Is the City Musem of Ljubljana recognisible among the day visitors of Ljubljana? what are the neeeds and expectations of hte potencila visitors? These are the questions which the research in PPP tries to answer.
ACO Music Data & Analysis: interdisciplinary stuies, converting information t...aco-ipm
The music industry is subject to hype. Statistics can separate the hype from the reality. Of interdisciplinary, ACO Music Data & Analysis enables clear assessment of the impact of music on society. Used at universities around the world in music courses, business courses and social studies as well as modern history (What was the impact of protest songs during the Vietnam war?)
The document outlines a plan for a music magazine in North London aimed at teenagers and young adults. It will be published physically and online, include interviews and articles about local artists and music scenes, as well as competitions and ads for clubs. The magazine will be distributed through social media, giveaways at concerts, and radio ads, and will utilize bright fonts and include contests to attract its target audience.
The document discusses stereotypes associated with jazz music from different eras, with older jazz being linked to traditional values, plain colors, and alcohol while modern jazz is depicted as energetic, creative, and appealing to young people with bright colors and young models of both sexes. Stylized fonts are also used to draw in young artistic audiences.
This document discusses the origins and evolution of music from its earliest forms to modern genres like classical, rock, pop, and jazz. It explores how music has developed alongside history and society. The document examines the role of music in society today and asks questions about how often people listen to music and whether they think music is important and makes the world better.
Access everywhere - #museumnext presentation from Antenna LABAntennaLAB
In this talk, Jessica Taylor and Sam Billington highlight the potential for museums to create compelling visitor experiences outside their walls.
Drawing on non-museum sector examples (Motorola, Google, Smart City agenda), they lay out an ambitious vision to enable museums to collaborate with one another, create digital storytelling ‘corridors’ in our city streets and engage with the general public in totally new ways.
See more at www.antennalab.org
Pixels at an Exhibition: Creating A Museum In Second LifeKUNGDESIGN
"Pixels at an Exhibition: Creating a Museum in Second Life". Poster Session at 'The Future is Now: Libraries and Museums in Virtual Worlds' (March 5 and 6, 2010)\
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
ACO Music Data & Analysis: interdisciplinary stuies, converting information t...aco-ipm
The music industry is subject to hype. Statistics can separate the hype from the reality. Of interdisciplinary, ACO Music Data & Analysis enables clear assessment of the impact of music on society. Used at universities around the world in music courses, business courses and social studies as well as modern history (What was the impact of protest songs during the Vietnam war?)
The document outlines a plan for a music magazine in North London aimed at teenagers and young adults. It will be published physically and online, include interviews and articles about local artists and music scenes, as well as competitions and ads for clubs. The magazine will be distributed through social media, giveaways at concerts, and radio ads, and will utilize bright fonts and include contests to attract its target audience.
The document discusses stereotypes associated with jazz music from different eras, with older jazz being linked to traditional values, plain colors, and alcohol while modern jazz is depicted as energetic, creative, and appealing to young people with bright colors and young models of both sexes. Stylized fonts are also used to draw in young artistic audiences.
This document discusses the origins and evolution of music from its earliest forms to modern genres like classical, rock, pop, and jazz. It explores how music has developed alongside history and society. The document examines the role of music in society today and asks questions about how often people listen to music and whether they think music is important and makes the world better.
Access everywhere - #museumnext presentation from Antenna LABAntennaLAB
In this talk, Jessica Taylor and Sam Billington highlight the potential for museums to create compelling visitor experiences outside their walls.
Drawing on non-museum sector examples (Motorola, Google, Smart City agenda), they lay out an ambitious vision to enable museums to collaborate with one another, create digital storytelling ‘corridors’ in our city streets and engage with the general public in totally new ways.
See more at www.antennalab.org
Pixels at an Exhibition: Creating A Museum In Second LifeKUNGDESIGN
"Pixels at an Exhibition: Creating a Museum in Second Life". Poster Session at 'The Future is Now: Libraries and Museums in Virtual Worlds' (March 5 and 6, 2010)\
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
John Flamson: The Culture Campus and its implications for Graduate employment. Slides from the University of Liverpool Learning and Teaching Conference 2009.
This session will
* Outline the University’s interface with the arts and cultural sector – Culture Campus; bi-lateral links with arts/cultural organisations and umbrella bodies; links with the City Council; NWCO and Impacts 08
* Refer to the types of jobs coming up in the sector.
* Encourage University students to engage with the sector as audience, volunteers, placements and potential recruits.
An integrated communication plan aimed at increasing brand positioning and brand recognition of the city; a tourism marketing plan and a set of thematic events ("Caserta: the path of beauty") were built tailored to typical food and wine products and historical sites to promote peculiarities of that territory.
Team Members: Chiara Cilardo, Ly Nguyen, Federico Oliveri, Azzurra Maria Barausse, Claudio Contini, Chiara Neffat
The document summarizes a PR campaign conducted by a Ukrainian PR agency to promote Vilnius, Lithuania as the European Capital of Culture for 2009. The agency held a roundtable with Ukrainian cultural leaders to gain their endorsements. It then placed videos of these leaders talking about Vilnius online and in Ukrainian and Russian media outlets. The campaign resulted in over 200 online publications and 12 printed publications about Vilnius, generating millions of impressions. Evaluation of whether it increased Ukrainian tourism to Vilnius would be available at the end of 2009.
This document summarizes trends in Dutch culture from 2014. It notes that while the cultural sector has remained steady despite economic challenges, future funding is uncertain as government spending cuts are expected. Key trends discussed include artists forging new connections and partnerships beyond traditional institutions; the transformative impact of digitization on production and consumption; and cities becoming increasingly important centers of culture and identity. Regulations in the sector are growing more formalized even as cultural production becomes more informal and networked. Knowledge in heritage fields is also at risk as expertise ages without sufficient new training.
The document provides information for participants attending the training course "Art as a tool against discrimination" taking place in Lviv, Ukraine from October 11-21, 2013. The training will bring together 30 youth workers and artists from 6 European and Caucasus countries to discuss using art to promote intercultural dialogue and inclusion through non-formal educational activities like workshops and presentations. Participants will be equipped with new skills and tools for implementing youth projects on these themes.
This document provides information for participants attending the training course "Art as a tool against discrimination" being held in Lviv, Ukraine from October 11-21, 2013. The training is organized by the Youth in Action Programme and aims to teach youth workers and artists how to conduct intercultural projects promoting inclusion through art. The 30 participants will come from 6 European and Caucasus countries and participate in workshops on using art for dialogue, meetings with local organizations, and developing partnership projects. The training will use non-formal educational methods and be held at the Hotel Hostel in Lviv.
This document discusses the need for museums to increase diversity and inclusion in their practices. It notes that museum staff, collections, and boards are not representative of the general population and this hinders audience engagement. While technology is often touted as a solution, the document argues it is ineffective without addressing underlying social and cultural issues. A case study of the program Curated x Kai is presented as using technology to create new narratives and engage diverse audiences. The document concludes that meaningful diversity is needed for institutions to fully leverage technology to reach new communities.
Why don't they come performing arts projectIrina Gurova
Young people attend opera performances less frequently than other performing arts. Through surveys, focus groups, and interviews, this study identified several key reasons for the non-attendance of young people (ages 18-30) at opera houses. The major deterrents found were lack of interest due to lack of knowledge about opera, inaccessible advertising and information, high ticket prices, and the formality of opera performances. Suggestions to increase young attendance included more accessible and targeted advertising on popular websites and free newspapers, open rehearsals, discussions after performances, and educational tutorials online.
The document provides information about tourist information services in Ljubljana, Slovenia. There are two main tourist information centres - the Ljubljana Tourist Information Centre and the Slovenian Tourist Information Centre. Both centres provide tourist brochures, help with accommodation booking, ticket sales for events, and excursion booking for around Slovenia. The Slovenian centre also offers bicycle rental and internet access. The centres aim to help visitors obtain information about Ljubljana and the whole of Slovenia.
Best Practice Guide to Accessible Routes in Historic Cities - 2013 by LHAC Scott Rains
Launched in 2010, the League of Historical and Accessible Cities (LHAC) is a pilot project focusing on improving the accessibility of historical towns while at the same time promoting the development of sustainable tourism and the protection of cultural heritage.
The main goal of the project is not only to allow people with disabilities and their families to take full enjoyment from leisure and cultural activities, but also to stimulate tourism among the 80 million people with disabilities living in Europe.
How Much Technology We Show and Use in Romanian Museums - Raluca Neamu,Collab...WeAreMuseums
How Much Technology We Show and Use in Romanian Museums
Raluca Neamu,Collaborator, Culturadata (RO)
Presented at We Are Museums on Monday 6 June 2016 (Bucharest, RO)
This document outlines Ukraine's cultural policy as prepared by an Erasmus+ student. It begins by defining culture broadly and outlines the aims of Ukraine's cultural policy, which include supporting the culture of Ukrainians and minorities. The principles guiding cultural policy are also discussed, such as promoting cultural identity, diversity, and participation. The document then describes major cultural institutions and events throughout Ukraine. It examines strategic dilemmas in cultural policy regarding issues like public vs. private funding and decentralization. International cooperation, connections between culture and development, and specific issues regarding national identity in Ukraine are also covered. The document concludes by listing its sources.
The document discusses the success factors of the 2007 Emperor Konstantin exhibition in Trier, Germany. It provides details on:
1) The exhibition attracted over 350,000 visitors, far exceeding the expected 250,000. It generated an estimated 56.7 million euros in economic impact.
2) Key success factors included the exhibition's consistency with Trier's identity as a Roman tourism destination, clear targeting of an educated, high-income audience, and extensive press coverage reaching millions of people.
3) Most visitors were overnight guests, highlighting the exhibition's role in attracting tourists. However, only a small portion stayed more than a week, indicating potential to increase longer visits.
4)
This document outlines the Playing Identities - Performing Heritage project. The project will involve young artists from different European countries working together to produce "creole" theatrical performances. The performances will explore and negotiate cultural heritage and identities. The project involves selecting young theatre makers, four artistic fieldworks in different countries, creative residencies to develop the performances, and a final performance cycle in Siena, Italy. The goal is for theatre to facilitate sharing cultural knowledge and triggering social innovation through performing heritage in an inclusive way.
The Global Fine Art Awards program honors innovation in design,historical context, educational value, and public appeal.
We launched the Global Fine Art Awards (GFAA) program in 2014 with the conviction that there is not enough visibility or understanding of the world of art and design in the world today.
The document summarizes the marketing campaign for an exhibition on Canaletto and his contemporaries at the National Gallery in London from 2010-2011. The campaign had targets of 110,000 visitors and effectively promoting the exhibition to different audiences. It utilized outdoor, print, and digital advertising. Partnerships were formed with organizations like ATOC and Fortnum & Mason to promote the show. Events like "Friday Lates" and a student night helped engage local workers and students. Competitions on Flickr and for a trip to Venice were also part of the campaign. The exhibition was a success, attracting over 122,700 visitors and increasing engagement with the permanent collection.
This document discusses success factors for cultural events as tourist attractions. It uses the Emperor Constantine exhibition in Trier, Germany as a case study. The three key points are:
1) The exhibition was very successful due to consistency with the city's cultural brand as a Roman heritage destination, high quality, and extensive traditional and social media marketing.
2) It attracted over 350,000 visitors through cooperation between three museums, generating €56.7 million in economic impact.
3) To remain competitive, future cultural events need more immersive experiences that appeal to younger audiences through interactive performances, reimagining cultural sites, and presenting heritage as living history.
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John Flamson: The Culture Campus and its implications for Graduate employment. Slides from the University of Liverpool Learning and Teaching Conference 2009.
This session will
* Outline the University’s interface with the arts and cultural sector – Culture Campus; bi-lateral links with arts/cultural organisations and umbrella bodies; links with the City Council; NWCO and Impacts 08
* Refer to the types of jobs coming up in the sector.
* Encourage University students to engage with the sector as audience, volunteers, placements and potential recruits.
An integrated communication plan aimed at increasing brand positioning and brand recognition of the city; a tourism marketing plan and a set of thematic events ("Caserta: the path of beauty") were built tailored to typical food and wine products and historical sites to promote peculiarities of that territory.
Team Members: Chiara Cilardo, Ly Nguyen, Federico Oliveri, Azzurra Maria Barausse, Claudio Contini, Chiara Neffat
The document summarizes a PR campaign conducted by a Ukrainian PR agency to promote Vilnius, Lithuania as the European Capital of Culture for 2009. The agency held a roundtable with Ukrainian cultural leaders to gain their endorsements. It then placed videos of these leaders talking about Vilnius online and in Ukrainian and Russian media outlets. The campaign resulted in over 200 online publications and 12 printed publications about Vilnius, generating millions of impressions. Evaluation of whether it increased Ukrainian tourism to Vilnius would be available at the end of 2009.
This document summarizes trends in Dutch culture from 2014. It notes that while the cultural sector has remained steady despite economic challenges, future funding is uncertain as government spending cuts are expected. Key trends discussed include artists forging new connections and partnerships beyond traditional institutions; the transformative impact of digitization on production and consumption; and cities becoming increasingly important centers of culture and identity. Regulations in the sector are growing more formalized even as cultural production becomes more informal and networked. Knowledge in heritage fields is also at risk as expertise ages without sufficient new training.
The document provides information for participants attending the training course "Art as a tool against discrimination" taking place in Lviv, Ukraine from October 11-21, 2013. The training will bring together 30 youth workers and artists from 6 European and Caucasus countries to discuss using art to promote intercultural dialogue and inclusion through non-formal educational activities like workshops and presentations. Participants will be equipped with new skills and tools for implementing youth projects on these themes.
This document provides information for participants attending the training course "Art as a tool against discrimination" being held in Lviv, Ukraine from October 11-21, 2013. The training is organized by the Youth in Action Programme and aims to teach youth workers and artists how to conduct intercultural projects promoting inclusion through art. The 30 participants will come from 6 European and Caucasus countries and participate in workshops on using art for dialogue, meetings with local organizations, and developing partnership projects. The training will use non-formal educational methods and be held at the Hotel Hostel in Lviv.
This document discusses the need for museums to increase diversity and inclusion in their practices. It notes that museum staff, collections, and boards are not representative of the general population and this hinders audience engagement. While technology is often touted as a solution, the document argues it is ineffective without addressing underlying social and cultural issues. A case study of the program Curated x Kai is presented as using technology to create new narratives and engage diverse audiences. The document concludes that meaningful diversity is needed for institutions to fully leverage technology to reach new communities.
Why don't they come performing arts projectIrina Gurova
Young people attend opera performances less frequently than other performing arts. Through surveys, focus groups, and interviews, this study identified several key reasons for the non-attendance of young people (ages 18-30) at opera houses. The major deterrents found were lack of interest due to lack of knowledge about opera, inaccessible advertising and information, high ticket prices, and the formality of opera performances. Suggestions to increase young attendance included more accessible and targeted advertising on popular websites and free newspapers, open rehearsals, discussions after performances, and educational tutorials online.
The document provides information about tourist information services in Ljubljana, Slovenia. There are two main tourist information centres - the Ljubljana Tourist Information Centre and the Slovenian Tourist Information Centre. Both centres provide tourist brochures, help with accommodation booking, ticket sales for events, and excursion booking for around Slovenia. The Slovenian centre also offers bicycle rental and internet access. The centres aim to help visitors obtain information about Ljubljana and the whole of Slovenia.
Best Practice Guide to Accessible Routes in Historic Cities - 2013 by LHAC Scott Rains
Launched in 2010, the League of Historical and Accessible Cities (LHAC) is a pilot project focusing on improving the accessibility of historical towns while at the same time promoting the development of sustainable tourism and the protection of cultural heritage.
The main goal of the project is not only to allow people with disabilities and their families to take full enjoyment from leisure and cultural activities, but also to stimulate tourism among the 80 million people with disabilities living in Europe.
How Much Technology We Show and Use in Romanian Museums - Raluca Neamu,Collab...WeAreMuseums
How Much Technology We Show and Use in Romanian Museums
Raluca Neamu,Collaborator, Culturadata (RO)
Presented at We Are Museums on Monday 6 June 2016 (Bucharest, RO)
This document outlines Ukraine's cultural policy as prepared by an Erasmus+ student. It begins by defining culture broadly and outlines the aims of Ukraine's cultural policy, which include supporting the culture of Ukrainians and minorities. The principles guiding cultural policy are also discussed, such as promoting cultural identity, diversity, and participation. The document then describes major cultural institutions and events throughout Ukraine. It examines strategic dilemmas in cultural policy regarding issues like public vs. private funding and decentralization. International cooperation, connections between culture and development, and specific issues regarding national identity in Ukraine are also covered. The document concludes by listing its sources.
The document discusses the success factors of the 2007 Emperor Konstantin exhibition in Trier, Germany. It provides details on:
1) The exhibition attracted over 350,000 visitors, far exceeding the expected 250,000. It generated an estimated 56.7 million euros in economic impact.
2) Key success factors included the exhibition's consistency with Trier's identity as a Roman tourism destination, clear targeting of an educated, high-income audience, and extensive press coverage reaching millions of people.
3) Most visitors were overnight guests, highlighting the exhibition's role in attracting tourists. However, only a small portion stayed more than a week, indicating potential to increase longer visits.
4)
This document outlines the Playing Identities - Performing Heritage project. The project will involve young artists from different European countries working together to produce "creole" theatrical performances. The performances will explore and negotiate cultural heritage and identities. The project involves selecting young theatre makers, four artistic fieldworks in different countries, creative residencies to develop the performances, and a final performance cycle in Siena, Italy. The goal is for theatre to facilitate sharing cultural knowledge and triggering social innovation through performing heritage in an inclusive way.
The Global Fine Art Awards program honors innovation in design,historical context, educational value, and public appeal.
We launched the Global Fine Art Awards (GFAA) program in 2014 with the conviction that there is not enough visibility or understanding of the world of art and design in the world today.
The document summarizes the marketing campaign for an exhibition on Canaletto and his contemporaries at the National Gallery in London from 2010-2011. The campaign had targets of 110,000 visitors and effectively promoting the exhibition to different audiences. It utilized outdoor, print, and digital advertising. Partnerships were formed with organizations like ATOC and Fortnum & Mason to promote the show. Events like "Friday Lates" and a student night helped engage local workers and students. Competitions on Flickr and for a trip to Venice were also part of the campaign. The exhibition was a success, attracting over 122,700 visitors and increasing engagement with the permanent collection.
This document discusses success factors for cultural events as tourist attractions. It uses the Emperor Constantine exhibition in Trier, Germany as a case study. The three key points are:
1) The exhibition was very successful due to consistency with the city's cultural brand as a Roman heritage destination, high quality, and extensive traditional and social media marketing.
2) It attracted over 350,000 visitors through cooperation between three museums, generating €56.7 million in economic impact.
3) To remain competitive, future cultural events need more immersive experiences that appeal to younger audiences through interactive performances, reimagining cultural sites, and presenting heritage as living history.
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