Ccc08 Hannah Rudman
The document discusses how new forms of mass collaboration online are leading to a more participatory society where people want to be active players rather than passive spectators. This shift has implications for how artistic organizations approach their audiences and operations. Artists may develop work collaboratively with communities, while organizations will need to invest more in personalizing the audience experience through digital tools and encouraging participation. Business models may also need to change, such as creating more digital content and changing contracts to account for new forms of production and consumption. Funders will have to address how they support blurring artistic genres and projects created through audience participation.
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Ccc08 Hannah Rudman
- 1. The Festival Audience as Players Creative Clusters ‘08 Hannah Rudman [email_address] www.del.icio.us/hanrudman
- 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
- 4. Experience Economy / Status Stories
- 6. People want to do more than attend Personalise Participate Co-produce Create meaning Alan Brown’s latest research: WolfBrown This affects: Artistic practice Organisations’ operations Business models
- 16. Implications for organisations ARTISTIC 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; OPERATIONAL 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; BUSINESS MODELS creating more digital content means more/different investment and different contracts with venues, performers and audiences.
- 20. 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