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This article addresses the use and impact of the so-called Big Data on arts organisations. The article argues that arts bodies have been slower than some business sectors to enter the data sphere and to contribute to the key debates even though many arts organisations have been developing data systems as a means of responding to the demands of funding bodies for more concrete measurement of impact. The article tests this hypothesis by examining the outcomes of a major NESTA/ACE/AHRC-funded project which applied ethnographic method to analyse the use of data by three major arts bodies operating in London, a project which built on the arguments forwarded in a previous NESTA document, Counting what counts (NESTA 2013). The project, managed by the Audience Agency, on which the present author was principal researcher, was delivered over 12 months from August 2014 to August 2015. The article outlines the methodology, and highlights the emergence of a new ethnographic form, “thick data” grounded in data ...

In the motorsport environment, passive limited slip differentials are a well-established means of improving the traction limitation imposed by the open differential. Torque sensing types are highly adjustable, and can alter both the stability and agility of the vehicle in the various cornering phases of a typical manoeuvre. In this paper, an adjustable clutch plate or ‘Salisbury’ differential model is presented, which can significantly alter its torque bias characteristics through adjustments in the drive/coast ramp angle, the number of friction faces and preload. To allow robust evaluation of differential parameter changes on ultimate vehicle performance and handling balance, a unified acceleration or ‘GG’ diagram framework is then described. This builds on traditional GG diagram approaches, by using nonlinear constrained optimisation to define both the vehicle acceleration limits and a ‘feasibility’ region within the performance envelope. By linearising a seven degrees of freedom vehicle model at multip...

December 2011 saw the Stiftung Neue Synagoge Berlin host a new exhibition introducing visitors to “Kulmhof [Chelmno]––the unknown extermination camp.” The promotional material noted that, although ...