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Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
Gettingdigital
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Gettingdigital
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Gettingdigital

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What does "getting" digital mean for arts organistions?

What does "getting" digital mean for arts organistions?

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  • I’m Hannah Rudman, a digital content, IT and environmental change consultant. I help organisations practically plan digital strategies for their artistic, business and operational functions, and also work with our funders as a policy maker. I like to say as well that I’m a content maker, futurologist and entrepreneur. The last time I was here at York Theatre Royal, I was making a video interview with Marcus. I chose the questions for the interview, Marcus chose the venue. I’m going to talk about “getting digital” and what it means specifically for our organisations - for our sector. We’ve learnt today from Tom that the general public has evolved - in terms of their socio-economic behaviours - because of the impact of technology. In response, business has changed, government has changed, the traditional media companies have evolved, the mixed art form venues that Tom talked about today. As part of the general public, people, known as existing and potential arts audiences have evolved. So arts organisations’ relationships with their audiences also have to evolve. This presentation isn’t about the shifts we’re seeing in general socio-economic trends. Its about the shifts that are going to have to happen in our organisations to make sure we survive - and thrive.
  • Transcript

    • 1. Shift Happens! What does “getting digital” mean for organisations?
    • 2. “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
    • 3.
          • We are seeing a “renaissance of the amateur”
          • Director of Centre Pompidou, Prof. Bernard Steigler
    • 4.  
    • 5.  
    • 6. A change in how art is created "The newest digital technologies are returning us to the most ancient form of media - one in which a natural order is restored; our individual stories and ideas take center stage, with the rest of the world as a backdrop”. June Cohen, (TED) conference director
    • 7. Some co-production
    • 8.  
    • 9.  
    • 10. A change in organisational structure
      • Cornerhouse
      • “… arts organisations must do more to help one another. Arts
      • organisations learn too little from one another. Peer-to-peer support, mutual problem solving and networking to share
      • resources is rare”.
      • Charles Leadbeater
      • “ Arts Organisations in the 21st Century
      • 10 Challenges”
    • 11. Survival Features!
      • Participation 
      • Personalisation 
      • Co-production 
      • Porosity
    • 12. How?
    • 13. From…
      • Guardian Newspapers, Ltd.
    • 14. To…
    • 15. How?
      • Change!
      • Mindset
        • from push, broadcasting, being the gatekeeper to pull…
        • Mission statement
      • Operationally
        • Job roles
      • Business model
        • Offering targetted ad services
    • 16. 2005: 7 million visitors online 2007: 18m visitors online (180m page views) Average visit time on site: 20 mins Additional cost: £0. Marketing/promotion: None. “ We didn’t do anything clever!” 5.5m visitors though the doors
    • 17.  
    • 18.  
    • 19. Change of mindset
    • 20. “ We’ve lost control of our content.” A new attitude to “Cultural Provision” Will Gompertz, Director of Tate Media (Previously Head of Communications):
    • 21. Change of operational model
      • Tate Media
        • grown from 4 to 20
        • Marketing department: still 8
        • Press & PR: still 8
    • 22. Change of business model
      • Launched Tate Media Channel in September ‘07
        • "It is important that within the visual arts landscape Tate has an arts channel that gets our point across and works very closely with artists and curators," he says. "Now we can't have that unless we own the content."
    • 23.  
    • 24.  
    • 25. “Getting” digital…
      • Expect to have profound discussions!
      • Expect to change!
      • THANKS for listening!
      I’m porous… Stay in touch! [email_address] .com www.hannahrudman.com

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