Search results

This chapter focuses on the micro-contexts of cross-innovation between digital audiovisual media and the health care sector by examining two cases, both start-ups working on virtual reality-assisted rehabilitation solutions. Through a discussion of the two cases, this chapter aims to elucidate the broader dynamics of digital health care as experienced by innovators seeking to contribute to it. It addresses the challenges faced by innovators, including the lengthy and costly nature of medical licensing, the inflexibility and fragmentation of pertinent regulations, and health care institutions’ and insurers’ resistance to change. It also highlights the importance of networking and the emergence of digital health care as a distinct and increasingly visible epistemic community, while touching upon the tensions between the public and the private sectors as a target market for innovators.

This chapter examines how those directly affected by the terror attack on Utøya in Norway on 22 July 2011 used social media to cope with the trauma. Through interviews with eight survivors and a study of their Facebook walls during the first month after the shooting, the chapter sets out to answer how they tell and re-tell the trauma on Facebook. In what way does their re-telling of the terror event give it meaning? With Narrative Therapy as its inspiration, this chapter studies different themes and stories on the Facebook walls, what is told about the event, its effects and responses to it. The meaning derived from the trauma is a story of national unity, democratic values and the redefining of Norway as a multicultural society. As for the perpetrator, he is written out of the story.

This chapter discusses the various ways in which audiovisual (AV) media industries have cooperated with the tourism industry and explores the emergent areas for cross-innovation. It demonstrates the gradual mediatisation of tourism, but also how the added value from location tourism has started to affect, for instance, the operation of the film industry. It then discusses the emergence of tourism gamification that came about with the arrival of smartphones equipped with an ever-increasing variety of sensors relevant to location and mobility awareness. The chapter finishes by discussing the affordances and forms of augmented reality being used in the service of the cultural heritage sector and the broader tourism sector.