The Festival Audience as Players Creative Clusters ‘08 Hannah Rudman [email_address] www.del.icio.us/hanrudman
“ 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.
Experience Economy / Status Stories
People want to do more than attend
Alan Brown’s latest research: WolfBrown
Implications for organisations
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