Digital Platforms for Craft in the UK and China
Lead Research Organisation:
Queen Mary University of London
Department Name: Sch of Electronic Eng & Computer Science
Abstract
The Creative Economies are key growth drivers and economic sectors for both the UK and China. Digital platforms such as social networks, search engines, online marketplaces, and content distribution help to generate new products and services both online and offline. For those concerned with physical objects especially in the craft and visual arts sectors, digital platforms provide opportunities through the 4th industrial revolution where there is a blurring between physical and digital production. For example, digital platforms provide opportunities for innovation through using new materials and production techniques, they facilitate greater and closer access to markets and customers, and provide opportunities to include customers more in the design process. Digital platforms are therefore key to enabling growth in the Creative Economies in the UK and China. This is despite the fact that the UK and China have unique cultural heritages and traditions, different economic, social, and political profiles, and divergent digital infrastructure and regulations.
Digital platforms are inevitably implemented, used, and leveraged differently the UK and China. Firstly, there are deep rooted differences in culture and heritage between the UK and China which would affect conventions and methods of production and consumption in Creative Economies which would make different use of digital platforms to support them. Secondly, there are significant differences between countries' internet infrastructure and policies of use. For example, social media such as Twitter and Facebook are ubiquitous in the UK in contrast to Chinese social media platforms such as QQ and WeChat. Similarly, popular craft marketplaces such as those on taobao in China contrast with craft marketplaces such as NotOnTheHighStreet and etsy.com which are prevalent the UK. Thirdly, there are differences in different cultures' use of digital platforms such as social media which may be reflected in the use of digital platforms in the Creative Economy. Finally, there are differences in digital inclusion between urban and rural areas which are different in the UK and China and which would have an impact of the possible uses and uptake of digital platforms.
Whilst digital platforms are used across Creative Economy sectors there has to date been a concentration of research interest in those sectors which produce or consume digital content. For example, games, music, and media production sectors, which have included comparisons between the UK and Chinese sectors. However, the use of digital platforms in cultural domains which involve physical object production, consumption, and archival are not well researched despite the importance of craft as a driver of innovation in the Creative Economy and wider industries. The project will directly address this lack of research in the use and potential of digital platforms for craft sectors in the UK and China.
Digital platforms are inevitably implemented, used, and leveraged differently the UK and China. Firstly, there are deep rooted differences in culture and heritage between the UK and China which would affect conventions and methods of production and consumption in Creative Economies which would make different use of digital platforms to support them. Secondly, there are significant differences between countries' internet infrastructure and policies of use. For example, social media such as Twitter and Facebook are ubiquitous in the UK in contrast to Chinese social media platforms such as QQ and WeChat. Similarly, popular craft marketplaces such as those on taobao in China contrast with craft marketplaces such as NotOnTheHighStreet and etsy.com which are prevalent the UK. Thirdly, there are differences in different cultures' use of digital platforms such as social media which may be reflected in the use of digital platforms in the Creative Economy. Finally, there are differences in digital inclusion between urban and rural areas which are different in the UK and China and which would have an impact of the possible uses and uptake of digital platforms.
Whilst digital platforms are used across Creative Economy sectors there has to date been a concentration of research interest in those sectors which produce or consume digital content. For example, games, music, and media production sectors, which have included comparisons between the UK and Chinese sectors. However, the use of digital platforms in cultural domains which involve physical object production, consumption, and archival are not well researched despite the importance of craft as a driver of innovation in the Creative Economy and wider industries. The project will directly address this lack of research in the use and potential of digital platforms for craft sectors in the UK and China.
Planned Impact
Creative Economy represents 3.97% of economy (2015; [China Govt, 2016]), compared to 8.2% of UK's economy (2014; [UK Govt, 2016]) and 8.7% of the UK's exports of services (2013; [UK Govt, 2016]). This project will directly feed into the growth of these sectors by providing routes to better utilize digital platforms in the Creative Economies in China and the UK for creatives who are concerned with physical objects especially in the craft sector which has to date been largely ignored in terms of digital platform usage. It will provide case studies of how digital platforms can be used in the craft sector of Creative Economies, and what possible future uses of digital platforms might be.
The project will directly benefit people working in the craft sector through dissemination of best practice in how to use digital platforms in the craft sector to help them grow and sustain their craft businesses. This will directly help support growth of the Creative Economy in China and also the UK through targeted and localised case studies of uses of digital platforms. The web resources of case studies and digital platform guides will be supported in China for at least 3 years after the project is completed.
For policy-makers the project provides case studies of uses of digital platforms in Creative Economies which would help to inform development of government initiatives at local, regional, and national levels. Public sector agencies and bodies also benefit from the case studies and best practice which would them to shape their policies and also to directly shape future networks and communities of Creative Economies, especially in the craft sector. Professional and practitioner groups also benefit from inclusion in the project through stakeholder workshops thus expanding their national and international networks. They additionally benefit by being able to expose their members to the usage of digital platforms and informing future digital platform development which would directly benefit their members.
[UK Govt, 2016] UK Government report: "Creative Industries Economic Estimates - January 2016 - Key findings", Published 26 January 2016.
[China Govt, 2016] China Government report: "National Statistics Report 2015" - published 10 August 2016.
The project will directly benefit people working in the craft sector through dissemination of best practice in how to use digital platforms in the craft sector to help them grow and sustain their craft businesses. This will directly help support growth of the Creative Economy in China and also the UK through targeted and localised case studies of uses of digital platforms. The web resources of case studies and digital platform guides will be supported in China for at least 3 years after the project is completed.
For policy-makers the project provides case studies of uses of digital platforms in Creative Economies which would help to inform development of government initiatives at local, regional, and national levels. Public sector agencies and bodies also benefit from the case studies and best practice which would them to shape their policies and also to directly shape future networks and communities of Creative Economies, especially in the craft sector. Professional and practitioner groups also benefit from inclusion in the project through stakeholder workshops thus expanding their national and international networks. They additionally benefit by being able to expose their members to the usage of digital platforms and informing future digital platform development which would directly benefit their members.
[UK Govt, 2016] UK Government report: "Creative Industries Economic Estimates - January 2016 - Key findings", Published 26 January 2016.
[China Govt, 2016] China Government report: "National Statistics Report 2015" - published 10 August 2016.
Publications
Bryan-Kinns N
(2020)
Digital Platforms for Craft in the UK and China Final Project Report
??? (D. Zhang)
(2021)
????????????????????? (Digital platforms for craft: A case study of UK and Chinese Intangible Cultural Heritage in the digital era)
in ????????? (China Intangible Cultural Heritage)
| Description | The research was undertaken by a multi-disciplinary team of academic researchers from Queen Mary University of London (UK) and Hunan University (China). Craft stakeholders involved in our project included: Tatty Devine (UK), Hand & Lock (UK), Bridget Bailey (UK), Maria Sigma (UK), Elizabeth Renton (UK), Jeremy Nichols (UK), Xiang Embroidery (???????, China), Tongguan Kiln Ceramics (???, China), Yiyang Xiaoyu Bamboo art (?????, China), Hunan Arts and Crafts Vocational College (??????????, China), Blue Wood: woodworking experience studio (?????, China), Daxi Leather Studio (???????, China), Zou Liulan: a blue dye artist (???, China), Tatala Huayao Cultural and Creative Studio (??????????, China). Extensive mixed methods research including interviews, workshops, researcher immersions, focus groups, were undertaken with craft stakeholders in this project to explore the use of digital platforms for craft. We found that digital platforms are used throughout the craft process from inspiration to production, promotion, sales, and even materials and packaging. Digital platforms here refer to all kinds of digital technologies used in craft activities from online marketplaces and social media through to digital production tools, and makerspaces. In this project we found differences between how Digital Platforms are used for Craft in the UK and China. In the UK, photos and videos posted on Instagram and Facebook are often used by craftmakers to share and promote their craft. In China, many craftmakers use live streaming platforms to share their craft stories and practices, teach craft skills, and present their final work in real-time. Also, crowdfunding to pre-fund craft projects is more prevalent in China than the UK and helps to reduce financial risk to makers. The UK has many craft hubs and maker spaces which are equipped with digital equipment such as 3D printers and laser cutters, more importantly, those hubs and spaces are generally available for makers to access. In China, those facilities are either in private studios or universities, which are not easy for most makers to access. Craftmakers are concerned about the impact of digital platforms on protecting their intellectual property (IP) in both the UK and China. Individual craftmakers rely on their personal brand and established client base to mitigate against the risk of IP being copied, and larger craft organisations often hire specialist lawyers to protect IP. Craftmakers in China are especially concerned about the lack of IP protection when promoting and selling their crafts through online marketplaces despite many marketplaces offering IP protection. Unsurprisingly, government policies that support craft are different in the UK and China. In China, the government carried out a series of policies to protect cultural heritage including craft and strategically support craft education through digital platforms. In the UK, craft organisations are more likely to play a role in promoting craft innovation practices and supporting grass-root initiatives such as maker spaces, craft hubs, and networking. We developed a set of recommendations for the use of digital platforms for the benefit of craft. Digital platforms have inevitably reshaped the craft sector in both countries. On the one hand, digital technologies provide more possibilities for craft making. For instance, mould making can be undertaken much quicker by 3D printing than by hand. On the other hand, many makers may have to sacrifice their precious making time to learn digital skills such as using design software and managing social media accounts. Key challenges to using digital platforms for craft along with recommendations to address these challenges were identified with craft stakeholders in this project as outlined below. Recommendation: Digital Skills Increased provision of digital skills training and awareness is needed to help craftmakers make the best use of social media, production tools, and online marketplaces for their craft. Supporting outsourcing of digital aspects such as social media management would help to reduce the additional time burden of using digital platforms. Recommendation: Access Greater access to high-speed internet especially in the UK and high-quality digital production tools especially in China should be made available through government infrastructure and maker spaces. Community-based, not-for-profit, and guild based online marketplaces should be encouraged in order to increase access to markets. These could also offer routes to crowd-funding, which would help to reduce financial risk. Recommendation: Engagement Embracing live streaming may provide a route for craftmakers in the UK to connect with wider audiences for craft and build networks of trust. Diversifying activities at craft exhibitions in China may help to increase customer engagement, for example through hands-on training with craftmakers as is often offered at UK exhibitions. Recommendation: The Physicality of Craft Craft produces physical objects which are impossible to touch online. Augmented Reality might offer ways to convey the physicality of craft objects when they can't be touched. Recommendation: Intellectual Property (IP) A craftmaker's intellectual property is arguably one of their greatest assets. Greater awareness of IP protection of craft needs to be provided by online marketplaces and governments. This would help encourage the use of digital platforms to promote and sell craft. Recommendation: LifEtsyle Many craftmakers have a personal preference for the non-digital nature of craft. For example, working with their hands. A balance is needed between making and the necessary digital aspects such as advertising on social media and selling on online marketplaces. Similarly, whilst many craft consumers have a personal preference for traditional styles, craftmakers may gain new customers by exploring crafts for people born in the digital age. |
| Exploitation Route | Craft practitioners can use our findings to develop more financially sustainable use of digital platforms for craft. Policy makers can use findings of our project to inform initiatives to support craft. Academics can use our findings to understand the current landscape of craft and digital technologies in the UK and China. |
| Sectors | Creative Economy,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections |
| URL | http://craftplatforms.org |
| Description | We have presented our findings at a number of non-academic venues to broaden the impact of our work during the project including workshops in London (UK) and Changsha (China). The workshops involved stakeholders from the craft sector of the UK and China includes makers, gallery owners and curators, craft associations etc. |
| First Year Of Impact | 2019 |
| Sector | Creative Economy,Culture, Heritage, Museums and Collections |
| Impact Types | Cultural,Societal |
| Description | Crafts Council |
| Organisation | Crafts Council |
| Country | United Kingdom |
| Sector | Charity/Non Profit |
| PI Contribution | Keep in touch with Crafts Council to enquiry advice such as recruiting participants and promoting projects and gather the latest government policy about craft. |
| Collaborator Contribution | Provide advice about recruiting participants and help promote the project's events. |
| Impact | 1. Data about the current uses, challenges and opportunities of the digital platform for craft in the UK. 2. Promotion of the project 3. Advice about access makers |
| Start Year | 2019 |
| Description | Cross cultural collaboration- Hunan University (China) |
| Organisation | Hunan University |
| Country | China |
| Sector | Academic/University |
| PI Contribution | Prof. Nick Bryan-Kinns (PI: Queen Mary University of London, UK; QMUL), Prof. Hao Tan (PI: Hunan University, China; HNU), and Dr. Zhengyu Tan (CoI: Hunan University, China; HNU) have worked extensively and lead the coordination together. |
| Collaborator Contribution | As the project's primary partner, Hunan University's research team is responsible for collecting all the data in China, host the UK-China workshops and build the project's website. |
| Impact | i) Research data including survey, interviews, researchers' immersion and workshops. ii) website |
| Start Year | 2019 |
| Description | Host workshop- Cockpit Arts |
| Organisation | Cockpit Arts |
| Country | United Kingdom |
| Sector | Charity/Non Profit |
| PI Contribution | Provided makers of Cockpit Arts a chance to find out about how digital technologies are used and can create value in the craft sector, and how they might be used in the future. |
| Collaborator Contribution | hosted and promoted the workshop- When Craft meets with Digital platforms. |
| Impact | A workshop event and recruitment of participants |
| Start Year | 2019 |
| Description | Data analysis workshop |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Schools |
| Results and Impact | A three-day synthesis workshop was held in China to bring the two data sets and research teams including researchers and postgraduate students from HNU physically together for intensive analysis and synthesis of the data. We have used the findings developed in project workpackages WP1, WP2, WP3, and WP4 (which itself compared findings of WP1, WP2, WP3) to generate insights and shared understandings between China and the UK on the uses, challenges, trends, and potential of digital platforms for crafts sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Digital Platforms Design Research for Craft in the UK and China |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | About 60 participants including craft makers, policymakers, professors, researchers and students, attended this Digital Platform for Craft conference. The conference contains presentations and a workshop, which sparked lots of discussion regarding the current uses, challenges and opportunities of the digital platform for craft in China. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Invited Keynote, "Sonic Interaction Design for the Post-Screen World", in the New Challenge New Strategy exchange event, Tsinghua University, China. |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Invited Keynote, "Sonic Interaction Design for the Post-Screen World", in the New Challenge New Strategy exchange event, Tsinghua University, China. Video streamed globally. |
| Year(s) Of Engagement Activity | 2020 |
| URL | https://mp.weixin.qq.com/s/eWgEpDds20FkeN13DFr5sQ |
| Description | Invited Talk on "Digital Reimagining" at Tongji University (China) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Invited online talk at Tongji University, China as part of their regular series of talk. Live streamed globally. |
| Year(s) Of Engagement Activity | 2020 |
| Description | Invited podcast "Interactive Design for Media and Arts Technologies", Arete, Ateneo de Manila University, Philippines. |
| Form Of Engagement Activity | A broadcast e.g. TV/radio/film/podcast (other than news/press) |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Invited podcast "Interactive Design for Media and Arts Technologies", Arete, Ateneo de Manila University, Philippines. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Invited talk "Sonic Interaction Design Explorations", Digital Culture Innovation forum, Hunan University, China. |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Invited talk "Sonic Interaction Design Explorations", Digital Culture Innovation forum, Hunan University, China. Live video streamed globally |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://mp.weixin.qq.com/s/el_-569ysphjxNixMo_CwQ |
| Description | Invited talk "Sonic Interaction Design", Huazhong University of Science and Technology, China |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Postgraduate students |
| Results and Impact | Invited talk "Sonic Interaction Design", Huazhong University of Science and Technology, China. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Invited talk, "Sonic Interaction Design for the Post-Screen World", Georgia Tech, USA |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | Invited talk, "Sonic Interaction Design for the Post-Screen World", Georgia Tech, USA Video streamed globally. |
| Year(s) Of Engagement Activity | 2020 |
| Description | London Craft Week 2019 |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Researchers went to the London Craft Week to promote our project and recruit potential participants for our project |
| Year(s) Of Engagement Activity | 2019 |
| Description | MADE London Marylebone 2019 |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Researchers went to see the exhibition and met with craft makers to collect data and promote our project. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Project website |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Website describing the findings of the project including case studies of contemporary craft makers. |
| Year(s) Of Engagement Activity | 2020 |
| URL | http://craftplatforms.org |
| Description | QMUL host British Council study visit (international delegation) |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Policymakers/politicians |
| Results and Impact | The British Council hosted a delegation of government ministers and policymakers from Egypt and Indonesia (about 16people) to visit Queen Mary University of London. QMUL network, our project's partner, invited us to present our project to the visitors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Researcher immersion- Visiting Textile artist Bridget Bailey(UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Local |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's researcher has visited a textile artist (Bridget Bailey) to create an in-depth case study of the use of digital platforms in craft sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Researcher immersion-Visiting Maria Sigma (Woven textiles in the UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's researcher has visited Maria Sigma's studio and interviewed two makers in woven textiles to create an in-depth case study of the use of digital platforms in craft sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Researcher immersion-visiting Hand & Lock embroidery (UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's researcher has visited Hand & Lock , an embroidery studio with 250 years history, to create an in-depth case study of the use of digital platforms in craft sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Researcher immersion-visiting Tatty Devine(UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's researcher has visited Tatty Devine, who is a handmade digital jewellery company of twenty years, to create an in-depth case study of the use of digital platforms in craft sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Researcher immersion-visiting ceramicist Elizabeth Renton(UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's researcher has visited a ceramicist Elizabeth Renton to create an in-depth case study of the use of digital platforms in craft sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Researcher immersion-visiting teapot maker Jeremy Nichols(UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's researcher has visited Jeremy Nichols in ceramics to create an in-depth case study of the use of digital platforms in craft sectors. |
| Year(s) Of Engagement Activity | 2019 |
| Description | UK-China Creative Industries Showcase Reception |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Policymakers/politicians |
| Results and Impact | About 80 people including AHRC delegation and Chinese partners, the Innovate UK Audience of the Future delegation, a delegation from Universities UK International, Shanghai-based businesses and institutions working in the creative industries, Chinese domestic media to attend this reception. It aims to get people in similar sectors to meet and discuss one another's work, with a view to building stronger platforms for future collaboration. |
| Year(s) Of Engagement Activity | 2019 |
| URL | https://ahrc.ukri.org/newsevents/news/uk-china-creative-industries-workshop-and-showcase-reception/ |
| Description | Visit Farnham(UK) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Professional Practitioners |
| Results and Impact | Researchers visited Farnham Maltings and University for the Creative Arts to know professional practitioners' experience and understanding about digital platforms for craft. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Visit Tongguan Kiln Ceramics (China) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Researcher groups visited Tongguan Kiln Ceramics to identify the uses, challenges and opportunities of digital platforms for craft in rural China. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Visit Xiang embroidery (China) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | About 10 people including PIs, researchers, and postgraduates visited Xiang Embroidery company, which inspired lots of discussion regarding the current uses, challenges and opportunities of the digital platform for craft in China. |
| Year(s) Of Engagement Activity | 2019 |
| Description | Visit Yiyang Xiaoyu Bamboo art (China) |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Researchers visited Yiyang Xiaoyu Bamboo art to gather information about the uses, challenges and opportunities of digital platforms for craft in rural China. |
| Year(s) Of Engagement Activity | 2019 |
| Description | When Craft meets with Digital platforms |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Project's team members, QMUL networks and postgraduates from QMUL have worked together to prepare and run the workshop. We have invited professional makers and researchers to share their craft work, have a group discussion about uses of digital platforms, brainstorming new uses of digital technologies in Cockpit Arts. |
| Year(s) Of Engagement Activity | 2019 |