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Ccc08 Hannah Rudman

Ccc08 Hannah Rudman






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    Ccc08 Hannah Rudman Ccc08 Hannah Rudman Presentation Transcript

    • The Festival Audience as Players Creative Clusters ‘08 Hannah Rudman [email_address] www.del.icio.us/hanrudman
    • “We-think”
      • “ We-Think: the power of mass creativity is about what the
      • rise of the likes of Wikipedia and Youtube, Linux and
      • Craigslist means for the way we organise ourselves, not just
      • in digital businesses but in schools and hospitals, cities and
      • mainstream corporations. My argument is that these new
      • forms of mass, creative collaboration announce the arrival
      • of a society in which participation will be the key organising
      • idea rather than consumption and work. People want to be
      • players not just spectators, part of the action,
      • not on the sidelines.”
        • Charles Leadbeater, thinker and author.
        • www.wethinkthebook.net
    • Experience Economy / Status Stories
    • People want to do more than attend
      • Personalise
      • Participate
      • Co-produce
      • Create meaning
        • Alan Brown’s latest research: WolfBrown
      • This affects:
        • Artistic practice
        • Organisations’ operations
        • Business models
    • Implications for organisations
        • ARTISTIC
          • people's online lives and digital devices become part of real experience – venues and other audience members may have to change their attitudes to their inclusion;
          • participating in public spaces or t h e city, or in virtual spaces changes a person’s relationship to those environments – this is an opportunity to link better with tourism aims and objectives;
          • the relationship between the artist and community will become flatter - artists and audiences will begin to develop work collaboratively;
          • people will be organised without the organisation, players without the play;
          • encouraging more personalisation of and participation with the festivals experience via digital tools and channels means increasing investment in this area;
          • becoming more porous as organisations means opening up to a wide dialogue, including the negative and critical;
          • creating more digital content means more/different investment and different contracts with venues, performers and audiences.
    • Implications for funders
      • traditional delineations between traditional art forms are blurring as artists work with more digital media and new forms of digital production and consumption – to what d e partment should artists apply?
      • projects may only come together in final form on the day and results may be surprising, even unexpected!
      • power laws (1:9:90) in relation to UGC digital content and participation need to be recognized, particularly their potential for audience building
      • a fine art critique may not be the only way to get something out of a piece of work designed to be solely digital and/or highly audience participative
      • the experience economy is upon us, and we need to emphasize the fact what we do well as a cultural sector is deliver unique, exciting and transformative experiences