Impact case study database

The substantial activities, new works, commissions, and instrumentation resources of the University of Bristol’s Beyond East and West (BEW) project have profoundly enriched contemporary music-making within Turkey as well as internationally, impacting three distinct groups: musicians, composers, and cultural programmers, while carrying broader transcultural and interdisciplinary impact worldwide.

Transforming Musicians’ Practice and Teaching Methods

BEW developed transcultural music-making practice beyond its previous, nascent state, to a much higher level, by making a profound difference to performance practice itself. Western-trained musicians, even in Turkey, had never been given such tools for learning traditional makam music, its tunings, and highly complex ornamentation . Outsiders to makam practice face considerable difficulty penetrating the melodic intricacy, sound aesthetics, tuning, and patterns of makam language itself, understandings BEW deemed indispensable for establishing intercultural understanding, and therefore best practice. The learning processes of makam musicians usually include no provisions for reading and performing contemporary music scores; very few had developed skills for playing in polyphonic textures or working with conductors. Over five years, BEW trained makam musicians to achieve a new level of fluency in these areas [5.5]. Learning approximately a dozen ensemble works and two operas, working with composers directly, and hearing the techniques Western musicians use, engendered a new confidence in musicians [5.5, 5.5]. Transcription and Meşk (oral learning) methods also impacted musicians’ daily music practice and their own teaching practices, with 100% of surveyed musicians saying they would use knowledge and skills gained in their own music practice [5.8].

Specific changes for European-trained musicians included better timbral production skills [5.5]; and writing solo flute pieces based on makam music to bring *makam-*based sounds into flute playing internationally. For makam musicians, BEW enabled one musician to test a new approach to teaching makam music, which he is now using in his own teaching in the conservatoire; the project and regular workshops helped to refine the use of transcriptions for teaching makam music and inspired a new transcription book [5.5].

Two BEW-sponsored conferences, Creating Music Across Cultures (2017, Istanbul) https://www.beyondeastandwest.org/conference-creating-music and The Multivalent Voice in Transcultural Music-making (2019, Istanbul) https://nc16653.wixsite.com/themultivalentvoice have helped pave the way to further impacts, including:

• Chinese Pipa collaboration with Pipa player Chung Yufeng, Hsieh Chieh-Ting (Taiwan) and Yingying Wen (China/Bristol) [5.2]

• Ulrich Mertin’s transcultural Goethe Institute Project involving Indian and Turkish Musicians building on his experience in BEW

• IKSV Altkat: Transcultural Workshops for Youth, involving participants from disadvantaged backgrounds, beginning in May 2021, and led by Erdem Şimsek and Ulrich Mertin

• Transcultural Voice Research Group: group for teaching vocal repertoire and techniques across culture and genre, founded in 2019 by Aysegül Altıok-Juliana Snapper-Nina Eidscheim

Composers’ Practices: BEW contributing to and inspiring over 30 new musical works

Before BEW, few composers in Turkey had incorporated makam instruments into contemporary music. Around 25 works had been composed since 1951 (Ilyasoglu, 2000). BEW stimulated a burst of new commissions and works involving makam, especially among the younger generation in Turkey, who, because of BEW, are now empowered to compose transtraditional pieces more freely. Since BEW began, at least 20 new works have been composed using makam instruments, by students in Ankara, Istanbul and Bristol. As one composer states: “It is important that this project has created a platform for debate…the biggest contribution the [BEW] project made for me was in changing the way I approached Turkish music instruments” [5.6]. A further 12 pieces were commissioned by the BEW project itself from Turkish and UK composers, including pieces performed on Guitar Plus, Germany (2017) and the BEW Commissioning Project: Makam 21 – an ERC-supported programme produced by Bristol New Music festival and Ankara Music festival, presenting the first performances of seven new works by composers all utilising makam instruments and the BEW project’s written and audiovisual resources [3.3] in their writing process ( ney, kemençe, and kanun). Makam21 creates a transcultural palette for composers to include sounds rarely heard before in Western ensembles, presenting the leading compositional voices of Turkey and makam-influenced voices in the UK today.

Internationally, the BEW materials opened this area to composers with no prior transcultural experience [5.6]. Ellison composed a major new music-theatre work – Deniz Küstü (The Sea-Crossed Fisherman) [3.1], which premiered in June 2016 at Istanbul Music Festival, to acclaim: “Ellison’s work has focused on the interaction between Western and Eastern music traditions, and it is striking how well he navigates the potentially disparate novel soundworlds here. Instruments break out of their traditional roles and mix to form novel sonorities, so that the sea music shimmers, a bed of strings below spangling oud and reedy ney” [5.4]. Video recordings of BEW instrumentalists, as well as the BEW online resources for kanun, ney, bağlama, and kemençe [3.3], were used by composers whilst creating these works [5.6]. One composer states the resources gave them “the information I needed to be able to comfortably write for the instrument [ kemençe]” [5.6]. Since BEW began to provide composers with resources, more transcultural music is being composed with makam instruments now than at any previous time in Turkey. The Youth Choir for Peace in Istanbul, in collaboration with BEW and TTI, has joined in commissioning two new works by Turkish composers beginning October 2020. In 2017, Ellison’s work [3.4] was performed across France by Istanbul BEW musicians and Ensemble Variances, whose founder stated: “it was a strong experience to witness through Michael Ellison's work how facing an Eastern strong tradition with live musicians-not only in its theoretical aspect-can open new perspectives for contemporary music. The BEW project seems to me of a great necessity…I believe that the future for ‘art music’ is in its capacity of making bridges, creating authentic dialogues between cultures and traditions” [5.7].

Influencing Cultural Programming

Ellison’s compositions from BEW have been premiered and performed at leading festivals internationally, including: Istanbul Music Festival (2016) [3.1], Acht Brücken, Köln (2017) [3.2], Grenoble Music Festival, France (2016), and Detours de Babel, France (2016) [5.7]. The success of BEW’s first opera Deniz Küstü [3.1] impacted the Istanbul Music Festival’s programming decisions. The Festival Director describes Ellison’s approach as “extraordinary…Both Deniz Küstü and Binboğalar projects [a 2022 project] have an important influence on our cultural programming as these sorts of projects enable also a wider understanding and appreciation of our country’s social structure, regional traditions and cultural assets through music. We appreciate and share Hezarfen Ensemble’s goal of integrating Turkish traditional instruments and voices into contemporary music” [5.1]. BEW has noticeably affected the level and viability of transcultural collaboration, resulting in an overall increase both in the number and the expected standards of such initiatives. The Director of ARTER, a non-profit arts space in Istanbul, comments “it has affected my choices of what to include in musical platforms at ARTER, complementing my level of awareness of the quality possible in such transcultural endeavours […] it sets the standards for transcultural collaborations, especially in relation to new and contemporary music” [5.3]. Ellison’s opera helped draw increasing audience numbers and a wider demographic to this new musical phenomenon; his operas were the highlight of the Istanbul Music Festivals in 2012 and 2016, and represent landmark works seamlessly integrating Turkish makam instruments into a contemporary opera sound [5.3]. The Istanbul Music Festival Director notes how “ Deniz Küstü had a very positive impact on the festival audience…[with] the valuable function of creating [an] understanding across cultures through music. Both Matinee to Soirée sessions were sold out and it received a huge critical acclaim nationally and internationally” [5.1].

Enhancing public understanding and inspiring new initiatives on transcultural music practice worldwide

BEW’s performances in nine countries (Latvia, Germany, Serbia, Spain, France, UK, Italy, Turkey and India) between 2015 and 2020, together with presentations and keynotes at conferences in Germany, Spain, and the UK over 2017-2019, have enhanced public understanding of transcultural music practice, as well as public mutual understanding [5.1]. In 2016, three BEW researchers (Ellison, Bayley and Reigle) were invited to present at Bochum, Germany: Platform/Ensemble for Transcultural New Music NRW, speaking in a forum with cultural programmers and ensemble leaders from North-Rhine Westphalia on new directions for transcultural music-making.

Similarly, in its advocacy of deep research into makam music alongside new transcultural creation, BEW has influenced like-minded transcultural ensembles in Germany (Ensemble Extrakte), Uzbekistan (Omnibus Ensemble), and France (Ensemble Variances) [5.7]. Deniz Küstü was cited as a signature project of the Istanbul Music Festival at November Music in Holland in 2017 [5.1]. The reach of the project extended to East Asia when a dance/Nankuan arts scholar from Taiwan (Hsieh) travelled to Istanbul to observe BEW workshops, which he then applied to his own work with Chinese traditional music and art forms - ”notation itself is never neutral and deserves more transcultural reflections...through the comparison and discussion of the different transcription systems which reflect different conceptions of music, it has become clearer how the different ideas of music from the different perspectives of musicians are able to be translated” [5.2]. Ensuing collaboration with Hsieh has resulted in a new work for pipa player Chung Yufeng (Taiwan) composed by Yingying Wen (China/Bristol) (premiere in Taipei postponed to 2021 due to Covid-19).

BEW will have ongoing impacts through both the Transcultural Music book series (2021) commissioned by Routledge and the Transtraditional Istanbul network (TTI) [5.9]. TTI brings together five key partners in Istanbul dedicated to the preservation and development of traditional Turkish musical cultures in danger of disappearing––namely Bozlak and women’s throat songs from the Teke region––bringing this music into a contemporary, urban musical discourse. Based on BEW methodologies , TTI’s workshops provide core activities that support development and empowerment of culturally underrepresented and disadvantaged groups within Istanbul and Turkey, youth, women and girls, to powerfully influence the musicians of tomorrow.

Professor Street’s research has impacted key organisations, archivists, programmers, industry professionals, audiences and artists through safeguarding colour films, engaging new audiences, and changing the practices of preservation:

(i) Influencing the preservation of colour films

Street’s monograph Colour Films in Britain [3.1] identified This is Colour (1942) as an ‘at risk’ Technicolor film and highlighted its importance in film history. This research influenced the British Film Institute’s decision to restore and exhibit This is Colour at the 2016 London Film Festival and, as the BFI’s Film Conservation Manager states, ‘Your research, in particular through a public lecture you delivered at the BFI South Bank in 2012 [audience c.130], as well as your book Colour Films in Britain, was used by the BFI when restoring the film’. He continues ‘your research on colour films has provided invaluable context for increasing knowledge and understanding of Britain’s colour film heritage’ [5.2]. The press release for the restoration of This is Colour described Colour Films in Britain as ‘the definitive historical account of colour in British cinema’ [5.1].

In 2015, Street’s team co-organised a conference (140 delegates) with Amsterdam’s EYE Filmmuseum. According to Eye’s Head Curator, ‘EYE’s and my own interest to collaborate with Professor Street on this conference came from our desire to collaborate with her research ground-breaking project Colour in the 1920s: Cinema and Its Intermedial Contexts’ [5.3] . The conference held public screenings (audiences c. 300) attended by researchers, archivists, curators and filmmakers, and showcased Street’s award-winning research [3.3] highlighting the urgent conservation needs of colour films. EYE’s Head Curator [5.3] notes the conference’s ‘remarkable impact’ on the international film archival community through the creation of a platform for international debate, a new publication, The Colour Fantastic (Amsterdam, 2018), and a rise in colour film programming.

The East Anglian Film Archive benefited from The Eastmancolor Revolution’s digitisation of six films in their collection, preserving and making them more accessible with research-based commentaries [5.4]. Since 2017, the website has attracted 10,628 views from 3,857 unique visitors (70% from the UK, 12% USA and 18% from 64 other countries). Over four months in 2017 the amateur films generated 5,879 Twitter impressions and 72,400 impressions.

Eastmancolor Revolution also influenced distributor Studio Canal to prepare a new restoration and Blu-ray release (2019) of Don’t Look Now, a prestigious film in their collection signalled by its specialised 4K Ultra-High-Definition restoration. In collaboration with Street’s team, Studio Canal filmed a featurette about colour for the Blu-ray that was driven by the research. Studio Canal’s Senior Catalogue Project Manager described this content as a new departure, ‘undoubtedly increasing’ the DVD’s commercial viability by promoting a major title in their classic catalogue [5.6]. Project interviews also feature on Powerhouse Films’ DVD releases of Charlie Bubbles, The Old Dark House and The Odessa File.

(ii) Safeguarding colour skills

As the photochemical era gives way to digital technologies, past colour skills are in danger of being forgotten even though many are transferable to current practices. Street and research teams for The Negotiation of Innovation and Eastmancolor Revolution projects conducted 32 unique interviews which safeguard for posterity knowledge and understanding of colour skills. These were published by the BFI [3.5] and online by the British Entertainment History Project (the largest collection of interviews with film/tv/radio professionals in the UK; Jan 2020 data snapshot shows 21,940 views since 2016). They are a primary source of reference for researchers, students, professionals, authors and the public. Permanently preserved by the BFI, they address concerns expressed by the Association of Cinematograph, Television and Allied Technicians that their colleagues’ experience, memories and insight is in danger of disappearing as they retire. Testimony from former Vice-President of Deluxe Media describes the interviews as a ‘valuable resource’ offering ‘considerable insight into the working conventions of professional colour film processing laboratories’ as film continues for many filmmakers to be an origination medium of choice. [5.5] The interview conducted by Street and Rickards in Dec 2017 about the ‘Bleach Bypass’ process for colour desaturation of film prints used in well-known films directed by Mike Leigh, Terence Davies and Guy Ritchie, for example, ensures this special technique is available to future filmmakers.

(iii) Raising awareness of colour films amongst professional and lay audiences

In March 2018, the Eastmancolour team and the Watershed Media Centre held an event on Some People, a relatively unknown colour film shot in Bristol in 1962. Their research [3.6] informed a public introduction by Street (audience c. 200), followed by a panel discussion with those involved in making the film. The co-director of Talking Pictures TV (Britain’s main broadcaster of classic films with 3.5 million viewers a week) attended the event and confirms that it caused them to broadcast Some People, record an interview with one of the film’s stars, and air more British colour films on their channel [5.7]. In addition, post-event evaluations recorded 80% of respondents as interested in learning more about Eastmancolor [5.8]. Following the event, Bristol’s M Shed featured a display on Some People in Bristol Music (exhibition, 34,000 visitors).

New audiences have also been engaged through curating international, public exhibitions of rarely seen colour films, such as at the Le Giornate Del Cinema Muto, Pordenone, Italy, 2014 (audience c. 940). The annual Pordenone Festival scheduling of The Colour Fantastic in 2018 and Chromatic Modernity in 2020 has led to sustained engagement with audiences. The Colour Group GB (a society of c. 5,000 scientists, professionals; 40% creative industries, 10% interested public) has increased its knowledge and understanding of colour films through an event co-organised at the BFI Southbank in 2017 presenting new research and rarely exhibited films (audience c. 300). The Group’s Newsletter notes this marked ‘a further, definitive step’ towards establishing an annual film-based event in their calendar [5.9]. Post-event evaluations described it as ‘inspiring’ and ‘enlightening’: 90% of respondents’ (including many practitioners), and 77% were interested in learning more about Eastmancolor [5.10]. In 2019 the Group awarded its Turner Medal, for the first time to a film expert, to Street ‘in recognition of her outstanding contributions to colour in the arts’.

(iv) Inspired new artworks

Testimony from visual artist Aura Satz [5.11] demonstrates how discussing Street’s research with a Library of Congress archivist led to Eyelids Leaking Light (2015), a new solo commission at the George Eastman Museum, New York for an installation featuring Chromatic Aberration (first exhibited in 2014 at the Tyneside Cinema, Newcastle, with Satz and Street ‘in conversation’; audience c. 65) and Doorway for Natalie Kalmus. These works, inspired by Street’s research on Technicolor [3.1, 3.2], were subsequently added to George Eastman House’s collection for preservation. Satz explains the research had ‘a crucial impact as there was a lack of publications on the history of women's involvement in early film technology’ [5.11] during the research and development phases of her films/installations involving creative re-use of colour films including Joan the Woman - With Voice (exhibited from November 2013; Street is credited). ‘As a result… I had numerous international solo exhibitions (London, Newcastle, Toronto, Rochester NY, Colgate NY) and screened the works at many international film festivals. I was approached by the George Eastman Museum to make a new commissioned film Chromatic Aberration, for a solo show.’

Through the creation of a new visitor experience, The Lost Palace [3.5], Dr Clarke’s research has produced cultural and economic impacts, benefitting museum professionals, the public, and digital creatives.

Changing Historic Royal Palaces’ approach to immersive technology and visitor engagement

Museums and heritage sites have often struggled to create engaging digital content. By using theatre and innovative technologies, Clarke enabled Historic Royal Palaces (HRP) to create an immersive experience for visitors to engage with history where it happened. HRP ‘learnt vast amounts from The Lost Palace that will be able to inform how Banqueting House is developed as a visitor attraction and how we can tell the story of this palace that’s no longer there’ [5.1]. It transformed their interpretation strategy at Banqueting House, understanding of the potential of technology, and creative partnerships.

The Lost Palace ran every 20 minutes for 16 weeks across summer 2016 and 2017, for audiences of around 20, attracting over 20,000 visitors to Banqueting House, some of whom had not visited HRP before. 37% of The Lost Palace visitors were between the ages of 25-34, which is rare for a heritage attraction [5.4]. A family-friendly version with stories and interactions specially designed for 7-14-year-olds resulted in high engagement from young audiences, plus there were out-of-hours ‘lates’ with content specifically targeted at adults. Furthermore, HRP benefitted economically from additional ticket sales of GBP12 for the adult tour and GBP7 for children.

Following successful collaboration, prototyping and production of The Lost Palace, HRP established a new R&D Studio in late 2016, which incorporated lessons from Clarke’s research and the iterative, user-centred design process ( https://www.hrp.org.uk/research-and-development-studio/#gs.jinpej). This in-house creative development studio provides opportunities for artists in residence to explore new forms of public engagement with heritage. It has led to commissions of performance, digital installations, and immersive storytelling at other HRP locations (e.g. The People’s Revolt with East London Dance and Hofesh Shechter’s East Wall: Storm the Tower, Tower of London). Lost Palace partners Chomko & Rosier subsequently took part in these residencies, developing two further multisensory visitor experiences in the form of permanent installations for Henry VIII’s Kitchens and Base Court at Hampton Court Palace ( https://chomkorosier.com/kitchens.php; https://chomkorosier.com/base\-court.php\).

According to the Head of the R&D Studio at HRP, The Lost Palace was ‘innovative in its approach to collaborating with creative partners and shows a huge leap in the use of digital technologies within a heritage environment’ [5.1]. The founder of MuseumNext states ‘The result is a triumph and shows the benefits of both collaboration and investing in R&D. What could have been another unremarkable museum app [was] instead something truly memorable and immersive’. For him, it was ‘pioneering’, ‘one of the best executed digital experiences I’ve seen from a museum’, and ‘has a ton of lessons for those trying to make magic happen with digital in a heritage or cultural setting’ [5.2].

The project significantly raised HRP’s and creative partners’ reputations in the area of digital heritage/interaction and led to international awards, including the IMAGINES Project of Influence award at The Best In Heritage awarded by ICOM (International Council of Museums) and Europa Nostra (Dubrovnik 2018). This recognises the multimedia/technology project judged to have made the best impact on global museum professionals and to have the ‘potential to produce change and advance professional practices by their power of inspiration’. The Lost Palace also received Best Achievement and Interactive and Games Awards at European Heritage in Motion (2017), and the Museums + Heritage award for Innovation (2017), the judges of which wrote, ‘a genuinely innovative project which successfully harnessed new technology to bring to life the history which surrounds us in a new multi-sensory, tangible way’. It was also shortlisted for a 2017 IXDA award (global network for interaction design) [5.3].

The Lost Palace was critically acclaimed in professional museum and technology publications, and in the popular press. Museums Journal wrote that, ‘both the technology and the content are of high quality and, just as importantly, are used together effectively to bring the past to life. Buzzwords such as immersive, innovative and intuitive can be overused, but in this instance, they feel justified’. BBC Click described it as ‘a really thrilling experience... beautifully constructed & well put together... neither the theatre nor the tech unbalanced each other’ and Time Out London as ‘Funny, moving and fascinating, it’s a brilliantly created tour with plenty of smart surprises… more attractions should be creating experiences like this’. Mar Dixon, of Teens in Museums, the multinational CultureThemes and Twitter's Ask a Curator Day, said it was the ‘perfect marriage of storytelling and technology’. It ‘Brings history to life in an immersive way. Great for all ages. Even my teen loved it!’ [5.5].

Inspiring digital innovation in the wider museum and heritage sectors

The Lost Palace created a new approach to digital interpretation in historic buildings and museums, an approach that has been shared widely within the sector. It has been used as a point of reference in the field of museum interaction and digital heritage and led to invitations to present at professional conferences internationally over 2017-2020: MuseumsNext, New York 2019 and Rotterdam 2017; MTI2017, Paris; Digital Design Weekend, V&A; REMIX Summit Sydney; Culture Technology Entrepreneurship, Oxford University; Digikult, Heritage Istanbul 2018; keynote at The Best in Heritage 2019, Dubrovnik; Exponatec, Cologne 2019; StoryFutures AHRC Creative Cluster Story Lab, National Gallery; National Lottery Heritage Funded Inspiration Day at Battersea Arts Centre; 5G and Smart Tourism Workshop, The Roman Baths, Bath.

The project’s method of recording dramatised accounts in immersive 3D has been taken up by New York’s Met Museum in the production of a binaural audio experience as part of Visitors to Versailles (2018). For the Managing Editor and Producer of the Met’s Digital Department, when researching a solution for creating a “you-are-here” audio experience, ‘the key turned in the lock when I attended a museum conference and learned about [ The Lost Palace, a] walking tour produced in London that mimicked the 3D sound we experience naturally [by using] binaural sound recordings’ [5.6]. The Lost Palace is cited as an exemplary ‘audio journey’, a ‘form of audio augmented reality’, in Immersive Content Formats for Future Audiences, a report produced for Digital Catapult, 2018, and is used as a case study in Inspiring Creativity, Heritage & The Creative Industries, a report on fruitful collaborations between creative industries and the heritage sector, produced for the Heritage Alliance, the biggest national coalition of heritage organisations. It is also the case study for the ‘Social Experiences’ theme in Immersive Experiences in Museums, Galleries and Heritage Sites, a discussion paper for the AHRC Policy and Evidence Centre, led by Nesta, 2019 [5.7].

Enhancing visitors’ experience, engagement with history, and connection to place

The Lost Palace enabled visitors to experience historical events in the exact locations where they happened in an accessible, multisensory way that engaged them emotionally with people and stories from Whitehall’s past. 93% of visitors agreed that ‘the experience was unique to others I’ve had at visitor attractions’, noting how different it felt to the simple museum audio guides they had previously tried. For 92% of those surveyed it ‘brought the history of this time and place to life’ and 90% agreed that it ‘made me feel more connected to the past’ [5.4]. The Nesta discussion paper [5.7] argues that The Lost Palace shows ‘how powerful social interactions can be during immersive experiences’, which ‘can seed strong connections not only between people and place, but from person to person also’. Visitors said, I ‘definitely haven’t connected to history like that before’, that it gave them a ‘whole new understanding of [the] history of Whitehall!’ and, ‘if history had been taught this way, I might not have become a scientist!’ One wrote, ‘I was amazed how easily modern life drifted to the background whilst the past became more vivid and alive around me’. They had ‘never experienced anything like’ it, found The Lost Palace to be ‘an incredible immersive experience’, ‘such an imaginative venture’, ‘evocative’, ‘innovative, informative + fun’, ‘exceptional, playful and very moving!’ [5.8].

Creating new business opportunities for creative industry partners

The Lost Palace has led to additional economic benefits for the creative industry partners involved. The methods, applications, and technologies developed have been transferred to other contexts and enabled them to successfully bid for new commissions totalling GBP350,000. Calvium stated that ‘funders liking Lost Palace’ and its ‘resounding success’ has led to opportunities to tender. It has ‘helped with brand building’ and ‘as a case study for general sales pitches’, specifically ‘to demonstrate [their] capability for working on novel uses of technology’ [5.10]. Their White Paper, ‘Optimising Digital Innovation for Cultural Heritage Institutions’ focuses on The Lost Palace, shares the approach and makes ‘recommendations for other heritage organisations’ on how to deliver ‘new, richer, and more engaging visitor experiences’ [5.9]. The Lost Palace directly led to theatre sound designer Gibson being involved with many other heritage projects (totalling GBP74,100). Gibson was approached by ATS Heritage, who design audio and multimedia guides, after they saw The Lost Palace, and together they commissioned binaural content for numerous other historic sites, including The Cutty Sark, Orford Castle, The Royal Hospital Chelsea, Osborne House, Canterbury Cathedral, The Painted Hall (Old Royal Naval College), and Hever Castle. Gibson is also producing an audio-led exhibition, using cutting edge locative technology developed by NOUS (Austria) for the new Hans Christian Andersen Museum in Denmark opening in Summer 2021 (GBP50,000). Gibson added ‘this commission came about because the creative directors of the project saw The Lost Palace and it involves a great deal of skills… developed on the project’ [5.10]. For partners Limbic Cinema, ‘having a small part in the award-winning project… has definitely added some calibre to our pitch documents’. They have since won several commissions locally for education and historic institutions, including: five new permanent installations for Bristol’s We The Curious (GBP70,000); four pieces of digital heritage interpretation for Bristol Old Vic, including an AR collaboration with Zubr and projection-mapping with Aardman (GBP70,000); and the SS Great Britain’s anniversary event (GBP15,000) [5.10]. Newly established company Chomko & Rosier commented that the industry attention from the success of The Lost Palace, its experimental nature and ambition, led to further projects within the heritage sector for clients including National Trust, and further work for HRP at Hampton Court. For them, the value of earnings resulting from The Lost Palace is within the region of GBP60,000-GBP80,000. For Rosier it ‘informed how we manage collaborations and gave us the confidence to work with creatives and professionals from a wide range of disciplines’ [5.10]. It also ‘gave other institutions and commissioners confidence in our ability to collaborate in such ways’ and ‘to deliver large scale public work’. ‘There is continued interest in The Lost Palace within the heritage sector and beyond’, which ‘continues to lead to invitations’ and create ‘opportunities’ [5.10].