Digital approaches for the arts - 2013 - Unthinkable Consulting

Digital approaches
for the arts w i t h s o m e s p e a k e r ’s n o t e s

J u s t i n S p o o n e r D i r e c t o r a t U n t h i n k a b l e C o n s u l t i n g

One idea that we hold dear at Unthinkable is that technology
is about creating better connections, not just more
connections.!

Better connections between people.!
Better connections between ideas.!
Better connections between ideas and people, and people
and machines!

It permeates all our thinking and you’ll see that bias running
through my talk

George Lois: “Trends are a search for something safe – and a reliance on them leads
to oblivion….Trends can tyrannize; trends are traps. In any creative industry, the fact
that others are moving in a certain directions is always proof positive, at least to me,
that a new directions is the only direction. (Damn Good Advice by George Lois)!

That art is vital is not likely to be questioned in this room.!

But is digital vital? The ﬁrst trend is to answer quickly and enthusiastically yes. What
else could you say in good company like this?!

But consider your own view to digital. !

Does it make art better, does it help your organisations grow and therefore celebrate or
create more of it? Is digital purely the means or can it be the ends? Does digital
enhance experiences for audiences and participants? Is the effort of making great
digital experiences worth it for you and your organisation? Can you really create better
creative connections with it?!

As you assess these trends I put before you like some digital arts evangelist, I’d like
you to push back a little and keep your critical faculties primed and ready.!

We are not to be led
by technology

There
is
a
tremendous
pressure
to
keep
up
with
the
next
big
thing.

Simply
responding
to
that
pressure
means
le9ng
technological

change
happen
to
you.

I’d
like
to
start
this
session
building
out
from
the
end
of
a
previous

session.

The
Engaging
Digital
Audiences
in
Museums
conference
that

happened
in
July
2012.
It
brought
together
museum
people
and

technologists.

To
quote
from
the
blog
post
summary
–

Despite
being
a
conference
about
technology
use,
everyone
was
very

clear
that
it
is
very
necessary
to
resist
being
technology
driven.

In
his
later
years
Percy
Grainger
on
yet
another
of
his
missions
wanted

to
purge
the
English
language
of
words
with
LaMn
roots,
so
the
word

“museum”
was,
in
his
system,
to
be
replaced
with
the
term
“Hoard

House”

There
has
been
so
much
work
done
on
moving
museums
away
from

this
hoarding
idea
towards
a
perhaps
more
enlightened
role.
But
it
is

starMng
to
feel
like
there
is
a
new
possibility
opening
up,
enabled
by

digital
technology,
to
get
back
to
that
hoard
house
idea.
But
this
Mme

the
Hoard
House
is
also
my
house.

Examples

Rijksmuseum

Google
Art
Project

Google
Cultural
InsMtute

Retronaut

YouTube
Time
Machine

Shops become public
archives

The
visual
arts
are
all
of
a
moment
reinvenMng
themselves
in
the
form
of
highly
approachable

digital
shops

The
Economist
very
recently
did
a
piece
on
this
latest
trend.

The
first
brilliant
line
of
the
arMcle
is
this
-‐
FEW
cultural
mediums
have
defied
the
digital
revoluMon

quite
like
the
art
market.

This
piece
led
me
to
consider
an
intriguing
tension
that
the
visual
arts
have
always
had
to
grapple

with
–
the
relaMonship
between
their
commercial
drivers
and
their
public
purpose

Something
that
feels
like
a
Mghter
Mghtrope
than
ever.

Artsy
is
a
shop
that
seems
to
want
to
put
enormous
efforts
into
a
user
experience
that
focuses
on

the
pleasure
of
discovery
–
without
the
need
to
purchase
but
always
the
possibility

Examples

Art.sy

Etsy

Culture
Label

S.EdiMon

Art
Space

Art
Finder

The internet turns us
all into memory
institutions

Whether
we
like
it
or
not
increasingly
our
role
will
be
to
provide
the
basis
of
a
public
memory

Tony
Ageh
–
Controller
of
Archive
Development
at
the
BBC,
has
coined
a
term
–
Digital
Public
Space

He
doesn’t
mean
the
name
to
sound
like
a
website
or
a
thing,
it
is
more
like
an
agenda
–
one
I
think
is

worth
considering:

He
envisages
a
way
we
could
make
content
available
to
the
public
that
has
these
defining
characterisMcs

openness,
persistence,
engagement,
partnerships,
access
and
public
benefit.

Of
all
these
let
me
focus
on
persistence
for
a
moment

The
arts
are
fantasMcally
good
at
creaMng
fleeMng
moments
–
a
great
coming
together
of
art,
arMsts
and

audience
and
then
–
poof
–
its
gone.
Just
a
memory
for
those
parMcipants
and
quite
oên
some
well

craêd
markeMng
material
all
wri_en
in
future
tense
describing
in
glowing
terms
an
event
that
had
yet
to

be.

What
could
and
should
have
been
le^
behind?
The
last
few
years
of
digital
development
are
challenging

us
all
to
come
up
with
a
new
answer
that
be_er
fits
our
public
purpose.

Three
examples
of
this
ongoing
cultural
preservaMon
–
historic
building
conservators,
those
sites
like

retronauts
and
Jubliee
Mme
capsule,
developers
who
create
simulators
of
past
computer
technology
so

that
we
can
access
our
digital
pasts.
The
company
code
mysMcs
has
created
a
number
of
these
simulators

and
created
apps
for
iOS.

Some
like
the
New
Museum
are
making
available
their
own
insMtuMonal
memories
as
a
lens
on
the
art.

‘Since
1977
the
New
Museum
has
been
in
the
forefront
of
presenMng
contemporary
art
and
cultural

pracMce
in
New
York
City.
The
Digital
Archive
provides
researchers
with
free
online
access
to
primary

source
materials
from
New
Museum
exhibiMons,
public
programs,
and
publicaMons.

Through
this
interface,
users
can
explore
approximately
7,500
wri_en
and
visual
records,
as
well
as
a

searchable
database
of
over
4,000
arMsts,
curators,
and
organizaMons
associated
with
the
New
Museum's

programming.
New
materials
are
being
processed,
digiMzed,
and
added
to
the
Digital
Archive
as
they

become
available.’

Jubilee
Mme
capsule

‘Last
year
saw
the
Queen
celebrate
her
Diamond
Jubilee
and
60
years
as
head
of
the
Commonwealth.To

mark
both
the
Royal
Commonwealth
Society
created
the
Jubilee
Time
Capsule
an
online
social
archive,

containing
stories
from
people
across
all
54
Commonwealth
countries,
either
as
a
wri_en
memory,
a

ﬁlm,
an
audio
recording
or
a
photographic
memory.

Over
37,000
people
submi_ed
contribuMons,
via
jubileeMmecapsule.org
and
an
Apple
app.
But
80,000

stories
were
collected
in
all
and
live
on
the
site.

Some
of
the
other
best
entries
are
of
7th
June
1954
–
The
legacy
of
Alan
Turing
as
remembered
by
his

former
PhD
student,
and
14th
November
1990
–
a
personal
account
by
Paralympic
athlete
Oscar

Pistorius,
who
recalls
his
childhood
realisaMon
that
disability
is
not
synonymous
with
disadvantage.’

Capsool
the
company
behind
delivering
that
project
call
themselves
–
Inventors
of
the
temporal
web

Curation is an essential
public service

Whether
it
is
done
by
you,
an
expert
out
there,
or
your
audience

Let’s
explore
this
highly
contenMous
word
curaMon:

There
are
blogs
and
websites
driven
by
personal
energy
and
commitment
like
one
of
my
favourites

Brainpickings
that
trawl
through
several
lifeMme’s
worth
of
art
and
culture
related
material
in
order
to

bring
me
the
top
picks.

There
is
automated
curaMon
that
happens
on
sites
like
Art.sy
for
visual
art
and
Last.Fm
for
music

There
are
organisaMons
like
the
Walker
Art
Center
that
use
editorial
curaMon
as
a
way
to
be
interested
in

the
world
around
them

There
are
the
thousands
upon
thousands
of
tumblogs
and
pinboards
–
where
cascades
of
images
pour

down
the
screen,
somehow
conveying
connecMons
and
odd
juxtaposiMons
as
they
go
-‐
these
sites
force

you
to
engage
and
derive
meaning,
signiﬁcance
or
at
the
very
least
pleasure
from
a
seemingly
random

grouping
of
pictures.

‘ArMsts
o^en
cling
to
control
of
their
work
and
the
context
of
its
display,
but
to
interact
with
Tumblr,
they

must
give
up
that
control.
Art
on
Tumblr
might
get
seen
by
many
people,
but
1,000
reblogs
doesn’t
mean

anyone
will
be
looking
at
your
art
the
next
week,
know
who
made
it
or
understand
it
in
a
meaningful

way.’

Hyperallergic
and
Tumblr
have
joined
forces
to
present
“ The
World’s
First
Tumblr
Art
Symposium.”
–

March
9th

Silbermann
Pinterest’s
co
ownner
suggests
that
collecMng
online
is
a
form
of
self-‐
expression
for
people
who
don’t
create.
“If
you
walk
around
Brooklyn
and
ask

people
how
they
express
themselves,”
he
said
in
a
speech
at
New
York
University,

“everyone’s
a
musician
or
an
arMst
or
a
filmmaker.
But
most
of
us
aren’t
that

interesMng.
Most
of
us
are
just
consumers
of
that.
And
when
we
collect
things

and
when
we
share
those
collecMons
with
people,
that’s
how
we
show
who
we

are
in
the
world.”

This
is
what
Lauren
Northop
form
the
Hermitage
Museum
and
Gardens
(Virginia)

has
to
say:

If
anything
has
ever
moved
me
to
punch
my
fist
through
my
computer
screen,
it
is

the
recent
gross
misappropriaMon
of
the
word
CURATE,
most
parMcularly
by
a

certain
type
of
blogger.
The
flagrant
misuse
of
this
sacred
(to
me,
and
I
assume
to

other
curators)
word
has
spread
like
wildfire
through
the
precious
world
of
home,

cra^
and
decor
blogging
and
is
infecMng
the
internet
like
a
virus.

The
very
meaning
of
the
word
is
starMng
to
change,
and
that
makes
me
crazy.

Creativity gets better
connected

The
great
power
and
saMsfacMon
of
art
is
o^en
found
in
the
making

Can
digital
help
us
make
that
art,
can
it
bring
new
people
into
the
experience,
can
it

enrich
our
relaMonship
with
the
act
of
making?

ConnecMng
creators
of
all
kinds
is
essenMal

Unthinakble
worked
with
Heart
n
Soul
on
the
Dean
Rodney
Singers
project
in
2012.

It's
a
project
that's
near
impossible
to
summarise
without
pictures,
sound
and
a
great

deal
of
hand
waving,
but
here's
an
a_empt:
the
singer
and
composer
Dean
Rodney

had
a
vision
of
an
internaMonal
collaboraMon
involving
72
musicians,
singers
and

dancers
both
with
and
without
learning
disabilites
in
seven
countries
to
create

something
amazing
together
as
part
of
London
2012.
As
the
project
began
to
take

pracMcal
shape,
this
involved
Dean,
working
with
Charles
Stuart,
generaMng
23
tracks

of
raw
musical
material,
which
could
then
have
layers
of
musical
and
visual
creaMvity

overlaid
by
arMsts
in
Brazil,
South
Africa,
Germany,
CroaMa,
China,
Japan
and
Britain.

The
song
creaMon
process
ran
across
several
phases
and
used
iPads
as
the
primary

creaMve
tool.
It
culminated
in
an
installaMon
in
the
Southbank
Centre
in
early

September
2012
which
was
itself
designed
to
encourage
interacMon
and
musical

invenMon
from
visitors.

Midi
is
30
years
old!
But
the
challenge
to
connect
our
tools
remains
as
important.
The

new
challenge
is
to
go
beyond
connected
machines
and
to
ﬁnd
ways
to
connect

diﬀerent
creators.

ArMsMc
Development

ENO

MINI
Operas

The
Museum
of
Non
ParMcipaMon

Karen
Mirza
and
Brad
Butler

‘…the
duo
developed
The
Museum
of
Non
ParMcipaMon:
a
roaming,
ever-‐evolving
collecMon
of
audio-‐
visual
works,
workshops,
presentaMons,
and
other
acMviMes
that
has
traveled
to
Egypt,
Pakistan,

Germany,
and
the
UK.
Created
as
a
way
to
iniMate
and
build
dialogue
around
issues
of
direct
acMon,

acMvism,
and
resistance
that
speciﬁc
to
its
temporary
locaMons—and
as
an
alternaMve
to
tradiMonal

museums
as
repositories
of
coveted
objects—the
Museum
of
Non
ParMcipaMon
is
paradoxically

dependent
on
parMcipaMon.’
[from
Walker
Art
Center
website]

Giving
your
audience
some
real
choices
beyond
the
purchase
of
a
Mcket

Brooklyn
Museum
-‐
‘Brooklyns
Got
Talent’

From
their
rather
brilliant
website:
‘Brooklyn
Museum
is
tesMng
a
new
construct
of
audience
engagement
with
its

current
exhibit
GO:
A
Community-‐Curated
Open
Studio
Project.

GO
combines
two
exisMng
tacMcs:
inviMng
the

public
into
studios
of
working
arMsts
to
see
where
and
how
artwork
is
made,
and
crowdsourcing
the
selecMon
of

that
artwork
through
an
open
voMng
process
which
then
makes
an
exhibiMon
at
the
museum.

During
the
GO
weekend,
1800
Brooklyn-‐based
arMsts
were
asked
to
open
their
studios
to
the
community
on

September
8–9,
2012.
Community
members
registered
as
voters
visited
studios
and
nominated
arMsts
for

inclusion
in
a
group
exhibiMon
to
open
at
the
Brooklyn
Museum
onTarget
First
Saturday,
December
1,
2012.

There
was
of
course
anxiety
about
how
many
of
the
4,929
eligible
voters
(those
who
checked
in
to
more
than
5

studios)
would
conMnue
their
engagement
into
the
nominaMon
phase.
We
anMcipated
that
we
would
lose
some

people,
but
again,
as
has
o^en
happened
with
GO,
we
have
been
pleasantly
surprised
with
the
results.

Our
nominaMon
period
ended
on
Tuesday
night.
We
received
9,457
nominaMons
over
seven
days.
Of
the
eligible

voters,
78%
of
them
took
the
next
step
to
recommend
arMsts.
While
we
allowed
visitors
to
select
up
to
three

arMsts,
many
chose
fewer—23%
nominated
1
arMst;
10%
nominated
2
arMsts;
and
67%
nominated
3
arMsts.’
They

had
a
lot
of
trouble
with
the
app,
it
kept
crashing,
a
lot.
But
when
it
did
work
it
made
the
experience
really
fun

for
families
touring
around.

Comment
from
the
website:

I
think
the
GO
Project
as
conceived
was
extremely
ambiMous,
risky
even.
As
one
of
the
arMsts
who
parMcipated,
I

applaud
that
ambiMon.
The
Times
review
has
a
chastening
tone.
Everything
it
says
is
likely
accurate,
but
the
art

world
suﬀers
in
general
from
not
enough
people
taking
enough
chances.

In
John
Carey’s
book
‘What
good
are
the
arts?’
he
points
out
that

meanings
are
not
inherent
in
objects,
they
are
supplied
by
those

who
interpret
them.

So
it
ma_ers
a
great
deal
who
does
that
interpretaMon
if
we
want

diverse
and
surprising
meaning
to
unfold
around
our
art.

Many
organisaMons
are
experimenMng
with
diﬀerent
ways
to

encourage
the
generaMon
of
new
meaning
by
web
user
or
physical

visitors.
Our
work
with
the
Wellcome
CollecMon
is
focusing
exactly

that
challenge,
in
our
view
it
one
of
the
most
exciMng
ideas
that

digitally
accessible
art
and
collecMons
gives
rise
to.

Physical and digital
combine to create
unique experiences

Digital
combined
with
physical
can
bring
diﬀerent
audiences
together

Google
Labs
and
Tellart
create
the
Chrome
web
labs
project
for
the
Science
Museum

Digital
combined
with
physical
can
augment
your
gallery
experience

The
Cleveland
Museum
of
Art

h_p://www.clevelandart.org/artlens

MONA

h_p://journal.davidbyrne.com/2013/01/012113-‐monaism.html

Digital
combined
with
physical

can
enable
new
kinds
of
storytelling

Punch
Drunk
collaboraMon
with
MIT
on
Sleep
no
more

The
PlaystaMon
3
game
–
the
Wonderbook

New
technologies
and
making
it
much
cheaper
to
capture
physical
gestures
and
with
be_er

deﬁniMon

h_ps://leapmoMon.com/

Forget Likes, Fans
Followers

The
term
social
media
obscures
something
that
is
Mmeless
about
the
way
humans

connect
with
each
other

We
can
easily
become
obsessed
with
the
tools
and
get
focused
on
the
the
thin
end
of

the
story

I’d
prefer
to
hear
about
your
conversaMon
strategy
than
your
social
media
strategy

What
might
a
conversaMons
strategy
include?

++
Having
something
to
talk
about

++
Your
approach
to
being
interesMng

++
Perhaps
more
importantly
–
your
way
of
being
interested

++
Your
approach
to
sparking
new
conversaMons

++
Your
approach
to
bringing
people
into
new
relaMonships
and
conversaMons

++
Your
approach
to
responding
to
criMque

++
Your
approach
to
acMvely
listening

Some
cultural
organisaMons
do
listen
to
and
parMcipate
in
online
debate,
but
for
many

it
remains
a
series
of
conversaMons
that
are
taking
place
elsewhere
–
out
of
earshot.

At
Kings
Cross
recently
I
noMced
as
I
walked
alongside
the
taxi
rank
of
about
20
cabs
that
every
single

driver
had
a
mobile
device
in
their
hand,
on
their
lap
or
leaning
on
the
wheel.
The
range
of
devices
was

staggering,
I'm
not
sure
I
saw
the
same
device
twice.
There
were
different
Kindles,
iPads,
Samsung

tablets,
and
every
kind
of
smart
phone.
Some
cabbies
were
texMng,
some
watching
TV,
some
reading,

very
few
were
on
the
phone.

Clearly
mobile
does
not
just
mean
the
device,
it
means
the
mode
of
experience
-‐
to
be
mobile.
To
create

great
mobile
experiences
is
an
interesMng
design
challenge
to
say
the
least.

Arts
organisaMon
audience
have
a
bias
towards
the
use
of
high-‐end
mobile
technology.
71%
of
visitors
to

the
VA
in
autumn
2012
owned
a
smartphone
and
25%
of
the
rest
planned
to
buy
one
in
the
next
year
–

compared
with
50%
of
the
general
populaMon.

The
big
debate
in
2012
and
likely
to
rage
this
year
as
well
is
how
to
respond
to
this
mobile
environment.

OrganisaMons
are
now
weighing
up
the
benefits
of
creaMng
naMve
apps
for
devices
vs
a
more
web
app

approach.
Or
they
are
considering
whether
to
create
a
bespoke
mobile
website
or
to
try
and
create
a

responsive
design
approach
that
will
scale
elegantly
to
different
devices.

The
first
Mcketed
public
concert
was
in
London
in
1672.
It
was
organised
by
a
composer
and
violinist
called
John
banister
shortly
aêr

he
was
fired
from
the
royal
band.
The
price
was
one
shilling
and
the
audience
could
make
requests.
By
1877
Edison
had
invented
the

wax
cylinder
recorder.
The
sound
quality
led
him
to
iniMally
market
them
as
dictaMon
machines

The
New
York
Times
predicted
that
this
would
lead
to
owners
becoming
collectors
of
speeches.

To
quote
”Whether
a
man
has
or
not
a
wine
cellar
he
will
certainly,
if
he
wishes
to
be
regarded
as
a
man
of
taste,
have
a
well
stocked

oratorical
cellar.

From
1990
TED
launched
as
an
expensive
event
you
would
never
be
going
to

From
2006
we
had
TED
on-‐demand

Since
June
2006,
the
talks
have
been
offered
for
free
viewing
online,
under
A_ribuMon-‐NonCommercial-‐NoDerivs
CreaMve
Commons

license,
through
TED.com.As
of
November
2011,
over
1,050
talks
are
available
free
online.By
January
2009
they
had
been
viewed
50

million
Mmes.
In
June
2011,
the
viewing
figure
stood
at
more
than
500
million,
and
on
Tuesday
November
13,
2012,
TED
Talks
had

been
watched
one
billion
Mmes
worldwide,
reflecMng
a
sMll
growing
global
audience.
[wikipedia]

So
what
happened
in
2012?

The
BBC
went
on-‐demand
crazy
for
the
Olympics,
with
every
sport
having
its
own
on-‐demand
channel.

The
Arts
Council
with
the
BBC
focused
the
UK
arts
world
with
its
The
Space
project.

Opera
went
big
for
on-‐demand
but
it
split
the
pack.
Glyndebourne
worked
well
with
the
Guardian,
the
Royal
Opera
House
went
for

cinemas
but
the
English
NaMonal
Opera
pushed
back.
Their
arMsMc
director
John
Berry
has
this
to
say
If
opera
in
cinema
becomes
the

main
event
and
not
the
live
work
on
stage,
we
feel
that
is
not
a
step
forward
but
a
step
back,
he
said,
arguing
that
this
obsession

about
pu9ng
work
out
into
the
cinema
can
distract
from
making
amazing
quality
work.
Speaking
to
The
Stage
newspaper,
he
added:

It
is
not
a
priority.
It
doesn't
create
new
audiences
either.”

David
Sabel,
the
head
of
digital
media
at
the
NaMonal
Theatre
and
producer
of
works
for
its
cinema
arm,
NT
Live,
said
the
experience

of
watching
performances
in
a
cinema
rather
than
on
television
sMll
offers
a
shared
experience.
They
laugh
along
with
the
audience

and
applaud
at
the
end.”

One
conclusion
of
the
Arts

Business/MTM
report
in
2010
was
that
the
vast
majority
of
people
who
access
online
cultural

experiences
(videos,
recordings
etc.)
also
a_end
cultural
events.
It
notes
that
“Crucially,
this
(online)
engagement
augments,
rather

than
replaces,
the
live
experience”.

Intellectual property
battles will not resolve
anytime soon

But
that
should
not
stop
us
trying
new
things
for
a
second

Story
of
Google
Books
ba_le
with
the
AAP

The
associaMon
of
american
publishers
launched
a
lawsuit
against
Google
in
2005.
in
2012
the
AAP

se_led
–
It
took
around
seven
years
to
agree
this:

US
publishers
can
choose
to
make
available
or
choose
to
remove
their
books
and
journals
digiMzed
by

Google
for
its
Library
Project.
Those
deciding
not
to
remove
their
works
will
have
the
opMon
to
receive
a

digital
copy
for
their
use.”

The
strange
bit
is
that
these
are
pre_y
much
the
same
opt-‐out
terms
that
Google
offered
the
AAP
when

this
suit
started
almost
exactly
seven
years
ago.
So
why
the
seemingly
endless
fight?
Because
seven
years

ago
the
e-‐book
market
was
very
young
and
the
publishers
were
in
freak-‐out
mode.

The
iniMaMve
has
been
hailed
for
its
potenMal
to
offer
unprecedented
access
to
what
may
become
the

largest
online
body
of
human
knowledge[9][10]
and
promoMng
the
democraMzaMon
of
knowledge,[11]

but
it
has
also
been
criMcized
for
potenMal
copyright
violaMons.
As
of
March
2012,
the
number
of

scanned
books
was
over
20
million,
but
the
scanning
process
has
slowed
down.[13]
Google
esMmated
in

2010
that
there
were
about
130
million
unique
books
in
the
world,[14][15]
and
stated
that
it
intended
to

scan
all
of
them
by
the
end
of
the
decade.

WHAT
on
earth
is
going
to
happen
when
3D
printers
become
mainstream?

These
skirmishes
are
really
creaMng
a
grey
haze
about
things
we
need
to
and
can
change:

Looser
collaboraMve
IP
contracts
–
creaMve
partnership

People
in
the
arts
know
this
well:
The
gi^
economy
runs
alongside
the
market
economy

The
evidence
shows
that
greater
engagement
in
the
arts
leads
to
greater
giving

If
you
only
focus
on
making
your
audience
consumers
of
your
excellent
wares
rather
than
parMcipants
or

it
is
harder
to
ask
for
more
money.
You
are
almost
training
audiences
not
to.
We
all
need
to
create
stories

that
make
the
case
for
support.
Outreach,
learning
and
community
projects
can
have
a
vital
visibility

online,
that
enable
your
organisaMon
to
tell
the
fuller
story
about
your
mission.

An
independent
report
commissioned
by
the
Secretary
of
State
for
Culture,
Media
and
Sport
on
the

scope
for
harnessing
digital
technology
to
boost
charitable
giving
to
the
culture
and
heritage
sectors

made
these
high-‐level
recommendaMons
to
Government:

Encourage
the
industry
to
collaborate
to
simplify
digital
giving
systems

Extend
the
Digital
RD
Fund

Introduce
a
matching
scheme
for
online
donaMons

Join
up
Government
policy
on
philanthropy
and
giving

The
funding
picture
is
shiîng,
in
my
view
in
three
posiMve
ways:

Crowd
funding

Public
InnovaMon
funding

Corporate
funding

Here
let’s
focus
on
Crowd
funding

Kickstarter
came
to
the
UK
at
the
end
of
October
-‐
h_p://www.kickstarter.com/
Kickstarter
is
an
American-‐based
private

for-‐profit
company
founded
in
2009
that
provides
through
its
website
tools
to
fund
raise
for
creaMve
projects
via
crowd

funding.[1]

StaMsMcs
for
projects
from
UK-‐based
creators
(October
31,
2012
—
November
30,
2012)

Total
Pledged:
£2,069,164
-‐
Total
Backers:
45,799
-‐
Launched
Projects:
407

Successfully
Funded
Projects:
30In
Kickstarter's
first
month
in
the
UK,
an
amazing
£2
million
was
pledged
to
UK
creators.

That
works
out
to
£48
in
pledges
each
minute.Of
the
400
projects
that
have
launched,
30
have
already
been
successfully

funded
and
many
more
are
on
their
way.
A
public
art
project
called
the
Chime
Pavilion
was
the
first
successfully
funded

project,
with
triple
its
funding
goal.
The
very
first
project
to
launch,
a
hardware
project
called
Picade,
was
successfully

funded
with
£74,000
pledged
—
double
its
funding
Where
are
those
backers
located?

Here's
a
breakdown:
UK
backers:
39%
-‐
EU
backers:
23%
-‐
US
backers:
23%
-‐
Other
areas:
15

To
date,
39%
of
backers
have
come
from
within
the
UK
and
61%
have
come
from
outside
of
it.
(For
US
projects,
78%
of

backers
have
been
from
the
US
and
22%
outside
of
it.)
Of
the
EU
countries,
Germany,
Sweden,
France,
Denmark,
and
the

Netherlands
are
home
to
the
most
backers
so
far.

Most,
but
not
all,
successful
crowd
schemes
have
the
following
characterisMcs:

+++
They
rely
on
large
numbers
of
small
donaMons,
playing
on
the
sense
of
“Being
in
with
the
In-‐Crowd”,
usually
at
levels

of
money
that
supporters
are
prepared
to
lose;

+++
They
involve
some
form
of
reciprocal
value,
such
as
a
number
of
Mckets
to
the
opening
night
of
the
film,
signed
copies

of
the
album
or
book
or,
in
the
case
of

investment
funding,
a
prospect
of
financial
return;

+++
They
are
typically
personalised,
with
the
sponsor
or
fundraiser
being
idenMfiable,
so
providing
funding
is
essenMally
a

social
act,
not
an
economic
transacMon.

Forget the wow
Focus on your core
( t h a t w i l l r e a l l y w o w t h e m ! )

Put the user at the
centre of your world

S o t h a t y o u c a n

Plan
Adapt
Emerge

L a s t l y

We all need to help create the
technolog y-ar tists of tomorrow

J u s t i n S p o o n e r D i r e c t o r a t U n t h i n k a b l e C o n s u l t i n g

j u s t i n @ u n t h i n k a b l e c o n s u l t i n g . c o m

Digital approaches for the arts - 2013 - Unthinkable Consulting

Recommandé

Recommandé

Contenu connexe

Tendances

Tendances (19)

En vedette

En vedette (7)

Similaire à Digital approaches for the arts - 2013 - Unthinkable Consulting

Similaire à Digital approaches for the arts - 2013 - Unthinkable Consulting (20)

Digital approaches for the arts - 2013 - Unthinkable Consulting