Ccc08 Hannah Rudman


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Ccc08 Hannah Rudman

  1. 1. The Festival Audience as Players Creative Clusters ‘08 Hannah Rudman [email_address]
  2. 2. “We-think” <ul><li>“ We-Think: the power of mass creativity is about what the </li></ul><ul><li>rise of the likes of Wikipedia and Youtube, Linux and </li></ul><ul><li>Craigslist means for the way we organise ourselves, not just </li></ul><ul><li>in digital businesses but in schools and hospitals, cities and </li></ul><ul><li>mainstream corporations. My argument is that these new </li></ul><ul><li>forms of mass, creative collaboration announce the arrival </li></ul><ul><li>of a society in which participation will be the key organising </li></ul><ul><li>idea rather than consumption and work. People want to be </li></ul><ul><li>players not just spectators, part of the action, </li></ul><ul><li>not on the sidelines.” </li></ul><ul><ul><li>Charles Leadbeater, thinker and author. </li></ul></ul><ul><ul><li> </li></ul></ul>
  3. 4. Experience Economy / Status Stories
  4. 6. People want to do more than attend <ul><li>Personalise </li></ul><ul><li>Participate </li></ul><ul><li>Co-produce </li></ul><ul><li>Create meaning </li></ul><ul><ul><li>Alan Brown’s latest research: WolfBrown </li></ul></ul><ul><li>This affects: </li></ul><ul><ul><li>Artistic practice </li></ul></ul><ul><ul><li>Organisations’ operations </li></ul></ul><ul><ul><li>Business models </li></ul></ul>
  5. 16. Implications for organisations <ul><ul><li>ARTISTIC </li></ul></ul><ul><ul><ul><li>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; </li></ul></ul></ul><ul><ul><ul><li>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; </li></ul></ul></ul><ul><ul><ul><li>the relationship between the artist and community will become flatter - artists and audiences will begin to develop work collaboratively; </li></ul></ul></ul><ul><ul><ul><li>people will be organised without the organisation, players without the play; </li></ul></ul></ul><ul><ul><li>OPERATIONAL </li></ul></ul><ul><ul><ul><li>encouraging more personalisation of and participation with the festivals experience via digital tools and channels means increasing investment in this area; </li></ul></ul></ul><ul><ul><ul><li>becoming more porous as organisations means opening up to a wide dialogue, including the negative and critical; </li></ul></ul></ul><ul><ul><li>BUSINESS MODELS </li></ul></ul><ul><ul><ul><li>creating more digital content means more/different investment and different contracts with venues, performers and audiences. </li></ul></ul></ul>
  6. 20. Implications for funders <ul><li>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? </li></ul><ul><li>projects may only come together in final form on the day and results may be surprising, even unexpected! </li></ul><ul><li>power laws (1:9:90) in relation to UGC digital content and participation need to be recognized, particularly their potential for audience building </li></ul><ul><li>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 </li></ul><ul><li>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 </li></ul>