Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

The Interactive culture in the XXI century

387 views

Published on

What does it mean culture today? Where, how, why the younger generations are producing and consuming "culture"? Instagram, Wattpad, videogames are models and rivals of museums and theaters today? Slides from the Fabio Viola's talk at the European Commission meeting in Prague about the Future of Heritage.

Published in: Art & Photos
  • Be the first to comment

The Interactive culture in the XXI century

  1. 1. 23/02/2013 The Playable Culture FabioViola info@tuomuseo.it THE PLAYABLE CULTURE Fabio Viola info@tuomuseo.it
  2. 2. Inthe last 20years morecontenthasbeen produced,more photostakenandmoreplaces visited thanintheentire humanage I strongly believe we are extremely lucky to populate the earth in this historical period because we are witnesses of a social, economic, technological but, above all human, and scientific revolution.
  3. 3. Master Sole 24 Ore 23/02/2013 ENGAGEMENT REVOLUTION Noneof these experiences existed until 20years ago,today they represent momentsofour dailylife andmoregenerally ofour wayofthinking, actingandinteracting with products andpeople. And Time is the real limited good of modern society and the most important indicator to which every institution should look at.
  4. 4. Allofusinthisroomwerebornandcreatedcognitiveandemotionalmapsina pre-internetera.Itis normaltobeafraidofwhatisnotsettledinourgeneticmemoryandevenmoreofwhatreplaces products,processesandexperienceswithwhichwehavegrown. Socialchangesshift themeaning ofCulture and resistance generates short circuit
  5. 5. “Physicalvs digital“ ??? Thedistinction, typicalofourwayofthinking,ismuchmorenuanced,ifnotnon-existent,inthefirst generationbornafter2000.
  6. 6. They were born in a world in which many more digital flowers are gifted than real ones. Millions of individuals who in the first months of their lives already have their own official internet domain purchased by their parents as a birth gift and every moment of their lives is shared through pictures and short videos, in the form of 24h lifelong stories, on some social networks. Millions of people bornafter 2000,theso-called GenZ,havenever knownthedichotomyphysicalvs digital oratomsvs bits.
  7. 7. 23/02/2013 They will be theones to guideournations,companiesandculturalinstitutions within10 years and we have the deep responsibility to make the world habitable for them and don’t push them to adapt to a world designed by and for people who are profoundly different from them. The average attention span is around 8 seconds, even less of a goldfish. But the problem is mainly related to the way we design the experiences at school at the theater or at the job place.
  8. 8. There havenever been generations like Y andZ whoproduced and consumedso muchculture. The official data tell us exactly the opposite, so where is the truth? What does Culture mean today and who, how and where is it created and consumed?
  9. 9. Themuseumrisks elaborating a doubleexclusion bothof th less sensitive classes to thereproduction ofthe codesand languagesinherited fromthe previous generations (the youngestandthe least cultured) and- aboveall- of thelivin artists.
  10. 10. Theartwork from«object»to «process». The artwork in the twenty-first century loses its sacredness. Experience comes from an EQUAL relationship established between the work, the visitor and the environment in which it is located.
  11. 11. Scientists bynature havethefuture intheir blood;humanistshavetheir eyes on thepast. How manyof youknowthatthenovelsofthe AmericanAnnaToddhavebeen read over 2 billion times? At the age of 30 years old, her novels were read much more than Kafka and Murakami put together. Hundreds of millions of under-20s daily publish novels, write on smartphones, and read on social storytelling platforms like Wattpad, but they are out of the official data
  12. 12. Immersivetheater’s Punchdrunkbring together tradition, escape roomandgamedesign Since years they have been sold out every day in London as well as in New York, the audience is made by under 35 who pay even $200 tickets to be active part in the performance and on average they come back (replayability) 3 times to attend the same show.
  13. 13. How manyof youknowthat100million photosare uploadedtoInstagramevery day,viewed by 500 million monthlyactivepeople? Isn't there also an authorial production made of the perfect shot, right filters, the appropriate sentences such as descriptions and hashtags? This egg has been viewed more than 50 million times, just imagine an entire country like Italy converged on this “cultural” content (rising awareness about menthal diseases).
  14. 14. Father andSon is the first video gamepublished bya museumfor a wordlwide audience How many of you know that a video game like Father and Son has been downloaded almost 5 million and the players have spent about 1000years of life playing? From India to China they experienced stories and aesthetics of Naples and the museum, crying taking meaningful decisions on the last day Pompeii’s scene and laughing in front of the Hercules Farnese.
  15. 15. *2yearsafterthelaunch:  The gamecrossed the4 milliondownloads milestone.  Inthesametimethemuseum hasbeen visitedby 1.000.000.  The averageageof gamersis 33y.o.with35%of gamers arefemale.  Only7%of gamerscome fromItaly.We havea large userbase incountries like Russia, China,India, US-  ~1000yearshavebeen spent collectivelyintothe game.Consider thevaluein terms of education and marketing.  The gamereceived over 40.000reviewswithan averageratingof 4.7out of 5. X4compared to themuseum’s tripadvisor page
  16. 16. Ifwe are able to create a$100 billion industry in 40years, wherepeople spend real moneyto buyvirtual items and experience real feelings interacting with virtual worlds…
  17. 17. …whyshould aculturalinstitution thathas extremely tangibleassets, powerfulstories, recognizablebrand,and established audience not be able to design engaging and sustainable experiences in partnership with the creative industries?
  18. 18. How manyof youknowthatthere is amuseumin whichthe averageageof250000annualvisitors is under 35? This happens at ZKM in Karlsruhe where art and technology come together creating what I like to call augmented stratigraphy. The cultural heritage, left in dowry by man and nature, coexists with new languages capable of reinterpreting and updating the synaesthetic vision of the existing places.
  19. 19. Let’s start to create new culturalandtourist imaginaries. Les Carrieres de Lumieres in France shows us how an abandoned marble quarry can become a 600k visitors tourist destination.
  20. 20. Let’s start to create new culturalandtourist imaginaries. Les Carrieres de Lumieres in France shows us how an abandoned marble quarry can become a 600k visitors tourist destination. Thedistancebetween thosewho produce andthose whoconsumeculture is shortened. At the same time we produce videos and consume videos produced by others on Youtube. We create and watch photos on Instagram, we buy video games in which we play an active role in shaping stories and altering endings. The same person writes and reads on Wattpad as well as on Wikipedia.
  21. 21. Whatdoes audiencedevelopment really mean? Audience development is not about bringing new people closer to the cultural fruition, but rather about encouraging the active creation of content, the sense of protagonism and the passage from the third to the first person in the sharing of the experience. This is the magic behind video games, players are used to say “I killed the dragon” or “I saved the princess”.
  22. 22. Theculture produced bymanyfor many I think that this passage from the culture produced by a few for many to one produced by many for many is the mirror of the passage from storytelling to storydoing. From a passive way of consuming a message to an active fruition in which ideas, actions and individual choices influence the message itself.
  23. 23. Scientists bynature havethefuture intheir blood; humanistshavetheir eyes on thepast. It is essential to over pass this sentence and overcome the dichotomy between what Snow defined as the Two Cultures that still pervade our universities, institutions and many cultural operators today.
  24. 24. Since theRenaissance we have inherited the segmentationof themediaandthe subsequent compartmentalizationof culturalplaces.. Do libraries, theaters, museums, gypsoteque and art galleries still have a meaning in the horizontal and post-visual society of the 21st century? Is it not better focus on the experiences, devoid of their supports, and put them at the center of cultural transmission?
  25. 25. 25 Public andculturalinstitutions should start tolook at Instagram, CandyCrashandWattpadasmodels (and rivals) intheability to reach,engageandtransfer culturalexperiences. More than a technological emulation, it is fundamental to understand the way in which these experiences are designed to be relevant to the single person more than to an undefined audience
  26. 26. Museums have to be the house for those who can imagine, design and execute the Future. A premier destination for creative and entrepreneurs from all around the world, a privileged gate between the Past and the Future. Whycan'tourmuseums theatres libraries become activeplacesof culturalproductionandnot only of consumption?
  27. 27. Asecular tension pervades the culturalworld. The mere idea of ​​the audience centrality and the shift from the conservation to the production is seen as a threat to the credibility of the institution. Several papers talks about the “Disneyfication” effect, but it often hides the fear of directors and curators to lose power
  28. 28. I’mworried aboutthelegacyof techbased cultural institution projects. If these projects are just outsourced and emulate what we have seen ten years before in others sectors (virtual reality, augmented reality, big data, machine learning…) , they will stay a short term solution with no real knowledge transfer. Every cultural institutions should handle by itself the vision and mission of applying technologies or, being provocative, the best solution is to adopt a tech start up and be constantly stimulated by it with mutual benefits.
  29. 29. IwishtherewereplentyofSirHenryLyons(formerdirector)outofthere.HeopenedtheChildren’s GalleryattheScienceMuseumofLondoninthe1931 andhegottwodifferentreactions.Great reviewfromthenewaudience(forthefirsttimea worldwidemuseumopenedits spacetonon specialistsandevenworstchildren)andthegeneralistpressandcriticsevenfromthemuseum officialnewspaper. “Wecould nothelp fearing thatallthis maybe goingtoo far andnot quitein theright direction”

×