"Culture Hounds" - a new audience segment?
The Edinburgh International Festival will launch its INcrowd promotion next week. Aimed at attenders in their 20s and 30s, the scheme costs £20 to join and offers exclusive benefits and discounts and is designed to engage the over 26 group who miss out on the best discounts for students and young people.
For more details check out...http://www.eif.co.uk/news/incrowd
Having trouble deciding who to support at the Tour de France? Cycling Weekly has this handy guide.
So what insights do Ozco have for us?
Young people are highly engaged with the arts.
Those born overseas in a non-English speaking country have significantly lower levels of both creative and receptive participation compared to the total Australian population Those for whom the main language spoken at home is not English are less likely to attend arts events. People with a serious illness or disability experience significant difficulties accessing the various services offered by the arts and consequently had much lower levels of arts participation. Regional areas have significantly lower levels of attendance at music events than inner metropolitan areas. Rural residents are more likely than inner and outer metropolitan residents to have had a below average year of receptive participation in the arts compared to the year before.
socialinterior I find this event very focused on the major performing arts and the issues they are having catching up on where everyone else is at #rtarts
artsdigitalera RT @The_Art_Life: New media world collides with old world art politics of entitlement.#RTArts
socialinterior The Australian Opera discovers social networks#rtartscommuter_dirge@aussiecosi has 88 following, 54 followers, and 91 tweets. Hardly a roaring success... #RTArtscommuter_dirge twitalyzer score for @aussiecosi:http://tr.im/Db2n: "0.3 influence" "0.0% generosity" "0.7% clout" (now I'm just being mean) #RTArtsunsungsongs . @commuter_dirge and 66 facebook firends. That's a #fail surely?#RTArtscommuter_dirge @fireinthesouth well, that's you're brand, just as@AussieCosi is a branded account. It's really not a great case study. #RTArtsunsungsongs I am extremely curious about whether those involved in Aussie Cosi see it as a success and how they judge that?#rtartsmattriviera @aussiecosi What did you learn thru social media feedback you couldn't have gotten thru a survey? Best use of social media? #RTArtsmattriviera @aussiecosi Wouldn't a good way for fan community to engage with the work be for them to appropriate it? To re-interpret it? #RTArtsshoes_off @elliottbledsoe @commuter_dirge true, but showcasing a more active community than cosi would have displayed the scalability of SM #rtartscommuter_dirge @bimyou_bimyou I'm not talking monetising twitter in and of itself. but you need to show some proof of it working & a correllation #RTArtsdziga @aussiecosi doesn't seem to have a lot of followers #rtartsrevealingarts Katrina Sedgwick: "Messing", "playing", "getting in there", these are the kind of mind frame to approach digital, not "sell tickets" #RTArts
Are you wondering what’s happening to arts and culture in the new digital world? Where will the money come from? How will we manage rights? Where do we fi nd creative partners? What works and what doesn’t? And what are we leaving the next generation? The Australia Council for the Arts and the ABC invite you to be part of a selected group of strategic thinkers, artists, practitioners and directors who will uncover the opportunities for the arts that the digital era presents.Today and tomorrow, the ABC and the Australia Council are hosting 'Revealing the Arts: creative conversations and solutions for the digital era'. The program of discussion appears to be covering the current and future role of digital across areas such as a education and opening up access to arts, while tackling 'issues' such as copyright, rights management and commercial opportunities in the digital era.
there are vital basic assumptions that are rarely questioned: that the culture, the cultural organisations that deliver it, the cultural needs and infrastructure of Australia will remain more or less fixed. Technology is merely about the marketing, the branding, the language, the revenue and the education programs. The idea that the culture itself is changing and evolving is rarely considered. Technology merely changes the hype and the pitch to keep the kids interested.
The ABC has long moved beyond that. The broadcaster has realised that in order to justify its continued existence, it needs to keep questioning and evolving its roles.
Information Management at [Arts] Organisations
Performing arts organisations, like other types of organisations, are moving through phases in adopting technology. In many, an experimental phase has emphasised business unit interests over the broader needs of organisations.
Feudal dynamics, for example, characterised the adoption of technology at Australia’s cultural flagship, the Sydney Opera House (http://www.sydneyoperahouse.com). At the beginning of the 1990s, after the initial investment in personal computers, lack of coordination, lack of formal controls and inconsistent use of standards led to widespread ambiguity and perpetuated high levels of data redundancy across the organisation. After the purchase of an events management system as the intended hub of a corporate system, subsequent implementation of IT continued to run the gauntlet of competing business unit interests, politics, managerial turnover, and wheel reinvention throughout the 1990s.
At the Australian Film Radio and Television School (http://www.aftrs.edu.au), according to Andrew L Urban, research for the school’s 25th anniversary in 1998 was tortuous because of past information management failures. From 1988-1993, the school maintained the mere semblance of order in recordkeeping and “the reliability and thoroughness of data maintained prior to computerisation was a sad and sorry thing.” Deficiencies in files and data systems were partly overcome by drawing on library resources and the corporate memory of library staff.
The development, at the Australian Broadcasting Corporation (http://abc.net.au), of more than twenty separate systems for managing radio and television programs, sound effects, library and archive materials, film preservation, rights management and other functions is indicative of a feudal past that the ABC is now working to address.
In the mid-1990s, government policies and guidelines emerged to guide better practices in agencies under their control. These encourage holistic approaches for managing data, records, archives, library resources, publications and other information assets to reduce duplicate effort and data redundancy. The NSW Information Management and Technology Blueprint, Information Management Framework and other policies on the website of the NSW Government Chief Information Office (http://www.oit.nsw.gov.au/) are examples. Legislation, the international standard AS ISO 15489, and guidelines, such as the Australian and NSW versions of the Dirks Manual, have reinforced more stringent, auditable requirements for managing records.
The success of these regimes is unclear. Government recordkeeping audits report a degree of compliance, but they also point to failures in capturing records, limited control over electronic records, lack of formal disposal protocols and other deficiencies. The status of IT governance as today’s Hot Topic indicates that messages about best practice are taking time to sink in. If Library and Archive Canada’s Information Management Capacity Check Tool and Methodology were used to measure progress towards maturity, the likelihood is that many organisations will attract low scores on managing information contexts, capabilities and quality.
In performing arts organisations, as in the organisations of other industries, challenges persist in handling information strata, islands of information, and information black holes.
Erik Gensler of Capacity Interactive Inc.Google is governed by the following: openness, sharing, aggregation and capturing customer data. The more customer data you have the more you learn and the more you can improve. So inspired by Jeff Jarvis' book What Would Google Do?, I thought about the following: If Google were a performing arts organization it would...
...aggregate all critical reviews and share them to help people decide if they want to attend a performance
...survey ticket buyers after each performance and send them to a forum where they could comment on performances they've seen
...allow people to vote on future rep
...put all production designs on line for people to examine and comment upon
...have 100% flexible exchange policies
...video and share rehearsals and other behind-the-scenes footage
...promote all other arts organizations
...encourage all management and artistic leadership to blog
Is your organization doing any of these things?
Why not?
