CROSS-SECTORIAL SPILLOVERS: OPPORTUNITY SPACES BETWEEN THE AUDIOVISUAL INDUSTRY AND HEALTHCARE SECTORS
Digitisation has brought changes which have the potential to stimulate economic growth and the creation of new high-skilled jobs in the au¬diovisual sector. The audiovisual (AV) industry in the Baltic Sea Region consists mainly of small and medium sized enterprises (SMEs) with limited capacities for innovation using their own resources. First Motion looks at the topic from different aspects and combines them into a unified approach thereby fostering innovation. The thematic scope encompasses support and exploration of modern communication tech¬nologies and the innovative use of emerging crossmedia possibilities.
Filmby Aarhus (FA) is running a business park for AV businesses (its mission is to develop the AV sec¬tor in the West Danish Region) and also serving as secretariat for The West Danish Film Fund. FA´s interest in First Motion is to gather new knowl¬edge on cross-media production and distribution and make this available and operational to a larger circle of entrepreneurs and SMEs in an agency concept which can serve as a model for other regional growth incentive schemes around Europe. The new knowledge and best practices shall be related to the needs and mechanisms relevant to economical and cultural develop¬ment in the regions. FA is a co-managing partner for WP4 and WP5.
FIRST MOTION is www.filmbyaarhus.dk • An EU project for the Baltic Sea Region • Funding new formats and ideas • Developing a distribution platform • Researching new markets and valuechains • Developing training and education courses up to Masters level • Improving clusters and policy guidelines www.firstmotion.eu
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The Alexandra Institute (AI) is an “Approved Technological Service Institute” building bridges between research, the business community, public institutions and citizens. AI develops IT based products and services that create social value and contribute to financial growth by means of research-based innovation. As part of First Motion AI contributes different competencies, such as business understanding, that focus on knowledge about innovation management, commercial modelling and effect measurement and which can embed technological innovation and provide the optimal framework for a suc¬cessful innovation process. AI also supports the creative and artistic processes that use and examine the potential that lies in digital art and digital experiences when it comes to qualitative content and busi¬ness opportunities. www.alexandra.dk
INTRODUCTION Digitisation has brought about new opportunities for media content-producers. This challenges traditional value chains in the sector and puts emphasis on the development of new business models for a digital world. First Motion is a Cross-Media EU project for the Baltic Sea Region. The aim of the project is to fund new formats and ideas, develop a new distribution platform, develop training and educa-tion courses and improve clusters and policy guidelines. An important part of First Motion is researching new markets and value chains. This report describes the outcomes of Work Package no. 5 which concerns industry clusters and regional development. It is about cross-sectorial spillovers and provides a continuation of First Motion’s research on business models, value chains, business development services and creative clusters. The research was conducted within the framework of the Baltic Sea Region programme First Motion 2007-2013 and initiated by Filmby Aarhus and The Alexandra Institute (Danish regional First Motion partners), represented by Mette Elmgaard and Kristian Krämer. The research was executed and the report drafted by Louise Lønborg Rustrup, Alexandra Institute, under supervision from Mette Elmgaard and Kristian Krämer. This publication has been produced with the assistance of the European Union. The content of this publication is the sole responsibility of Filmby Aarhus and The Alexandra Institute and can in no way be taken to reflect the views of the European Union.
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ABOUT THIS REPORT The innovative research outlined in this report examines an untapped opportunity space between the audiovisual industry and the healthcare sector. The report outlines why the audiovisual industry is an important player in the healthcare sector through: A framing of the creative class’ significance in regional growth. Identifying the characteristics and core competencies of the audiovisual industry. Two case descriptions based on interviews. A mapping of 15 cases. The case studies emphasize the opportunity space of audiovisual content production and describe the application of narrative storytelling, serious games and cross-media experiences. The different cases involve productions addressed to patients, healthcare staff or relatives and provide a clear demonstration of effects at different levels such as: Empowerment and persistence in treatment. Comfort and awareness of the illness and the upcoming procedure. Increased knowledge of treatment and rehabilitation procedures to obtain a faster recovery process. Sustainment of confidence through experience exchange with likeminded people in social networks. Matching expectations to the healthcare staff and system. Experiencing smoother treatment and satisfaction. Training of nursing staff.
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TAKE OFF In 2010 the Danish Regions spent approximately 95% of their operating costs on healthcare related areas. With a demographic forecast that predicts an increase in the population of elderly people and a healthcare sector characterised by retrenchments and a reduction in ‘warm hands’, a development of digital communication in this sector is seen as a positive element as outputs will touch the entire welfare society. Today people are swamped with digital content and images from when they wake-up until they go to bed and this has changed consumer behaviour and technological capability. Various emerging digital platforms have become a natural part of everyday consumption for many Danes. The digital development creates greater demands from users calling for new ways of interaction, the ability to access tailored information and productions that are entertaining to ensure continued use. Today’s users have become more active and co-creative in the search for personal experience in an urge to gain rewards or increased social status on the Internet. These stories and interactions across media platforms are encouraging and involve people across borders with different impacts. Thus, virtual living visualisations are an emerging opportunity space for a different way to exchange and develop knowledge, information and experiences. As visualisations have become crucial to communication and communication is decisive within a future healthcare system; it is understandable that the masters of visual images and stories, the audiovisual industry, will become involved in the healthcare sector. This research demonstrates that:
Society will gain from a healthcare sector with clear communications that are: - Carefully designed to solve problems in specific areas of communication and education. - Meeting the needs of its users in various contexts through the right platforms. - Engaging to the digital user. The interviewed people from both industries are enthusiastic about audiovisual content production in the field of healthcare. It is recommended to make the interplay a regional focus area. There is a continuous need to sustain and support innovation drivers, as they are important initiators that bridge the gap between the audiovisual industry and the healthcare sector as well as other business contexts. There is a need for a persistent and obtainable capital for the development of new productions.
Regional growth – with a contribution from the creative industry When it comes to innovation, product development and communication, institutions and companies are challenged to forge new kinds of cooperation. According to American scientist Richard Florida, the creative class has a great influence on economic growth and development in regions. The audiovisual industry is part of the creative class offering a creative and problem-solving mindset. It is crucial to transfer the competencies of these professionals to other sectors as live pictures are increasingly becoming an important part in all areas of communication. What people talk about today are videos – all the time. Thus it is fundamental to offer widespread communication such capabilities in the launch of narrative stories. A contribution from the creative industry is decisive in ensuring competitiveness, growth and welfare in relation to specific challenges and the creation of new forms of communication, collaboration and business areas. The audiovisual industry has competencies and methods of expression which can be used advantageously outside the industry’s own business context, as for example, in this case in the healthcare sector.
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THE AUDIOVISUAL INDUSTRY Storytelling. Visualisation. Interface design. Simulation. Animation. Mobility. All methods used in the audiovisual industry. To many people, the audiovisual industry is equivalent to news coverage and the entertainment business. But the technologies mentioned have a broader application and an untapped potential outside the traditional business setting. The audiovisual industry embraces training, eLearning, education and knowledge sharing in the part of the audiovisual industry termed as ‘Serious Media’.
From entertaining to edutaining The audiovisual industry is basically described as a fast changing industry chasing new concepts, target groups, technologies and revenues to build and sustain the business. The industry is characterised by various skills producing different content such as classic film and TV, digital platforms, computer games or commercial content. The sector includes a range of creative companies, some of which retain old virtues and need to look at new ways to increase their sales while other companies are actively exploring the creation of new media content for more commercial objectives. These latter examples include inter-company communication, experience design within museums and animated edutaining videos for hospitals. The report “Branchebarometer – Danish producers” analyses the audiovisual industry in Denmark from an economic perspective. It describes how more than half of the companies working with film or gaming experienced an economic threat in 2010. The top two challenges regarding growth are described as 1) obtaining external capital and 2) low demand and activity in the industry. Future challenges are expected to concern capital and finding the right focus and strategy to fit the markets. The audiovisual industry is one that has a potential outside its own business context and an urge to define new strategies and manners to still produce revenues in a digitised society.
Why even think about audiovisual content? The human brain retains visual images and messages much longer and much more accurately than audible or text messages. We remember 10% of what we read, 20% of what we hear, 30% of what we see – and 50% when combining live images and sound. Thus live pictures can create value on both soft and hard parameters. Furthermore, we remember 90% of what we say and do. Content with a degree of interaction or social aspects generates a great potential for learning through engaging and immersive experiences. In the field of visual learning, Mark Film is developing a project in cooperation with the Danish service company ISS. A large number of the ISS staff has reading disabilities and as part of the project an audiovisual production takes employees with reading difficulties by the hand. Approximately 15% of the Danish population, which is a significant portion, has different types of reading disabilities. Anders Skotlander, producer at Oscar Film, sees a huge potential in merging the audiovisual industry with the healthcare sector. “I see a huge potential for our industry because the healthcare sector is about communication to a great extent […] I think the healthcare sector is reluctant to deal with creations based on animated information, since focus is moved from the doctor or nurses to a computer screen, which is not necessarily good but might be necessary in the future welfare system. The user might understand the information better if it is visualised in an animated film. “ Anders Skotlander, Oscar Film.
A patient going through a hip replacement procedure, for instance, is introduced to the process in six densely-written A4 pages. This is an example of the potential for the re-thinking of communication within the healthcare sector.
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Narrative stories – a core competence Narrative storytelling is the core competency and a method used widely in the audiovisual industry in film, animation and gaming. Anders Nejsum, managing director at Mark Film, describes how narrative stories can strengthen identification in relation to people’s interpretation. Additionally, it is a method that creates consecutive understanding of various procedures because: We remember stories better than facts. We easily relate to the people in the story. Stories help us define our identity and evaluate good or bad. It is easier to understand elements if they are made tangible through a story and its characters rather than trying to relate to abstract values. Life is confusing and complex, but the story frames life in an understandable way. The value of storytelling is exemplified in a production concerning hip replacement surgery (refer to case 1, p. 6). Hip replacement is a procedure that takes several months, from patients receiving information at the first information meeting to rehabilitation at home. Depending on where in the procedure a patient is, the patient will focus on specific elements with a need for different and coherent information. Narrative stories give people coherence and a possibility of selecting sections to see them again and again which, as outlined by Anders Nejsum, is important in communication. Narrative productions can also open a space for personal development and professional reflections.
Film Animation Gaming
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Film Film is the most well-known and classic method used when telling and visualising narrative stories. It conveys stories and outlines messages and touches our feelings and as a result we are affected and moved when we spend our time watching films. Through live action it is possible to provide stories in a photorealistic way similar to our every day lives. One example could be short films of patients describing their experiences.
Animation Animation is a method which sits between film and gaming. Animation describes and explains details that cannot be filmed. This is widely understood and used in corporate or commercial productions. Furthermore, animation is remarkable in creating visual presentations of complex problems that can be communicated across cultures and segments. The level of information included in animations can be high as they are specifically produced to inform. However, information can also be conveyed in a subtler way through body language or facial expressions.
“In animations we work with general characters. It is not a certain old lady giving information or being operated. When using animations it could be many ladies or doctors. If you film a particular person, it is about this specific person. Through an animated figure it is easier to identify with the person because we can put our own personality or expressions into environments with a low degree of details.” Anders Nejsum, producer at Mark Film.
In animations it is possible to create a clear focus and a narrative story without any disturbing elements. An example is with surgical procedures where real pictures and sounds discomfort people and make them anxious instead of informed. If the operation is described in a text, people create their own imaginative images. Animation cuts to the bone and emphasises the essence of the narrative story.
Gaming Games also use the narrative element but let the user interact with the story. In games it is possible to create universes and simulate surroundings where users can recognize, interact with and create self-controlling experiences that appeal to all senses simultaneously. Traditional game functions such as competition and rewards are motivating factors in other settings. Gaming is no longer just fun and game technology is increasingly involved in the corporate world. Examples include simulators (‘rehearsing games’) for aircraft mechanics, ear-simulators for surgeons to practice on before surgery, or exergaming - games that support patient rehabilitation. The key element is to build experiences in virtual playgrounds where users experience errors or gain rewards when something is done successfully. These are motivating factors helping users to learn, grow and deal with new experiences – individually or together in a social network. Combining gaming with physical devices and measurements, influencing images or assignments during gameplay, opens a possibility to tailor learning or experiences to certain human factors. An example is a change of assignments in confidence-inspiring surroundings if anxiousness is detected.
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CASES Through case studies the following sections describe examples of how audiovisual content production can be used in the healthcare sector.
CASE 1: HIP REPLAMENT - AN ANIMATED PATIENT STORY [10]
Means: 2D animated storytelling, Internet video. Recipients: Danish patients before and during hip replacement processes, and secondary users as relatives and supportive staff.
What? Regionshospitalet Silkeborg has developed an animated information video in cooperation with Mark Film. The video communicates the process of hip replacement that patients go through, from the first notice concerning the operation to rehabilitation, and is followed by examples of no go’s to ensure the best recovery towards a normal everyday life. The video basically shows what happens with the hip, how osteoarthritis develops and also what exercises to use after the operation. It is distributed on the Internet and directly offered in an IT-package that patients receive two weeks in advance of an operation.
The idea Doctor and PhD at Regionshospitalet Silkeborg, Martin Vesterby, conducts research on how to improve care procedures for people about to get a new hip. This case is an outcome of his PhD research and suggests an optimisation and digitisation of patient education material. Through greater insight in the continuity of care, patients gain knowledge, which increases their confidence and motivation for completing all stages in the process.
Why animated productions? Martin Vesterby explains how they were unsuccessful when trying to educate patients about what happens in a hip. They found that ordinary film has difficulties in showing elements that are hard to photograph. Furthermore, there was a wish to show patients the main elements of an operation and not an actual operation. Animation was the answer as it allowed the creation of informative pictures that could be developed as non-frightening on a more approachable platform than the normal brochure and psychological information material.
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Martin Vesterby sees no complications in using animation to explain complex affairs as the medium is widely understood. The average age of a hip patient is 63 years and persons termed as old today have all become acquainted with animated films in some way.
The effect The project aims to motivate patients through animated information. The aim is to educate patients with the objective of making it easier for them to leave the hospital earlier. Furthermore, the goal is to create a greater foundation for managing given assignments and teach hipoperated patients how to observe their hip regime. The film has been distributed to several patients and other viewers but their ahs been no statistical research of evidence of the impact. Doctor Martin Vesterby has met various patients and gives this interpretation of their feedback: “It is my personal perception that our patients seems to better understand anatomy and why we are conducting the operation as we do, and particularly the must-do’s and don’ts after the hip replacement.“ The ethnographic studies underline that seeing how other people handle tasks increases understanding and shows patients a proven opportunity to translate knowledge into practice. Furthermore, seeing an animated video was well received compared to filmed sequences. The communication still included sounds and pictures but in a less ‘heavy’ way. “Well it is carefully shown. Then it is better than seeing a picture (in a brochure), obviously. Because it is all about seeing the movements.” [11]
The ethnographic studies underline that seeing how other persons handle tasks, increases the understanding and gives the patients a proven opportunity to translate knowledge into practice. Furthermore, seeing an animated video was well received compared to filmed sequences. The communication still included sounds and pictures but in a less ‘heavy’ way. A small-scale study into measurements of patients’ nervousness and anxiousness before an operation shows that insight in to the procedure minimises anxiousness in patients who tend to be nervous. This suggests that patients prone to anxiousness are costly during hospitalization as they consume more pain-relieving drugs and are harder to motivate for training. If they are not motivated to go home earlier they will stay in the hospital which is pricy, Martin Vesterby clarifies. Regionshospitalet Silkeborg continues the development of animation-based educational videos. In their future work they see opportunities of combining the filmic environment with animation to overcome the difficulties of certain visual elements in film. Animated movements in rehabilitation exercises combined with film are emphasised as a supportive element in education and understanding.
Cooperation The cooperation between Regionshospitalet Silkeborg and Mark Film was fostered through The Animation Hub . Regionshospitalet Silkeborg contacted The Animation Hub to receive feedback on the feasibility of the project and to research funding possibilities and development partners. This gave rise to a match of audiovisual competencies and financial support.
”We were motivated by working with procedures around an operation and the immersion in cheerless situations, how we could work on bridging the healthcare system and citizens. In here I believe that our media and methods can be applied to a great extent.” Anders Nejsum, Mark Film.
Challenges This project accentuates two challenges: financial and implementation issues. Producing an animation film is costly and demands funding opportunities.
“It is expensive to produce an animation film, it has to be financed from somewhere. None of today’s hospitals have animation films as the top item in the budget. It requires means from somewhere, and in this case they came from The Animation Hub.” Martin Vesterby says.
Furthermore a justification of the cost of implementation is essential. Martin Vesterby underlines the complications of working within an organisation with standardised procedures. The continuity of care is managed by different stakeholders and budgets. To elevate the foundations of projects, it is necessary to look at the entire care process instead of just the hospitalisation. Therefore solutions must be seen in a holistic perspective and make an impact on the whole society.
Different doctors, nursing staff, physiotherapists, patients and scientific staff from the PhD-project were involved in the process. Bringing the animation team physically to the hospital is mentioned as a crucial success factor in this case. Mark Film joined the information meetings offered to the patients, talked with doctors, observed operations, exercised with patients and followed nurses. This involvement created a basis for uncovering potential areas to support through animation. Seen from a business perspective, this direct insight is proposed as essential for targeting the production before development.
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CASE 2: BE COMMUNITY - AN UNIVERSE FOR CANCER PATIENTS [13]
Means: 3D animated avatars and an online community. Recipients: Young people with cancer around the world.
What? BE Community is an online 3D universe and chat room for young people fighting cancer. The 3D world is an open green landscape introducing different places to visit through avatars living in the world. Video podcasts, visual spaces and tools are given to create and develop elements individually or together. Through the BE Community experiences and information are introduced in a different to brochures and can be shared in a special community.
The idea Mette Terp Høybye, social anthropologist and postdoc at University of Southern Denmark, researches cancer with a focus on psychosocial aspects. The focal point is the ways in which cancer patients manage having a disease or having had a disease. With an interest in new media and the opportunity space within communication, her research is combined with the development of the BE Community together with the 3D software firm, Katalabs (USA). The idea is to create an environment where young people fighting cancer can find a refuge from their treatment and meet like-minded individuals. Young people with chronic diseases are a neglected group caught in a limbo between the treatment of children and adults. They are spread all over the country with no obvious places to exchange knowledge, experiences and talk with one another. This group needs an environment where they are brought together. If they can meet other likeminded youths and create a social relationship, they will be given greater opportunities of managing their illness, explains Mette Terp.
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The inspiration derives from an American science project. The research showed that patients playing a computer game based on cancer followed the treatment due to greater insights. Elements from this science project are enlarged through a social meeting point in the BE Community. Combining play and a social and educational focus, the 3D universe aims to be perceived as fun and engaging. The project strives to meet its user where they already live. Facebook is mentioned as a place where young cancer patients meet after hospitalisation, and it is a vision to develop a BE Community that can talk with Facebook.
Why a virtual 3D environment? The project uses 3D avatars as an element in which patients can express themselves. Through an avatar you can be whoever you want to be, even if the real you is bald and weak. This provides an opportunity to be a superman as the virtual world is limitless and may help to break psychological barriers in the first meeting with others. Using a more narrative interaction than computer games opens a path of choices of for ones own learning and social experiences. The 3D universe and its technology is unique as it is available directly from its users’ browser. Developing a product with easy access and matching today’s media platforms can downplay physical borders thus enriching the possibilities to cure and be stronger together.
The effect
Cooperation
The project aims for clear clinical measurements as a persistent adherence of the treatment by engaging the young patients in their medicine consumption and physical activity. The BE Community envisions the creation of an environment where young cancer patients can hang around and be present through a personal avatar. The social aspect is important in that it offers a room for exchanging problems and experiences with like-minded people.
The development team is embedded in a research project at Stanford School of Medicine. The team consists of people with different competencies from the AV industry such as graphic designers, animators, 3D and software specialists from Computer Science and Katalabs. Access to the clinical network and insight in to the everyday lives of cancer patients is provided through social anthropologist Mette Terp Høybye. In the development work the team uses knowledge-sharing workshops and involves patients to gain feedback and evolve content in the 3D universe.
“If we introduce the social component, I believe in gains related to health and social relations. The component will motivate young teenagers to make positive choices regarding their health.” Mette Terp Høybye.
The project is at a development stage and recently underwent its first user testing. Mette Terp explains how the users’ involvement in the pre-development provides a possibility of concretising which games and content are relevant to give ownership and get a feeling of the effect. This newly-made user research has given some positive feedback. The patients express an interest in this type of interaction, where they can meet others.
“People find it a great experience gaining knowledge about their illness and being able to discuss it. Meeting others who understand what they are going through, and giving the ability to help others by passing something on, is one of the first things we will experience.“ Mette Terp Høybye.
Challenges The development of 3D productions is described as costly. To actuate the project, the team has developed a design competition. Through a platform users are invited to upload personal designs of 3D avatars to a server which has given the project a new set of great avatars. Cost is identified as the ongoing Achilles heel in this project. Some funding is received from Børnecancerfonden, but the project is restricted by limited funding for indeterminate periods. Mette Terp underlines, in a scientific objective, an issue that concerns funding. From her perspective it focuses too much on the research part and only to a small degree on development phases. Furthermore, she emphasises that there should be a more visionary approach in connection with the development of new technologies which has to clearly identify user needs and solve their demands.
Furthermore, gaming creates another motivation towards learning. Playing different games or solving tasks individually or together is expected to increase awareness of young cancer patients’ disease and treatment. It is a belief that the group of young cancer patients will take responsibility for their own treatment and improve the foundation for making choices regarding their disease.
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MAPPING OF CASES Following map visualises a landscape of cases of audiovisual productions developed to the healthcare sector, both nationally and internationally. The illustration serves to emphasise areas of characteristics aligned with production method. Thus to give an overview and inspiration in the field of opportunities. The map shows as example how gaming is applicable in rehabilitation procedures by involving its audience interactively in various sceneries, while narrative animated productions are usable as communication of procedures and actions. The basis of the map draws inspiration from the American game consultant Jason Della Rocca founder of Perimeter Partners [16]. Each case is numbered, categorised and mapped in the space between the social, narrative and interactive. The numbered cases are presented at next page by name, means, areas of impact and source.
Social
Narrative Animated videos Knowledge of procedures, before, under & afterwards. Empower, match expectations.
3 1 2
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Digital platforms, apps Crowdsourcing, knowledge sharing & research.
Online 3D worlds and gaming Social exchange, persistence in treatment, simultation of related situations. 3D animations and gaming Simultation, training and rehearsal. Augmented reality, live video combined with artifacts Communication and simultation.
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8 9
12 5 6
10
7 13 14
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Gaming Entertainment during operations, distracts and moves away focus. Gaming Knowledge and defeating an illness, persistence in treatment. Gaming combined with artifacts Rehabilitation.
15 Interactive
Social describes communication between
users at various media platforms allowing the creation and exchange of user-generated content. Online social interaction forms value through co-creation, dialogue and knowledge sharing done by the users through the sites. 14
Narrative determines angled stories that
visual communicate course of events over time or causal relationships formed more or less representative. Narrative stories are remarkedly to illustrate points and provide framework for experiences.
Interactive determines the level of
interaction, from simple commands to using artifacts. These inputs from humans change the narrative story or form other information while being engaging to the audiences as they experience change of behaviours.
MAPPING OF CASES - PRESENTATION OF CASES Name of project Means. Areas of impact. Source. 1 Lybba Interface design, web platform. Crowdsourcing, research your illness, pre-knowledge before meeting doctors. http://www.lybba.org/
9 EyeMario Video game and electrodes near eye area. Entertainment during operations / for paralysed people. http://www.games4rehab.com/Sheryl/videos/130
2 Cure2gether IPhone App, mobility. Crowdsourcing of symptoms and knowledge of health. http://curetogether.com/blog/2011/03/04/ curetogether-goes-mobile-new-treatment-finder-andsymptom-checker-apps/
10 Re-mission – for young cancer patients Computer game, 3D. Knowledge, exterminate cells, defeat infections and handle side effects through the game. http://www.re-mission.net/
3 Hip replacement procedures Animated video. Knowledge, prevent anxiousness, empower. rehabilitation. http://www.markfilm.dk/viden/ 4 Being a patient at a hospital Animated video. Knowledge, matching expectations. http://www.regionmidtjylland.dk/sundhed/ vejledning+til+patienter/sådan+er+det+at+ være+på+hospitalet 5 Playing with pills Computer game. Info and training of nursing staff. http://www.uis.no/news/article26439-50.html 6 The Visible Ear Simulator 3d visualisation of anatomy, training simulator. Rehearsal of surgeries. http://www.youtube.com/watch?v=82xGd_9ZLYo 7 Pulse Computer game and simulation. Rehearsal of diagnosing and learning symptoms. http://www.breakawaygames.com/serious-games/ solutions/healthcare/ 8 Free Dive 3D game/simulation with turtles minded children. Entertainment, distracts and moves away focus during painful treatments. http://www.breakawaygames.com/serious-games/ solutions/healthcare/
11 The BE Community Computer game, 3D universe. Knowledge, social exchange, persistence. http://gamesforhealth.dk/ 12 Games for health, PTSD Computer game, 3D, mobility. Help in psychological treatment procedures. http://gamesforhealth.dk/ 13 Eye Toy bubbles Game combined with real time video and animations. Rehabilitation. http://www.games4rehab.com/Sheryl/videos/98 14 Penguine Game Video game, wii fit. Rehabilitation, balance and muscles. http://www.games4rehab.com/BDBlueMarble/ videos/88 15 Wii in Trige Video game. Physical training. http://www.bdsi.dk/Projekter/Sider/Wee-i-Trige.aspx 16
ParkinsonForeningen Augmented reality, real time video and artifatc. Simultation of being a Parkinson’s, commercial. http://www.creativecircle.dk/da/creative-circle-award/ case/cca11-4d403637ee53e/
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SUMMARY The research outlines an industry with an untapped potential outside its own business context, where an emerging convergence of media combined with more digital users has offered an opportunity space for various communication platforms. This report explores the opportunity space and cross-sectorial spillovers seen between the audiovisual industry and the healthcare sector. It is essential that audiovisual productions communicate in other ways and at different levels. Visual information can help people get rid of negative fantasies or it can help people with reading difficulties. In addition, content is easier to remember. Consequently, the audiovisual industry has a huge potential in the healthcare sector. Each audiovisual method has a different potential to be carefully designed to solve specific areas of communication or education. Animation stands out in that it creates pictures that do not seem nasty and it avoids unnecessary elements, for example when used for informing people about surgical operations. Animation also makes it possible to generalise elements or characters. This gives the user the ability to better identify themselves with people not characterised by a certain look or age and provide a basis for self-experiencing or -learning, which is exemplified in BE Community based on avatars. Another great part of audiovisual productions is the interactive elements. In interactive productions and games, users are often rewarded and motivated through learning by doing. The games can involve social elements and create a universe where people can share experiences with likeminded patients which is important in a recovery process. The case studies and mapping shows and develops possibilities as to where audiovisual methods have special opportunities. In general, they are defined as:
Knowledge (Edutaining) Crowdsourcing Socialising Supporting Rehabilitation (Exergaming) Furthermore, the case studies show areas where audiovisual productions are predicted to have an impact in the healthcare sector. The cases outline areas such as:
Empowerment and persistence in treatment. Comfort and awareness of the illness and the upcoming procedure. Gaining knowledge of treatment and rehabilitation procedures to obtain a faster recovery process. Sustainment of confidence through experience exchange with likeminded people in social networks. Matching expectations to the healthcare staff and system. Experiencing smoother treatment and satisfaction. Training of nursing staff. These areas are seen as factors that can have an impact on society. If patients are better educated, happier or digitally selfsufficient, it is assumed that patients will be better prepared for hospital visits, leave the hospital earlier, demand less nursing at home and go back to work sooner. All these are parameters that have an impact on the individual and on the economy in the Regions.
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This study therefore recommends developing communication within the healthcare sector by creating a regional focus area for cooperation between the audiovisual industry and the healthcare sector. Moreover a focus area like this is likely to open the eyes of the audiovisual industry to new opportunities. More than 50% of the audiovisual industry is economically threatened. A regional effort could inspire them to develop new strategies and cooperative relations to increase their competitive position, create jobs and contribute to societal growth. The people interviewed for the case studies are excited about audiovisual content production in the field of healthcare and they envision great effects. In both cases the issue and importance of capital is emphasised, because audiovisual material is not included in hospital budgets. Therefore funding possibilities must be obtainable from elsewhere. In case 1 the innovation network, The Animation Hub, was the link between funding and acted as matchmaker between the healthcare sector and audiovisual competencies related to the given project. It is highly recommended to continue to support innovation networks like The Animation Hub , Shareplay , Computerspilzonen – CPH Entertainment and CKO as they are seen as important innovation drivers and initiators for bridging the gap between the audiovisual industry and the healthcare sector as well as other business sectors.
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Danish Regions: Table view of 2010 accounts. http://www.regioner.dk/DanskeRegionerInternet/%C3%98konomi/Udgifter%20og%20finansiering/Regnskab.aspx
[2]
Florida, Richard, 2005. The flight of the creative class. 1st edition, HarperColiins Publisher Inc, NY. ISBN 0-06-075690-X.
[3]
Branchebarometer – danske indholdsproducenter. Copenhagen Entertainment, 2011. http://copenhagenentertainment.dk/viden/rapporter-og-analyser/
[4]
Edgar Dale, The cone of learning. www.percepsys.com/images/Percepsys_SIMSTUDIO.pdf
[5]
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[6]
Interview, Anders Nejsum, managing director at Mark Film, 28.06.11
[7]
Narrative practice - why use narratives? http://www.ucl.dk/content/dk/efter-_og_videreuddannelse/udviklingsarbejde/dag-_og_dogninstitutionen/narrativ_praksis
[8]
Nielsen, Mikkel: Narration in the Fiction Film og animationens narrative strategier. http://www.noitamina.dk/narration_animation.htm
[9]
Interview, Anders Nejsum, managing director at Mark Film, 28.06.11
[10] See the movie at: http://www.markfilm.dk/viden/ For more information, read the article: Sending hip operated patients home to watch television. http://www.regionmidtjylland.dk/files/Aktuelt/grafik/Foto_bilag/Magasinet%20Midt/Juni%202010/54-56_Midt_JUNI.pdf [11] Aarhus, Rikke: Remote and rehabilitation support – an ethnographic study. http://www.alexandra.dk/dk/lige_nu/nyheder/nyheder-2011/Documents/RRS-etno-rapport.pdf [12] The Animation Hub is a national innovation network sponsored by The Danish Agency for Science, Technology and Innovation. Here companies and knowledge institutions can exchange experiences and develop ideas, launch specific projects outlined with animation as a presentation tool. The Animation Hub gathers knowledge, connects people across projects and assists with funding. http://animationhub.wordpress.com/
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[13]
The BE Community: See more about the project at: http://www.thebecommunity.org/
[14]
Katalabs. http://www.katalabs.com/blog/
[15]
Re-Mission, a game for young people with cancer. http://www.re-mission.net/
[16]
Rocca, Jason Della founder of Perimeter Partners - a model. http://computerspilzonen.dk/video/jason-della-rocca-perimeter-partners
[17]
The Animation hub is a national innovation network, funded by Danish Agency for Science, Technology and Innovation. The network is a meeting point between companies and knowledge institutions, sharing experiences and developing ideas. The network initiates projects using animation as a communication tool within science, medicine, news coverage and serious interaction – aiming to spread animation in new domains in society and in the corporate world. http://animationhub.wordpress.com/hvem-og-hvorfor/
[18]
Shareplay is a regional innovation network initiated by the Central and North Denmark Regions with a focus on cross-media productions. The network is a driver for developing the future media sector and for creating networks across industries, media and professional competencies. Knowledge dissemination takes place through seminars, workshops, matchmaking and talks. http://www.shareplay.dk/
[19]
Computerspilzonen supports Danish game developers towards growth through business development, education, export drive and knowledge sharing. Computerspilzonen promotes the implementation of initiatives contributing to the fulfillment of completions and strategies within Computerspilzonen, thus it does not support development, production and distribution of specific computer games. http://computerspilzonen.dk/om-zonen
[20]
CKO initiates projects that strengthen the interplay and exchange of competencies between the cultural life and the corporate world. CKO profiles the culture and experience economy and spreads knowledge to fortify cooperation between institutions and companies within the field. Besides, CKO guides and matches companies with a desire to work with experiences and creative competencies. http://cko.dk/omcko
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