Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-ofthe-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented.

This paper is a call for research in the field of game engine architecture and design, a more comprehensive and thorough understanding of which we consider to be essential for its development. We present a number of key aspects that may help to define the problem space and provide a catalogue of questions that we believe identify areas of interest for future investigation.

Abstract:In this paper, we present the SHIVA project which was designed to provide virtual sculpting tools for young people with complex disabilities, to allow them to engage with artistic and creative activities that they might otherwise never be able to access. Modern 3D printing then allows us to physically build their creations. To achieve this, we combined our expertise in education, accessible technology, user interfaces and geometric modelling. We built a generic accessible graphical user interface (GUI) and a suitable geometric modelling system and used these to produce two prototype modelling exercises. These tools were deployed in a school for students with complex disabilities and are now being used for a variety of educational and developmental purposes. In this paper, we present the project's motivations, approach and implementation details together with initial results, including 3D printed objects designed by young people who have disabilties.

Design and manufacturing of composite structures are driving the next generation innovation cycles for the aerospace, automotive and energy markets. Automated fiber placement (AFP) is quickly becoming the preferred manufacturing method of those structures as it offers manufacturing automation, reduces production cycle times, and decreases human induced errors. One of the major steps towards manufacturing structures with AFP technology is the selection of the optimal layup strategy. This is limited by, not only geometrical and process parameters, but certification allowable and guidelines. This paper outlines a systematic review of the multiple layup strategies practices currently used and/or investigated for the AFP manufacturing process. The optimal layup strategy needs to be selected and verified to obtain laminates with little to no manufacturing defects. Through a methodical description, the different layup strategies found in the literature are described as well as their mathematical implementation. Following, a geometrical benchmark is presented so that new layup strategies can be compared to others based on the same reference. The article can be the foundation for any new layup strategy investigation.

Mass customisation has become a prospective business strategy for many industries. Despite the great efforts that have been put into implementing product configuration systems (e.g., NikeID), the Deloitte Consumer Review 2019 indicated that nearly half of consumers still prefer to buy mass produced products. Another study by Khan and Haasis (2016) also concluded that the increase in mass customisation has led to a decline in customer satisfaction of the sales process. Given these considerations, this paper aims to investigate, from the consumer's perspective, the factors that influence consumer purchase intention of online mass customised products. The primary contribution of this study is that we found in addition to price and design freedom, website information quality and the visual presentation of customisable products have significant influences on consumer purchase intention. Specifically, participants preferred to have intuitive and sufficient information as well as a 3D visualisation of the products to help them understand what the customisation options are, how to interact with them and to see a full view of the final products. In addition, we found participants responded differently to new companies and well-established companies. Here, lack of trust is one of the main reasons stopping consumers from purchasing mass customised products from new companies; while for well established companies consumer individual differences especially their personal preference is more determinant. Accordingly, we suggest that new startup companies and well-established companies should take different strategies to attract potential consumers.

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Over the past few decades, the arts have become increasingly dependent on and influenced by the development of computer technology. In the 1960s pioneering artists experimented with the emergent computer technology and more recently the majority of artists have come to use this technology to develop and even to implement their artefacts.The traditional divide between art and technology -if it ever existedhas been breaking down to the extent that a large number of artists consider themselves to be technophiles. In truth this divide has never existed. Throughout history artists have always used and exploited whatever technology existed and frequently led the development of new technology that would allow them to express their creativity. For instance the ancient Greek word for art was "τ´ χνη" (technê) -the etymological root for the word "technology".The divide between the arts and sciences, which we consider to be artificial and harmful, was only introduced in the western educational system in the 19th century and we believe that it is high time that it was bridged or removed altogether. To this end our centre has pioneered a number of university degrees that aim to blur the difference between artists and scientists / technologists. In this paper we explore the design of such courses, taking into account the evolution of the field and the historical development of our centre, and we share with our audience our experiences, successes, and trials and tribulations in implementing such degrees in the area of computer animation, games and digital effects. We present a discussion of the syllabus employed in our highly successful undergraduate degree programme, giving examples of various assignment and assessment forms. Further, we discuss the common issues in educating technophile artists that we have identified on our undergraduate programme and the implications on the students' learning experience arising from these.

The terminology of multi-material volumes is discussed. The classification of the multimaterial volumes is given from the spatial partitions, spatial domain for material distribution, types of involved scalar fields and types of models for material distribution and composition of several materials points of view. In addition to the technical challenges of multi-material volume representations, a range of key challenges are considered before such representations can be adopted as mainstream practice.