the North West has experienced strong growth in recent years, levels of GVA per employee fall behind the national average and there is considerable variation between the two subsectors, with digital performing significantly higher than the creative sector (see [3]). This variation is related to the digital industries including higher value-added subsectors than the creative industries. Both the creative and digital sectors are seen as having potential for significant growth, for example the exploration of big data and gamification is seen as a major opportunity for the North West.

The goal of Creative North West is to ensure that the creative and digital companies in the North West grow (in the short term) through the delivery of new products, services and experiences and, through enhanced skills, to ultimately (over the long) become the most innovative in the UK. This goal will be achieved by addressing the following overarching challenges:

– To enable creative and digital companies in the North West to dynamically embrace digital disruption in technology and consumer behaviour to deliver enhanced next generation products, services and experiences and to grow as a result.
– To enable creative and digital companies to deliver expertise to clients in specific industrial sectors (e.g. health technologies, digital manufacturing and advanced urban services), delivering growth for themselves and their clients.

We will be building on the existing digital and creative sector across the North West, and our consultations with the industry [4] underpinned by and insight from research [3] identify there are specific challenges shared across the various subsectors including: i) Talent recruitment and retention; ii) Skills shortages, especially around digital technology, data literacy; iii) Scale-up abilities and know- how; iv) Collaboration, co-location and place i.e. geographic growth and clusters around communities of interest.

With rapidly increasing advances in digital technologies such as 5G, AI, AR, VR, drone technology, data science, and the pervasive nature of the Internet – the digital is increasingly the driving force behind our economy and society. Therefore, we propose a programme of collaborative action research to ensure that creative and digital companies in the region embrace these advances and work together (large and small companies, micro enterprises, independent professionals, academics and researchers) in new and dynamic ways to grow this sector and in turn the industries they serve.

[3] Key research includes: Greater Manchester Combined Authority/New Economy (2016) Deep Dive: 04 Digital and Creative Industries; Cheshire East Borough Council (2015) A Review of The Creative and Digital Sector in Cheshire East; Creative Industries Council (2017) A Toolkit for Cities and Regions).

[4] We have consulted widely with sector representatives across the region including businesses (BBC, Co-Op, CISCO, Sharp Futures, Barclays, etc.), policy representatives (Local Enterprise Partnerships, and Local Authorities in Greater Manchester, Cheshire East and Lancashire), Manchester Growth Hub, Cheshire East Skills and Growth Company, etc.), and support and sector organisations (Design Manchester, Digital Lancashire, Creative Lancashire, Manchester Digital, The Weave, etc.) via an industry workshop on 09 October 2017 and numerous 1-2-1 meetings.
North West
Glenn Caplin
Strategic Director of Innovation Projects
Falmouth University
What are Multi-User Immersive Environments (M-UIE)?

M-UIEs enable people in different locations to interact within a mixed reality space. As an emerging disruptive medium, they are driving new types of shared activity e.g. multiplayer games, virtual festivals, remote medical consultations, advanced co-design and manufacturing. M-UIEs have significant application within the Creative Industries, but their major impact will be the way they creatively respond to global cross-sectoral and cross-disciplinary market opportunities. The challenges set by our industry partners respond to the potential high-value commercial opportunities presented by the use of M-UIE in the following areas:

· Interactive Events (Co-performance of music, theatre, dance and virtual festivals)
· Multi-player gaming in immersive environments
· Virtual and immersive visitor experience
· Multi-client diagnostics, remote care
· Interactive education
· Innovation in the manufacturing process
South West
Professor Richard Koeck
Chair in Architecture and the Visual Arts
University of Liverpool
Immersive (AR/MR) and Spatial Computing Technologies fundamentally change the notion of interface; with tangible/intangible objects, locations, human interactions and voice increasingly becoming the input and output mechanism for digitally mediated experiences as part of a hybrid physical-digital system (mixed reality); underpinned by participatory, interactive and networked capabilities and adding new meaning to the experience of products, services and place.

Media will increasingly adapt to specific personal, spatial and temporal contexts. This affords trans-/interdisciplinary convergences to 'spatial-experiential' ways of creation/interpretation and requires a shift in thinking around creative production (processes/products), data (management/services) and business eco-systems.

Google has just announced plans to develop the Physical Web – an “open approach to enable quick and seamless interactions with physical objects and locations”, based on and built directly into its browsers. Very soon it will be the case that “any object or place can broadcast content.”

A challenge for the UK is to lead the development of products/services/experiences, not leaving the monetisation of this field to large platform providers. The UK needs inter-/trans-disciplinary content developers, who can work across a wide range of industry sectors.

The challenge for Liverpool is to move creative industry skills/expertise/entrepreneurial activities from an online and often screen-based market into a world where digital information is fused with our physical environment, creating real-time experiences unmediated by cumbersome technology such as headsets. LCR businesses need support to take their ideas around immersive experiences and turn them into commercialisable IP; then to be exploited to marketable products and services.

Aligned challenge: The majority of the LCR workforce in this sector are micro/SMEs, with larger companies making up less than 5% of the creative workforce. We need to help these small companies grow. The US company Magic Leap, developing AR head-mounted displays (HMDs) has raised over USD 1.9 billion from investors. The AR market size is set to exceed USD 165 billion by 2024. The LCR must ask itself how it can create the next Magic Leap?

We focus on the augmented and mixed reality of place, processes and products, not VR; a fast­growing market around “blended experiences” based on mixed/immersive technologies, AI, sensors and big data, but also creative content developers/people who can connect these technologies to the human experience, behaviours and desires (experience designers).

Now is the time to engage with creative businesses so they can create the leading-edge immersive experiences that will drive the experience economy of the future. At a recent LCR Digital Summit, the Metro Mayor, Steve Rotheram, affirmed that he sees Liverpool as a driving force in the 4th Industrial Revolution and the most digitally connected place in the UK; our project supports this ambition.

LCR/LEP’s report on ‘Digital and Creative’ (2015) provides guidance about the strengths/challenges we will address, including building a sustainable/appropriately trained skills base. The LCR must have a skills offer that is credible and responsive to the specific needs of the market, and meet a “fusion” challenge welding together technical computing and creative skills to create new digital products and services (Creative Skillset2).
North West
Professor Stephen J. Russell
Chair of Textile Materials and Technology; Professorial Representative; Group Leader for Technology
School of Design, University of Leeds
The traditional linear supply chains of the fashion and textile industry limit the speed, agility and sustainability of the creative design process as well as the opportunities for designers to exploit the full creative potential of new technology for product innovation. A transformational step is required to create 21st century designer products by establishing a new designer-led, digitally-enabled design and manufacturing platform for the UK fashion industry, for:

- Globally-leading agility in the fashion design process supported by new business models.
- Creative approaches to cost-effective designer product manufacture and mass customisation.
- New sustainable circular economies that creatively harness innovative manufacturing technologies.
- Innovative simulation tools for visualisation of aesthetics for internet-enabled design and retail.
- Industrially-led apprenticeships supporting the development of 21st Century product designers.

The direct contribution of the UK fashion industry to the economy is about £28bn, up from £26bn in 2013 with a growing workforce of 880,000. The UK industry is one of the most influential fashion hubs in the world. From high street to haute couture, UK fashion is international in outlook, translating trendsetting British creativity into a dynamic global industry.

The Leeds City Region is a major creative cluster in designer fashion and product design with the third largest UK manufacturing centre by local authority area and over 60% of the nation’s textile preparation, spinning and fabric finishing infrastructure, employing 14,000 people. With a rich industrial manufacturing heritage, a substantial asset base exists in textile design and manufacture, retail and textile training, supported by a leading UK Russell-group University in design research.

Building on existing design strengths, this project will connect with textile manufacturing and digital STEM capabilities to drive creativity, product innovation and create new business models for UK industry. The core research challenges are:

1. Enabling Digitally­Connected Manufacture – led by the needs of designers and supported by technologists this will research an integrated approach to design and manufacturing centred around computer systems for enabling on-screen 3D content to be brought rapidly in to reality in the form of real designer garments and fabrics. This includes digitally-linked UK-based manufacturing technologies, including late-stage modification of surface texture and handle, driving opportunities for small volume, high speed product customisation.

2. Enabling Circularity and Design for the End­of­Life – this will explore creative exploitation of emerging technologies capable of improving the environmental sustainability of fashion within the value chain. This includes methods for removing surface pattern and colour to facilitate remanufacture, reuse and recycling of valuable textile resources as well as creative opportunities for short-life garment designs, capable of multiple recycling cycles for new circular economy opportunities.

3. Simulated Aesthetics, Virtual Catwalks and Big Data Enabled Colour Forecasting – based on new methods of fabric modelling and simulation, this will address the on-going challenge of visually representing fabric/garment haptics, dynamic drape and aesthetics on digital platforms for the benefit of designers and to advance opportunities for fashion retail. This will also explore new supply chain opportunities and marketing strategies for 21st Century designer products.
Yorkshire and Humber
Professor Richard Miller
Director of Creative Economy Research Centre
University of Hertfordshire
The key challenge is, in brief, to meet the business development needs of this sector, which has so much potential as the technology develops and applications arise in the entertainment space and also in the economy more broadly. The business development needs are, broadly speaking, access to finance and retaining intellectual property (IP), access to markets, encouraging innovation, and skills development and talent retention.

These are, of course, all linked and not so different from the needs of any other sub-sector in the creative industries. However, the particular case of immersive technologies/ XR is that technical innovation and cost reductions are happening so quickly on the one hand while on the other hand the uses of this technology in entertainment and many markets and sectors such as education, healthcare, retail and business are becoming more and more clear each year.

The non­entertainment uses of XR are increasingly being appreciated. VR has been described as “the ultimate empathy machine” and journalists from the New York Times to the Guardian have used the technology to communicate the reality of, for example, living in war- torn Syria and solitary confinement in prison. No less a person than former UN Secretary-General Ban Ki-moon has used VR and has concluded that “It has the power to make people perceive and feel one another’s reality and, in so doing, can help create empathy and compassion in a world that needs it more than ever.”

This massive potential means that these needs are particularly urgent for this sub-sector and that the opportunity costs of not meeting them may be greater than any other area of the creative economy. We intend to provide a portfolio of support and investment that will leverage the activities of other players in the sector. Activities that will be supported, in addition to project management, will include:

• Seed funding of innovative projects with market potential but without current funding sources or with funding that will require the SME giving up IP ownership
• Business development seminars and classes to introduce the sector to market opportunities in entertainment, education, healthcare
and other businesses
• Reviewing key skills and competencies that are desirable; outreach to HEIs FEs and other skills providers to communicate the skills
needs of the sector and to ensure that industry-relevant education and training is provided
• Developing new or improved knowledge partnerships between businesses, knowledge institutions and markets/end users with a view
to cooperation on developing products and services
• Creating and supporting a Community of Practice between industry and diverse sectors interacting through knowledge on the adoption
of best practices and innovative working approaches
• Based on a conceptual framework to be developed for this informed by existing resources and methodologies, encouraging research
and mapping of the sectors and creating interactive maps and networking/collaboration resources and tools.
• Facilitation and brokerage of industry collaboration, engagement with the finance sector.
• Briefing and strategy for, and group participation at, relevant industry events to achieve scale and visibility of presence and UK sector.
East of England
Professor Peter Richardson
Director of Games and Visual Effects Research Lab
University of Hertfordshire
The key challenge is, in brief, to meet the business development needs of this sector, which has so much potential as the technology develops and applications arise in the entertainment space and also in the economy more broadly. The business development needs are, broadly speaking, access to finance and retaining intellectual property (IP), access to markets, encouraging innovation, and skills development and talent retention.

These are, of course, all linked and not so different from the needs of any other sub-sector in the creative industries. However, the particular case of immersive technologies/ XR is that technical innovation and cost reductions are happening so quickly on the one hand while on the other hand the uses of this technology in entertainment and many markets and sectors such as education, healthcare, retail and business are becoming more and more clear each year.

The non­entertainment uses of XR are increasingly being appreciated. VR has been described as “the ultimate empathy machine” and journalists from the New York Times to the Guardian have used the technology to communicate the reality of, for example, living in war- torn Syria and solitary confinement in prison. No less a person than former UN Secretary-General Ban Ki-moon has used VR and has concluded that “It has the power to make people perceive and feel one another’s reality and, in so doing, can help create empathy and compassion in a world that needs it more than ever.”

This massive potential means that these needs are particularly urgent for this sub-sector and that the opportunity costs of not meeting them may be greater than any other area of the creative economy. We intend to provide a portfolio of support and investment that will leverage the activities of other players in the sector. Activities that will be supported, in addition to project management, will include:

• Seed funding of innovative projects with market potential but without current funding sources or with funding that will require the SME giving up IP ownership
• Business development seminars and classes to introduce the sector to market opportunities in entertainment, education, healthcare
and other businesses
• Reviewing key skills and competencies that are desirable; outreach to HEIs FEs and other skills providers to communicate the skills
needs of the sector and to ensure that industry-relevant education and training is provided
• Developing new or improved knowledge partnerships between businesses, knowledge institutions and markets/end users with a view
to cooperation on developing products and services
• Creating and supporting a Community of Practice between industry and diverse sectors interacting through knowledge on the adoption
of best practices and innovative working approaches
• Based on a conceptual framework to be developed for this informed by existing resources and methodologies, encouraging research
and mapping of the sectors and creating interactive maps and networking/collaboration resources and tools.
• Facilitation and brokerage of industry collaboration, engagement with the finance sector.
• Briefing and strategy for, and group participation at, relevant industry events to achieve scale and visibility of presence and UK sector.
East of England
Rachel Granger
Reader, Creative Industries Management
De Montfort University
Leicester’s Textiles, Fashion, and Design Cluster is a mature cluster, with strong textiles heritage and which today remains one of the UK’s leading textiles clusters. The cluster is shaped by the unique interconnection of textiles, fashion, design, arts, crafts, museums, media, and engineering, which makes it the only such cluster offering a complete supply chain solution, and therefore unrivalled in the national context. Whilst it is difficult to assess the overall specialisation of the cluster given the enmeshing of separate industries, it is known that Leicester’s specialisation of textiles (LQ7.44), knitting and crocheted fabrics (LQ14.9), leather clothes (LQ9.1), underwear (LQ9.3), jewellery and related crafts (LQ10.18), design (LQ1.2), and museum and arts (LQ1.41) points to a valuable cluster in combination. The cluster is embedded in a number of industries up- and down-stream of the value chain, which collectively employ in excess of 30,000 skilled professionals, including 10,000 in fashion and textiles manufacture, 1,000 employees in museum, archive, and library facilities, 3,000 employees in education, research and training organisations, 500 employees in visual and performing arts, 1,800 employees in design occupations, 1,500 employees in software and design, and 3,900 in business consultancy and support. These important areas of technical specialisation not only confer economies by offering advantages of knowledge transfer and support especially for smaller companies but also embed the cluster to the city.

There are a number of challenges facing the economic growth of the cluster to be addressed:

Leicester’s profile as a centre of excellence in textiles, fashion, and design, which is underpinned by the City’s specialisation in creative industries and manufacturing

Non­Compliance and Negative Image –wages in the cluster are 56% of the national average and the image of low wages in textiles, arts, and crafts restricts investment opportunities, undermines recruitment of young creative professionals, and restricts exports. There is further evidence of emerging skill gaps from the ageing of skilled workers, and Leicester’s low student retention, which requires succession planning.

Production Models – Leicester­based companies compete through off­shoring relationships for cost competitiveness and on­shoring for quality and speed. The growth of ‘fast fashion’ coupled with BREXIT has led to higher repatriation of companies to Leicester, which the Partnership wishes to position in the high end fashion sector using innovative technologies, growth of niche markets from the application of creative disciplines, and Leicester leading the ‘personalisation of textiles production’. The current barriers to achieving transition and growth lie in the low agility of companies.

Automation and Innovation – Investment in R&D and new equipment exists in large companies in the cluster, the wider creative industries, and HE. The prohibitive cost of new equipment for automating production coupled with the disconnect with HE research limits the higher growth potential of the cluster as well as achieve resource efficiency savings.

Cross­fertilisation of knowledge – The structural and spatial characteristics of the cluster is under­exploited. There is evidence of R&D in e.g. textiles engineering, design, creative technologies, and smart systems, which have the potential to transform business across the cluster, where knowledge could be cross-fertilised.
East Midlands
Professor Mark Banks
Director of CAMEo Research Institute for Cultural and Media Economies
University of Leicester, led by CAMEo Research Institute for Cultural and Media Economies
The proposed Partnership will contribute to a UK-wide R&D infrastructure for the creative industries. Focusing on five creative clusters in the Midlands (museums and galleries, publishing, visual arts and design, performing arts, crafts), it will embed new infrastructures and initiatives that address collaboration, skills and equality & diversity challenges in ways that turn the dispersion of creative production from a constraint into an asset for innovation, growth and inclusivity.

Our consultation with Industry Partners has identified a clear overarching challenge that constrains our target clusters’ growth, innovation and contributions: lack of visibility. Creative production – in our target clusters and elsewhere in the UK’s creative industries – happens in dynamic networks of small producers. Their flexible, project-based production and agile/lean start-up methodologies generate remarkable capacity for new ideas and products.

However, this dispersion of creative production also results in our target cluster lacking visibility within established models of data collection (e.g. DCMS, Nesta), with policy makers, key industry/sector stakeholders, potential industry entrants and their advisers. This lack of visibility results in an under-supply of our target clusters with resources, efforts and attention:

- Collaboration: Our target clusters currently lack the virtual and physical infrastructures that provide dispersed creative producers with flexible access to resources (including space, tools and financial capital), training and business support, and, crucially, are designed to (1) proactively facilitate regional connectivity, (2) encourage cross-fertilisation between creative practices, and (3) offer clear routes for integrating creative practice into R&D/production in the wider economy. Our Partnership will join up, redesign and extend existing infrastructures into new models for collaboration that facilitate the required step-change in support infrastructures.

- Skills shortages: Thriving creative clusters require a diverse, up-to-date, reliable supply of skills. While the Midlands produce substantive numbers of graduates with creative industries-relevant qualifications, they suffer from talent drain to London and the South East. Our Partnership will pilot new and up-scale existing skills initiatives that (1) fuse creative with transferable skills (e.g. digital and enterprise literacy) and (2) facilitate education-to-industry transitions in ways that prevent talent drain out of the region.

- Equality & diversity: Our creative clusters currently fail to engage and retain the diverse workforce they require to fulfil their potential to deliver growth, innovation and opportunity. Our Partnership will address this shortfall in diverse talent by (1) designing all its activities in ways that proactively grow workforce diversity, and (2) promoting the contribution diverse creative production makes to the region.

Our Partnership programme will have prominent advocacy and promotion components to increase the target clusters’ visibility as providers of opportunity for individuals, businesses and communities.

Our Partnership programme will help deliver national and regional strategies for growth, e.g. by addressing the need for creative and high value manufacturing skills (Midlands Engine Strategy) or for facilitating creative sector growth (e.g. LLEP, D2N2, BCLEP, Marches LEP strategies). It responds to recent industry research, e.g. the Crafts Council’s ‘Measuring the Craft Economy’ or Creative Leicestershire’s workforce needs survey, and to industry fora such as the recently launched Midlands HE Culture Forum.
East Midlands
Professor Mariana Mazzucato
Director of the UCL Institute for Innovation & Public Purpose
Institute for Innovation and Public Purpose, UCL
We will focus on three of the Challenge areas as outlined by AHRC:

Products and service innovation

Our proposal will use a mission-oriented innovation framework and design thinking to foster collaboration between creative industries and clusters, and between creative industries and local governments, working together to explore and better define their shared mission with regards to improving access to public services, rebuilding civic communities, and addressing digital skills and inclusion in low income communities. To illustrate this we have used the example of libraries.

In towns such as Aberystwyth, libraries such as Ceredigion County, the university and National Library of Wales play key roles socially, culturally and economically. Nesta’s Creative Clusters data also shows that the ‘Museums, galleries and libraries’ sector accounts for a notable proportion of the total business population and employment in the town (relative to UK average). Yet towns such as Aberystwyth face multiple social and economic challenges.

Libraries like those in Aberystwyth are operating in a climate of constrained resources and changing demand and expectations of their services. They are increasingly expected to act as ‘social infrastructure’, civic spaces providing goods and services beyond books, and often using digital channels. Yet with limited resources for training and hardware upgrades, libraries must find alternative ways to deliver on expectations in the 21st century.

In addition to the constraints on libraries, the UK still faces persistent challenges in terms of digital skills. In 2017, 4.8 million UK adults (9.2%) have still never used the internet (ONS (2017), Internet users in the UK: 2016) and 9% of people have no basic digital skills (Lloyds Bank UK (2017), Consumer Digital Index).
Not only does this cost the economy (independent analysts Booz and Co. estimate full digital take­up could add £63 billion value to the UK economy) and increase inequality, but it also impacts upon the ability of those in the poorest communities to digitally access the services available to them.

Social infrastructure and assets such as libraries will have an important role to play in addressing these challenges. Libraries already play a key role in providing the skills and access people require to get online. Yet there is room for improvement in terms of supporting digital inclusion to enable greater access to key services, including health and Higher and Further Education. The Library and Information Association has previously highlighted that innovation is required in the library network if it is to make an even greater contribution.

By focusing on people, ideas, business, place, and infrastructure, our practical approach complemented by research expertise will deliver against the government’s forthcoming Industrial Strategy. By leveraging the potential of institutions such as libraries, it also has the potential to deliver on the recommendations of the Leadership for Libraries Taskforce, as well as the Digital Skills and Inclusion Policy.
Prof Mary Oliver
Dean – Faculty of Media and Performance
Arts University Bournemouth
We know from our interaction with industry that their main concern is barriers to growth, including; the difficulty of operating at scale in a shifting marketplace, attracting talent particularly given the increasing skills gap caused by future technology and supporting the generation of and properly exploiting original IP.

Evidence from the World Economic Forum shows the size of creative companies is shrinking but the freelance community and the GVA of the creative economy is growing. This necessitates a shift in how creative services are bought and sold. There is a slow demise of large one-stop-shop fully integrated agency and a move towards multiple niche service providers. The problem is that the large businesses who buy these services and the small agencies who provide them, are ill-equipped to work in this way.

Both client and service provider require a revised approach to how they procure and provide creative and digital services. This partnership will research, develop, test and iterate models and frameworks that address these challenges and generate growth by enabling SMEs to operate at scale.

Another issue for the region is attracting and retaining talent. Despite continuing efforts from the universities and evidence suggestive of an increasing number of returners there is still a net graduate talent drain out of the region. This negatively affects the creation of start- ups and growth of SMEs that can positively impact the economy.

The biggest threat is the growing skills gap engendered by new technologies. We know a significant proportion of the job roles of 2025 do not yet exist. HEIs are not responding quickly enough to develop curricula to fill the gap, industry lacks the knowledge to forecast and train to meet this gap and there are too many perceived barriers to the genuine partnerships needed to meet this challenge. This project will pilot and test several innovative challenge led interactions between industry and HEIs aimed at inculcating the leadership skills to prepare for the future of the industry.

Creative SMEs in animation, film and VFX often struggle to make the transition from a service company to generating their own intellectual property. They simply don’t have enough bodies to complete the work­for­hire that pays the bills while developing original material which could lead to greater long-term reward. This project will also pilot a novel model of using the talent in HEIs to support SMEs developing their own Intellectual Property.

The activities of this project support actions in the Industrial Strategy Green Paper 2017 particularly Pillars

1) Encouraging Innovation
2) Developing Skills
4) Supporting business to start and grow
5) Improving Procurement and supply chains
8) Cultivating world-leading sectors
9) Driving growth across the whole country

It also aligns with the economic strategies and sector priorities of the Dorset, Enterprise M3 and Solent LEPs.

As NESTA’s 2015 study on Creativity v Robots report concluded “as technology progresses, creative skills will become more important, meaning that places that have specialised in creative work will most likely be the main beneficiaries of the digital age”.
South West
Kirk Woolford
Reader in Digital Media Arts
University of Surrey
C1: COLLABORATION: Nesta has identified the cluster as a number of linked creative conurbations as opposed to the traditional model of a creative city. As such, the cluster has greater-than-normal needs for networking and collaboration including:

C1a: Collaboration between industry in the region: How do we address the lower levels of networking seen in creative conurbations vs creative cities? How do we encourage studios to develop shared resources and talent pools?

C1b: Collaboration between creative industry sectors: How do we address the lower levels of inter-sector connectivity and topic diversity seen in creative conurbations. In particular, how can we bring together Arts and Design strengths in the region to diversify the region’s portfolio and create fused and superfused STEM+ Creative Arts and Design companies, as addressed by the Brighton Fuse research?

C1c: Collaboration between industry and HEIs: How do we create stronger links for skills training, research collaboration and knowledge exchange? How do we articulate and capture the value of Arts and Humanities research to local industry? How do we form bridges between industry and tech developers to ensure appropriate infrastructure is being developed, and local industry is able to access the tools and techniques being developed in the region? How can basic research in the arts and humanities open up new creative and commercial opportunities by developing the store of cultural heritage, traditions and practices that creative content draws on?

C2: TALENT POOL: Guildford has been a magnet for games development since the 1980s. However, with more creative companies in the region, and increased UK and international competition, core challenges for the cluster’s talent pool include:

C2a: Developing new local talent: How do we improve HEI offerings to ensure students are gaining skills necessary for working in the creative industries. What forms of post-degree skills development are needed to allow students to make the transition into industry. How do we ensure that a career in the games and interactive entertainment sector is an attractive option for young people?

C2b: Retaining existing talent: How do we retain games studios and staff in the face of competition from other hubs in the UK, and elsewhere in the world? How do we address the challenges posed by Brexit when EU nationals comprise up 50% of the staff in some studios?

C2c: Increasing the reputation of the region to attract new talent: Brighton Fuse research articulates the value and necessity of creative spill-over from shared social spaces and events such as festivals to the health of a creative cluster. How can the creative research and production at the universities be successfully integrated with creative production and experimentation in the region’s companies through festivals, exhibitions, and performances? How can events and exhibitions be used to attract attention from outside the UK and the region? How can they be used to raise awareness of the region’s creative strengths?

C3: BUSINESS DEVELOPMENT: The University of Surrey has a long-established history of supporting technology companies through incubators and Investment. However, Games and Immersive Media companies find it difficult to access this support. The cluster will

C3a: Address barriers to investment: Games companies can be a difficult sell to investors; as they are considered “hit-driven” businesses with no guarantees on return. How can we increase access to investment by making games companies less risky investments?

C3c: Promote access to existing incubators: The University of Surrey has long-established support networks for technology incubation, such as the Surrey Tech Incubator, SETsquared, and the Surrey 100 Club. Why are Games and Immersive Media companies not able to take advantage of these incubators and support networks?

C3b: Improve awareness of tax credits and other available incentives. Video Games Tax Relief (VGTR) started in 2014 to support the British games industry. How can we ensure local companies are aware of this and consider any regional incentives that can be offered?

C4: Equality and Diversity: Diversity in terms of gender, ethnicity, sexuality, age, and disability is exceptionally low within the games industry. The IT, Software, and Computer Services sector has the greatest gender inequality of any creative industry sector, with only 18% of the workforce identifying as female. How can we work with industry, national, and international initiatives to increase the number of women and BAME staff in the cluster?
South East
Professor Jonathan Sapsed
Professor of Innovation and Entrepreneurship
Newcastle University
Creative Fuse North East research (http://www.creativefusene.org.uk) and our cross-sector consultations in preparation for this EOI have identified the following challenges, needs and opportunities across our foci sectors:

1. Disconnection. All our foci CI clusters experience geographic disconnection and to varying degrees need their skills bases, products, services, and spatial and cost advantages to be more widely known regionally, nationally, and internationally. Meeting the challenges of disconnection would provide micro-businesses, SMEs, and freelancers with opportunities to: increase their R&D capacity through collaboration with one another and the region’s HE knowledge base; recruit talent; reach new markets; and benefit from greater access to investment. In the cases of the Museums, Galleries and Libraries cluster and of many professionals in Music, Performing and Visual Arts, as well as Crafts, improved ‘connection’ regionally, nationally, and internationally would afford opportunities to diversify audiences by improving the quality and reach of visitor experiences online and offline. The challenges and needs associated with disconnection are particularly acute for microbusinesses from our foci clusters that are scattered across the rural areas of the lightly populated North East. To embrace the opportunities afforded by improved ‘connection’, these businesses need digital and non­digital mechanism from urban and rurally based organisations (including the proposed Partnership).

2. Scale. While the North East is among the fastest­growing regions for the R&D Partnership’s foci digital IT clusters, and is strong in the other foci sectors, the scale of activity and employment remains comparatively low across the creative industries. All foci sectors need to grow to achieve the benefits of network effects that would enable reinvestment and further growth. There are significant opportunities for growth within the foci sectors through fuller collaboration within and across clusters, but also by developing collaborations with the region’s successful non­CI businesses (for example, those engaged healthcare innovation and manufacturing). There are also opportunities for the foci CI clusters to share their knowledge and skills in creative problem framing and solving in ways that benefit both the businesses themselves and those that constitute the region’s ‘long tail’ of low productivity enterprises.

3. Value. For many of our foci digital cluster SMEs, most projects are on a work-for-hire basis and enterprises rarely capture the value of their work for themselves, resulting in limited reinvestment opportunities. There is a need for support in productisation of this service model, including early and on-going IP advice and business model innovation. Our other foci sectors face specific challenges in turning the social and cultural value of their activities into financial returns that enable them to consolidate and grow.

4. R&D Capacity. Partly due to the challenges outlined above, our foci sectors tend to lack dedicated R&D capacity and resources to pursue research and early-stage product and service development. They need access to funding streams and expertise to meet this challenge. There is an opportunity for the foci clusters to work together, with the knowledge base of the region’s universities, and with wider sectors to create cohorts who share access to aggregated R&D capability and infrastructure.
North East
Professor Steve Benford
Professor of Computer Science & EPSRC Dream Fellow, Faculty of Science
The University of Nottingham
THE CONTEXT: While technologies for distributing creative content have been in place for more than a century, networked digital media are radically transforming the ways in which we produce and consume cultural products, services and experiences. Creative content is now routinely produced by dynamic, geographically distributed networks in order to be experienced by globally distributed audiences who in turn, engage in new forms of co-creation. Music has been at the vanguard of this disruption with recorded outputs, the means of production and now live performance becoming increasingly accessible online. However, other sectors such as theatre are now experimenting with the possibilities of distributed live performance while more radical possibilities such as networked immersive environments are emerging from research. There is an opportunity to create mass online cultural experiences with a global reach that bring economic opportunities and break down geographical, social, economic and cultural barriers.

THE NEED: The UK Creative Industries need to embrace the possibilities of networked live performance by engaging with the research base to learn about the capabilities and challenges of emerging networked technologies; innovate new cultural forms; understand their impacts on audiences; and appreciate how they may be translated into sustainable business models.

OUR VISION: We envisage a relational ‘cluster’ that connects geographically separate creative producers both within and between creative agglomerations, and with both local and remote audiences. We see this as a way in which creativity produced in place, within geographically anchored clusters, can be made available to audiences at-a-distance to experience in new and affective-laden ways which approach, and in some cases go beyond, the experience of ‘being there’. Given this vision, our cluster must necessarily be distributed – through a national backbone – that creates a unique distributed environment for training and innovation.

THE CHALLENGES: Delivering the vision requires us to tackle multiple challenges:

Capacity and skills – delivering a training programme to grow a critical mass of skilled practitioners who are able to wrestle with the creative possibilities but also the complexities and constraints of developing sustainable incomes through networked technologies.

Innovation – as with any new technology, today’s networked live performances tend to be facsimiles of familiar forms. Commercial success will lie in innovating entirely new possibilities and stabilizing these into recognizable products, services and experiences that can be monetized through appropriate business models.

Diversity – we must ensure that the technologies benefit the creative industries beyond the ‘superstar’ cluster of London. Rather than simply bringing shows from London to regional audiences, we need to ensure that the flow of creative products and income moves across the network, and to diversify the locus of production as well as of participation.

Global stage – we need to position UK’s creative industries to be able to deliver distributed in live performances on an international stage to global audiences.

Platform – all of this requires a powerful socio­technical platform to enable networked production, performance and participation.
East Midlands
Shreepali Patel
Director of StoryLab Research Institute
Anglia Ruskin University
East of England
Dr Keith M. Johnston
Reader in Film & Television, School of Art, Media and American Studies
University of East Anglia
Our challenges were identified in consultation with local/regional industry partners and regional/national strategies. These challenges recur across the sub-sectors of the DC industries cluster in Norfolk and Suffolk as barriers to future economic growth.


The economic potential of DC industries across Norfolk and Suffolk has been identified (NA-LEP, 2017); with Norwich highlighted as a key creative cluster in Nesta’s ‘Geographies of Creativity’ (2016) with high concentration but potential for growth. Nesta’s data also reveals that the cluster has “good” business and employment in screen media and publishing, with “potential” across Music, Performance & Visual Arts, IT Software & Computer Services, Museums, Galleries & Libraries.

This raises 3 specific challenges:

1) Creating higher growth within that Norwich cluster;
2) Extending that knowledge and expertise beyond Norwich to other areas of Norfolk and Suffolk;
3) Creating more opportunities for export-led growth. Using Norwich as a creative hub allows the development of a hub-and-spoke model that can influence and expand DC across the cluster whist growing influence beyond the region.


Expansion requires the growth of creative SMEs. Highly focused on the delivery of a product or service, SMEs have little capacity for business planning, branding, legal considerations, or product user research. Scaling up existing businesses requires investment and training in skills, advice, finance and user/audience research. The lack of private sector seed funding and venture capital in the region is a clear challenge to growth across DC businesses, particularly those with long product development chains.


Nesta, TechNation and NA-LEP reports identify a concentration of DC activity, but a challenge is to develop more sustained and supported ‘meet­up activity’ across creative sub­sectors to drive development, growth and new products/services. Enhancing cross­ sector relationships will ensure that strong sectors such as video gaming, arts festivals, literature, and cultural tourism can grow and develop in line with regional strategies. The geographical challenges of improving connectivity and community across the urban, semi- rural, and rural locations of Norfolk and Suffolk are also key.


The region has strong performance in Creative Design Education (CDE): “66% of Norwich DC business and 53% in Ipswich saw access to graduate level talent as a key potential strength for the location” (TechNation 2017). However, the NA­LEP has identified a lack of training that allows people to fuse creative and tech skills. This gap means ‘the sector businesses struggle to deploy it [CDE] fully at present.’ (NA­LEP, 2017)

Equally, while the region has a good record for retaining students from CDE programmes, industry partners see a challenge around maintaining and growing the retention of skilled individuals. The focus on ‘fused’ creative/tech means such people are highly sought­ after and harder to retain within the regional economic areas. These are distinct challenges in the region’s desire to increase “the scale, quality, and diversity of the creative workforce” (NA­LEP, ‘Culture Drives Growth’ 2016).


Creating stronger solutions and help for SMEs to brand and protect IP generated across the DC industries is essential.
East of England
Gareth Griffiths
University of Leeds
The use of Immersive Health Technologies can provide therapies, interventions, experiences, experiential learning and design potential for sufferers, clinicians, therapists, planners, designers, and creators but what is the appropriate and optimal level of immersivity needed to be effective? How can we use the behaviours and the health we feel as we interact with the environments to co-plan, co- design, co-create and build those environments? While the ability to create immersive content already exists in the marketplace the ability to co-create immersive narratives that are compelling and persuasive, participative, open-ended, distributed stories, where consumers become their protagonists from a lived experience perspective is a challenge. If we are to introduce this level of complexity into the development of immersive content we need to better understand how to create these complex narratives and what this means in terms of blending digital technology (e.g. AR/VR/AI) with new forms of imaginative media (e.g. games, interactive fiction, and immersive theatre). We call this Digital Story-Making and Digital Story-Telling.

The CRDP will research and create an immersivity framework to explore what level of immersion is effective for each individual and application and how to change it incrementally and majorly as required. We will target the built environment where interdisciplinary collaboration between sufferers, technologists, therapists, and researchers will provide evidence for how we are psychologically and physically affected by our environment and how our behaviours psychologically and physically. We will expose person(s) to a scenario or situation within the built environment which they vividly imagine or experience (i.e. Immersion or Exposure Therapy) will help them to build resilience through exploration and understanding whilst providing data that will inform our understanding of the wider Built Environment for the better. This evidence-base is needed to enable creative agencies to develop narratives that contextualise the psychological and physical effects of peoples’ lived experiences (Psychologically Informed Environments, Physically Informed Environments and in combination), captured through the use of immersive technology. This understanding of personal immersive technologies can increase therapeutic effectiveness and enable experiences and interventions to occur wherever the audience is rather than in clinical environments. This will open up the market to new products and services, not just in health but with architects and engineers in the built environment. In doing so we will better understand how to create learning and modelling from the data to advise planning design and construction.

Combining the knowledge within the HEIs and the creative and digital industry to develop solutions that address challenges that cross- over immersive technology in healthcare and immersive technology in built environment will provide new knowledge and insight into the types of products and services, and experiential solutions that the creative and digital sector can develop. This new knowledge which we refer to as Immersive Verbatim Experiences will bring together stakeholders with opposing, similar, and/or same views and practises to bring innovation from tension and action to create a library of verbatim experiences for all to use.
Yorkshire and Humber
Sukhy Johal
Founding Director Centre for Culture and Creativity
University of Lincoln
This project recognises that the creative industries in Britain thrive on diversity and the encouragement of talent. It also acknowledges an opportunity deficit for entrepreneurs and business leaders in BAME backgrounds. We will identify sector-specific obstacles to progress, and find strategies to improve development in the current emerging context.

The BAME representation in the creative industries is higher than the UK employment average in other industries, reflecting 11.4% of those working in the sector (Bazalgette 2017), and 17% of those employed by National Portfolio Organisations (ACE 2015-16). Encouragingly, growth of employment in the sector from the BAME community has outstripped growth in the white community by 34.3% compared with 14% for the period 2011 to 2014 (CIF 2015).

However, this masks considerable variation across sub sectors within the Creative Industries, with BAME representation in IT, Software and Gaming reflecting 16.7% of the workforce compared to only 5.9% in architecture (NESTA 2015). The picture becomes more concerning when exploring representation from women, LGBTQ+, and lower socio-economic groups. Over 91.9% of Creative Industry jobs are occupied by more socio-economically advantaged groups with access and social mobility still remaining a challenge (CIF 2015). With the anticipated growth in jobs across the Creative Industry sector targeted at an additional 1 million by 2030 this requires action.

The Partnership is formed of HEI and Industry partners that span the Midlands from the rural and coastal areas of Lincolnshire across the industrial heart of the Midlands Engine to the rural Marches in the West. The partnership reaches five of the top twenty local authority districts with the highest proportion of their neighbourhoods in the most deprived 10% nationally (Birmingham; Sandwell; Wolverhampton; Nottingham; Walsall. Indices of Deprivation 2015). Other underrepresented groups include migrant populations and refugees in Lincolnshire and Herefordshire.

Broader challenges are acknowledged across organisations and policy areas, including this AHRC initiative, the Bazelgette Review, ACE’s Case for Diversity, the Creative Industry Federation, and the DCMS. Despite being recognised as facing additional challenges, BAME industries continue to be serviced by fringe providers who fail to consider the complex nature or scale of challenges (infrastructural lack of cultural awareness, glass ceiling mobility issues, institutionalised racism). Further challenges around existing programmes of support include a lack of awareness around 1) the stratification of the BAME business community, 2) the specific issues faced by BAME SMEs, and 3) insufficient knowledge about BAME markets and consumers.

Uniquely, our proposed R&D programme will generate breakthrough interventions designed specifically for BAME industries. It benefits from distinctive input in two key areas:

• a track record of developing business support programmes for BAME­led creative industries, which has enabled us to test and refine tools and techniques that lead to tangible growth. (Real Creative Futures, working with 140 SMEs within one urban centre; Heathtown Sewing Centre);
• bespoke programmes will be co­designed in discussion with BAME­led enterprises, mentors and organisations operating within the landscape and structures defined by the issues noted.
East Midlands
Professor Helen Bailey
Executive Dean of Academic Partnerships
University of Bedfordshire
This project will address the following challenge:

How do we ensure that Luton becomes a global hub for the creative industries, with world-class talent and products being developed locally for a global market? How can the University of Bedfordshire work with local, regional and national partners to ensure that the Luton creative cluster is nurturing the talents of local people to develop the skills, expertise and creativity needed to compete in a global industry?

The University has a local/global outlook and is well-placed to address this challenge:

- It is committed to playing a significant role within the civic life of the communities that it serves, it contributes £300million to the local economy annually and has invested £180 million in campus development in the past four years including the development of a new arts building within the cultural quarter of Luton.
­- As part of the University’s commitment to internationalization, it has established a number of international partnerships for collaboration in teaching, research and exchange. Our 20+ partners are located in developing countries such as Myanmar, Sri Lanka and Nepal and in countries with developed economies such as Oman, Singapore and Hong Kong.

By leveraging our international partners with our extensive local networks, we will work to address the challenge of developing a creative workforce that can compete in an international market.

In order to ensure that the economic impact of the development of the Luton creative cluster is felt locally as well as globally, we must ensure that skills­development is accessible to all members of our communities. Luton is classified as a ‘super­diverse’ or ‘plural’ town where no ethnic group is in the majority and as such, perfectly places this cluster at the centre of the challenge to ensure that the creative workforce is reflective of the UK population. In 2015 DCMS published ‘Creative Industries: Focus on Employment’ which identified that of all jobs in the creative economy in 2014, 11% were filled by BAME workers (a similar level to the total UK economy) and 92% of jobs within the creative economy were undertaken by people in more advantaged socio-economic groups compared to 66% of jobs in the wider economy. Also, the creative economy employs a lower proportion of women than the wider UK economy: 36% compared to 47% in the UK as a whole.

The University will work with the Luton Investment Framework, SEMLEP’s Strategic Development Plan, Luton Culture’s Hat District plan and Arts Council England’s Creative Case for Diversity to shape challenge parameters.

In summary, the challenge that the University of Bedfordshire will seek to address is how to ensure that the Luton creative cluster is developing both workers with global skills and products with global impact, whilst at the same time ensuring that our local community is supported to access the creative industries workforce. Thus resulting in a workforce that is reflective of the UK population and is primed to capiltise on the opportunities that that the fastest growing economy in the UK brings.
East of England
Nathaniel Dafydd Beard

Coventry University London
The fashion industry is a large and important sector for the creative economy: recent updated figures from the British Fashion Council, have confirmed that the direct value of the British fashion industry to the UK economy is £28 billion; up from £21 billion in 2011. The UK fashion industry is estimated to support more than 800,000 jobs and fashion’s total contribution Fashion’s total contribution to GDP is in excess of £50 billion – equivalent to 2.7% of UK GDP. London designers are renowned for their creativity, Yet despite these figures particularly independent, young and emerging brands, businesses and designers in this sector of the creative economy face many challenges and barriers to scaling up – including a lack of finance to support growth, limited access to skills, copying of their designs; and businesses in this cluster of the UK creative economy are said to be working with economically fragile business models.

Coventry University London, are based in East London, a strong base for the UK fashion community. There is an opportunity here to improving access to support for scale-ups and entrepreneurs to help improve management and leadership skills to boost productivity.

We are proposing to drive business growth and productivity and the creation of product value through addressing:

• Development and Integration of Diversity
• Cultural and Social Dynamics
• Design Challenges in Incorporating Diversity
• Enhancing Clusters and Communities of Fashion Industry Practice
• Co-ordinating Business Challenges Related to IP

There is an opportunity here to use IP to create more sustainable business models and increase product innovation. Helping businesses develop innovation based new business models in the area of fashion technology and sustainability for the commercialisation of new products for the market. With the view of strategically exploiting IP assets through leveraging IP from licensing for the creation of value and the sustainability of fashion business based in UK and the London cluster locally and globally.

This work also aims to feed into larger government strategies for the creative industries that aim to support business to grow, such as the Governments industrial strategy green paper and the DMCS larger creative and cultural policy goals for wealth generation across the creative industries.

This aims to be achieved working co-operatively across educational and research institutions in parallel to fashion and creative community organisations including the Fashion Research Network, Fashion Business and Law, British Fashion Council and the British Council, as well as other potential partners including the Design Museum, this project seeks to address the above issues through a series of associated events, publications and policy documents to engender debate and to formulate a new blue-print for enhancing the future dynamics of the community of practice of the London/UK fashion industry.
West Midlands
Lynzi Leroy
Director at Design Exchange (Scotland) CIC
What is the issue to be solved?

Some people experience barriers to participation in what is regarded as normal every-day life. Many people for many reasons are living isolated from services and experiences that make for a healthy happy life...well-being.

The education sector being able to provide tech savy kids with new ways of emmersive learning.
Training and development for young people and adults with support needs, to help them enter the work-place, with good skills.

What is the challenge to be achieved?
Creating availability of access to technology, support and expertise.
Maintaining a space where independent businesses/health care organisations/charities and individuals can come together to work on projects in 360 & VR.
Our objective is to 360 & VR technology to provide training and support for groups within the health and education sectors.
Develop programmes in VR to provide assistance to vulnerable social groups, to help them, for example to relax or even integrate easier into the work­place, or at least achieve a sense of “going to work”.
Provide good quality 360 & VR products in specialist subjects such as science, geography, history and languages that can be used as an additional learning tool to support the school curriculum.

What are the challenges in this particular issue?

The financial challenges to keep up to date with software, Hardware, Training/Expertise and additional programmers.
We believe we are able to get match funding from Scottish Enterprise and private investors as well as possibly from a number of societies, charities, trusts and individuals with an interest in positive outcomes for the demographic.

Getting services to recognise the value of the technology and adopt it will be a challenge. It may well take S.U.'s, Families and Key workers to push for participation in the Hub, and before services/organisations sit up and take note of the opportunities provided by the Hub. As well as promoting the hub, an outreach service will provide access, perhaps to those who need the positive benefit of this project the most.
It may be that the hub has to put on skills development training to start people off with the technology.
an outreach service is a vital part of he hub, also for awareness raising, idea adoption. Satellite development may work, with people / services borrowing equipment from the hub.

Funds for transport and support staff of service users is perhaps the biggest challenge. To start with this could look like 1 ring fenced day per week of E-VR Arcade and Incubator, so people within the demographic can make the most of training, seminars etc, the tech,
space and people resources available.
Professor Alan Penn
Professor in Architectural and Urban Computing
University College London
We propose a Creative R&D Partnership to provide new creative processes, interdisciplinary knowledge and research collaborations enabling creative businesses to enhance their competitive edge and drive future commercial value.

This Partnership will address challenges in the creative sectors in: developing new products and services; collaboration; new business models, equality and diversity; and skills shortages.

Bazalgette argues that the creative industries need to leverage existing assets; boost long term strategic R&D between businesses and HEIs; develop, commercialise and protect the UK’s creative assets; and drive up employment, creating new categories of jobs (Independent Review of the Creative Industries, 2017).

The use of modes of artistic practice as innovation tools and techniques across multi-disciplinary R&D teams is well-documented and produces clear additional value. The breadth of expertise in the performing arts geared towards performance, research and innovation within the London Cluster offers a significant impact on wealth creation through its application to the creative development of products and services in conjunction with other disciplines. In line with Arts Council strategy our Creative R&D Partnership will enable arts organisations and museums to increase their share of income from a wider range of contributed or earned income sources and better adapt to their external environment (Great Art and Culture for Everyone, Arts Council 2013, p.51)

We will enable HEIs, industry and policymakers to come together to boost strategic R&D by improved collaboration between large and small companies, within creative clusters and across supply chains. UCL has been at the forefront of evolving productive collaboration with the creative industries in digital media training and Immersive Platform development, where the BBC and Computer Science shared the London Media Technology Campus and in assistive tech and inclusive design at the Global Disability Innovation Hub. We will extend this kind of deep integration of industry and academia to creatives in the performing arts in order to impact on product development and service delivery (not just wealth creation) in all kinds of sectors – health and social care, museums and heritage sites, architecture and the design of public spaces, product design, and new media, for instance.

The projects will develop certified IP (including creative methodologies and other products), generating value and enabling greater access to global markets. This will drive up employment in particular by creating new categories of jobs and new sources of income.

As a mirror to applying performing arts methodologies as innovation and research tools we will explore how the tools and methods of academic disciplines including analysis tools and creative iterative prototyping used in areas such as architecture, computer science, engineering and anthropology can be applied to the performing arts to develop innovative ways of working.

The partnership complements the Government’s strategy of developing a more innovative economy and better commercialising our world leading creative industries base, building upon London’s competitive advantage in the creative industries by challenging and expanding existing business models and driving growth by increasing skill levels and backing local innovation strengths. (Building our Industrial Strategy, 2017).