Ac/E Digital Culture Annual Report 2016

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AC/E DIGITAL CULTURE ANNUAL REPORT 2016 Smart Culture: Impact of the Internet on Artistic Creation Focus: Use of New Digital Technologies at Cultural Festivals AC/E DIGITAL CULTURE ANNUAL REPORT 2016

Smart Culture: Impact of the Internet on Acción Cultural ArtisticAcción Cultural Creation Española Española www.accioncultural.es Focus: Use of New Digital Technologies at Cultural Festivals

Acción Cultural Acción Cultural Española Española www.accioncultural.es

Spain’s Public Agency Spain’s Public Agency for Cultural Action for Cultural Action www.accioncultural.es

Spain’s Public Agency Spain’s Public Agency for Cultural Action for Cultural Action www.accioncultural.es ‘A more open, egalitarian, participatory, and sustainable culture is profoundly worth championing, but technology alone cannot bring it into being. Left to race along its current course, the new order will come increasingly to resemble the old, and may end up worse in many ways. But the future has not been decided.’

Astra Taylor, The People’s Platform: Taking Back Power and Culture in the Digital Age (Metropolitan Books, 2014) Smart Culture: Impact of the Internet on Artistic Creation 4 and algorithmstogive valueandmeaningto industries; andoftheuse ofsmartanalyses digital words; ofvanishingboundaries between and art;ofblendingbetween thephysicaland of ahybridrealm halfway between technology Both sectionsofthe cultural festivals. technologies at some50 Spanish andforeign conducts athorough analysisoftheuse new the world ofmuseums, for thisthird editionit edition analysedtheuseofnewtechnologiesin opera, dance, ballet,etc.)andthat ofthesecond of theInternet ontheperforming arts(theatre, the first report’s Focus dealtwiththeimpact up thefirstpartofthis year’s edition. Just as as abasisfor choosingthesixarticlesthat make of the theme establishedbytheAdvisoryCommittee it isaimed.‘Smart Culture’ istheoverarching to read for thedifferent audiences at which divided intotwo mainsectionstomake iteasier of thethird editionofthereport hasbeen To achieve thisaim,thebroad-ranging content technologies ontheirculture organisations. better understandingoftheimpactnew mind inthecoming years inorder tohave a that culturalmanagerswillneedtobearin of thereport themaintechnologicaltrends environment, toanalyseinthethree editions studies onadaptingthesectortodigital com, aprivate organisation specialisedin culture sector, hasteamedupwithDosdoce. internationalisation ofSpain’s creative and facilitate thepromotion, development and AC/E, apublicagencywhosepurposeisto festivals. on artisticcreation andtheiruseat cultural out toanalysetheimpactofnewtechnologies sector professionals thethird edition,whichsets years –we are pleasedtoshare withculture of eachhave beendistributedover thepasttwo Report two editionsofthe Following theexcellent reception ofthefirst INTRODUCTION (2014 and2015)–more than5,000copies AC/E Digital Culture AnnualReport 2016 AC/E Digital Culture Annual AC/E AnnualReport speak

gestures. Should we envisagearobot audience? musicians tointeractwithcomputers through Internet ontheperforming arts,whichallow Pepe Zapata inhisarticleontheimpact ofthe is thewearable musicalgloves mentionedby in thefieldofartisticcreation. Anexample processes, ithasbeguntoyieldvisibleresults is noexception. Aswell asbenefittingindustrial pervade manyaspectsofourlives, andculture creation. TheInternet ofThingsisgoingto report istheuseofsmartdevices inartistic One ofthecross-cutting themesofthisyear’s produced andsold. taken place inmarkets andinhow artworks are industries; andexplainthechangesthat have for interactionbetween people,machinesand on artisticcreation; examinethenewspace new collaborative economy; analyse itsimpact The chosentopicsexplore thepathways ofthe the oftentoomuchbutnever enoughdata. alien toculturalenterprises, which,insomefields articles inthereport. Thisphenomenonisnot another themethat cutsacross manyofthe The economy ofsubscriptionis,asstated earlier, heads withtheaimofclosingit. readers toChicasPoderosas, thecommunity she the Internet onartisticcreation andintroduces gender gap–inherarticleontheimpactof different approach toadifferent rift–thedigital emergence ofWikipedia.Mariana Santos takes a issue explored inIván Martínez’s with issuessuchasthedigitalaccess gap, an But itisnotalltechnology. Thereport alsodeals of tellingaudiovisualstoriesinthedigitalage. and byMontecarlo inhisstudyonthenewways depth analysisofnewpractices invideogames examples byLaraSánchezCoterón inherin- devices. Theiruseisillustrated withmany interfaces andthepopularityofvirtualreality robotics, drones, augmentedreality, new year’s report are thematurity of3Dprinting, Other themesenthusiasticallyanalysedinthis he wonders.

article onthe Smart Culture: Impact of the Internet on Artistic Creation 5 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E of development and evolution of videogames and evolution of development mods and countergaming includes self-hacking, redefining and explains how videogames are the use of sensors interaction with users through consume art on demand and digital art. A survey demand and digital art. A survey art on consume questions put to a based on a number direct that most feel that concludes of artists group a significant impact does not have the art market what clearly advocates This article on their work. and the art market the author calls the third category. media art as a specific need to accept in the limits are Where videogame design? approach a twofold takes Lara Sánchez Coterón in Praxis’ and Disruptive in ‘Videogame Design of videogames to analyse the influence order emerged in have that and the meta-products as the other arts too, such as painting, as well developing digital praxis for most innovative artworks leads them to become new games that themselves. of the history and models detailed survey Her experiences for a lower cost by analysing by cost a lower for experiences culture. and maker such as DIY phenomena made is digital art marketed, How in and disseminated profitable economy? the subscription in the Age ‘The Art Market article Waelder’s Pau of the history of begins with a survey of Access’ on in a catch which began to digital collecting, examines the new It 2010s. in the late big way exhibiting and selling digital of collecting, ways editions, market digital art in the new economy; digital art and the contradictions for platforms of the the consideration can arise over that as a unique object. artwork on cloud guidance The analysis provides of exhibiting implications and the collecting examines the various It streaming. art through allow us to technologies that canvas connected achieve more spectacular results and broader and broader results spectacular more achieve forms of authorship, and calls for reflection reflection for and calls of authorship, forms on the possible uses of digital technology arts to of the performing in the production processes needed to support these new processes new models on the stage, which involve respond to the dancer’s biological functions’. to the dancer’s respond This author ends by analysing the digital the Body project which, to quote the author, which, to quote the author, the Body project body between with biointeraction ‘experiments and technology with the aid of light sensors that of the boundaries between human, machine of the boundaries between many examples such as provides It and nature. ‘How the Performing Arts are Changing in the Arts are the Performing ‘How the blends of digital and stresses Age’ Digital and off and on, and speaks of the fading real, kinds of hybrid realities. examples of the new interactions between between examples of the new interactions been made have that and spectacle spectator and all robots possible by smartphones, drones, leads the author to ask: who is the spectator spectator leads the author to ask: who is the with many is illustrated This shift in roles now? One of the most futuristic articles of the report, of the most futuristic articles of the report, One of to a world readers introduces Zapata’s, Pepe on stage that and robots drones automatons, Who is the stage creator nowadays? is the stage creator Who The authors of this year’s annual report pose report annual The authors of this year’s future various questions about the fascinating holds in store: digital culture that year’s report will find will report year’s Questions, answers and and answers Questions, questions unanswered of this readers that the iTunes and Spotifys of art collecting. and Spotifys the iTunes us similar formulas adopted by enterprises that that by enterprises adopted formulas us similar collecting art on forms of new offer currently as themselves frames and define digital picture digital startups such as Spotify and Netflix. In and Netflix. such as Spotify digital startups shows Waelder Pau on the art market, his study such as content distribution, have pioneered pioneered have distribution, such as content by headed as a service, of culture the concept Smart Culture: Impact of the Internet on Artistic Creation 6 the volunteer work organised? Candigitalgrow whopping 17 millionpagesevery month?How is manage tomaintainaresource that services a Today’s Society:FifteenYears On? How dothey Iván Martínez in‘TheWikipediaPhenomenon in Fifteen years ofcollective historyare analysedby encyclopaedic knowledge in theevolution ofdigital How tomanagecrowdsourcing rapidly spreading. gender gapinLatin America–aninitiative that is called ChicasPoderosas that aimstoclosethe networking amongyoung women journalists an interesting experience ofempowerment and tackle newproblems, andcitesasanexample activists anddigitalthinkers toanalyseand to theprofession, suchaslawyers, NGOs, committed journalismthat encourages outsiders thinking –togive risetoanewstyleofsocially human-centred designtechniques– The authoremphasisestheneedtoapply interactive visualisations. flows andclustersfrom data, andtechniques for of socialmediausers,theprocess ofbuilding use ofnewtechnologiesfor analysingthemood journalists. Thisbroad perspective spansthe new typeofjournalismandtherole ofnew analyses thechangesinvolved indesigninga Mariana Santos,director ofinteractive at Fusion, Impact oftheInternet onCultural Creation’, Writing from avery personalapproach, in‘The and smartstyleofjournalism? How todesignanewhuman-centred by day. that wasborndigitalandisgrowing digitallyday understand thecontinuous reinvention ofanart makes interesting reading for anyone wishingto interpretation ofthem’, toquotetheauthor. It are more contingent andopentoplayers’ a newspace for creation with‘games that of theelementsgame–byestablishing and smartdevices ofthenon-spectator asone INTRODUCTION is itproduced andfunded? transmedia audiovisualandhow formats for creating new What are thelanguagesand every tenWikipediansisawoman. gender gapthat existstoday, asonlyoneoutof underprivileged partsoftheworld, aswell asthe close thedigitalaccess gapbetween themost the prevalence ofmobileInternet access, andto more recent technologicalchallenges,suchas doubt needstomake ahugeeffort toadapt on thefuture oftheencyclopaedia, whichno The articleendswithanimportantquestion organising andregulating collaborative work. article oncrowdsourcing andthechallengesof These fascinating questionsare asked inan work andhowhave theyevolved? is an old? Canwe speakofacrisisinWikipedia?What and fanfictions. formats transformed byaudiences intomemes and webdocs are someofthenewstorytelling Web series and work. in whichthere isnodistance between spectator understand theproduction ofnewexperiences and interactive audiovisualtohelpreaders video-mapping, 360-degree video,MMROPGs habits. He alsoexaminestechnologiessuchas digital supportsandchangesinconsumption of thesetechnologiesandtheimpactnew recent audiovisualstories,thedystopicuse 3D andtherole ofnewinterfaces inbuilding adds layers tophysicalreality, virtualreality, He speaksofaugmentedreality andhowit with thebattle crythat ‘Everything isdata’. & Storytelling: AudiovisualintheDigital Age’ Montecarlo editatona , YouTubers, onlinemicro stories

begins hisarticleon‘Data, Interfaces ? What organisations regulate the Smart Culture: Impact of the Internet on Artistic Creation 7 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E The new digital technology stimulates our dream our dream The new digital technology stimulates goal or smart culture of achieving a shared in this edition and today is explored that project years – this brief overview of digital technologies of – this brief overview years in 2015 also points to the applied to culture to concepts of many ideas related consolidation such years, several lain dormant for have that machine learning as artificial intelligence, Though it will be computing. and cognitive machines as have we quite some time before longer still take intelligent as humans, and it will as to be as creative and robots humanoids for not. humans… or maybe 2016 looks set to be one of the conclusion, In moments of the technological most exciting decades in which the new digital past two going to have technologies are acceleration a particular impact on the cultural sector. digital disruptors high and savvy are Expectations sharpened and well their digital knives have for of the market out a share to carve ready in all sectors, including culture. themselves wearables. For, as we are seeing throughout the throughout seeing are as we For, wearables. not consist does the revolution wave, post-digital new but rather of the the newest in for in going into parts of a mechanism, like it, incorporating be analogue. might well others that of this new the publication hope that We Culture Digital of the AC/E edition of the Focus of managers in offering succeeds Annual Report of and fuller overview a calmer cultural festivals the in the new digital world, the developments and the many opportunities face, challenges we they bring. Conclusion this report – for ahead to the future Looking on information sets out not only to provide as but also to predict is being done today what be done in the coming will far as possible what public relations and face-to-face with the latest and face-to-face public relations experiment and be creative with these new tools, with experiment and be creative – but intelligently and pragmatically mercilessly methods such as and old formulas – combining this opens up a whole field for discovering new for discovering this opens up a whole field the means and capability to all have we paths; explaining how to use all aspects of the tools or but each festival, best for which tools are even In a sense, go on. specific examples to are there these macro-events find each other. find each other. these macro-events maps or route no instruction manuals are There original ways of using them – for example to of using them – for original ways at separated become help friends who have fair Cannes Lions International Festival, the Festival, fair Cannes Lions International and Music SXSW in Austin, Coachella yearly all devised highly They have Festival. Bonnaroo by analysing how people move around crowded crowded around by analysing how people move and advertising such as the creativity festivals, and also creatively to develop a new type of to develop and also creatively our They can also improve music composition. used, are understanding of how cultural spaces example, beacons can be used indoors to detect example, beacons within their range devices Bluetooth-enabled can provide practical tools for festivals, artistic festivals, tools for practical can provide online action and enhance or even events For and communications. visitor experience arts or multi-genre festivals can offer insights can offer festivals arts or multi-genre in day- into how to apply these technologies specific times. These ideas at tasks or to-day employed at more than 50 festivals, both in than 50 festivals, more at employed music, performing Literary, and abroad. Spain In this section readers will find a broad will find a broad this section readers In description of all kinds of new technologies thoroughly analyses the use of new technologies analyses the use of new thoroughly festivals. cultural at dance, ballet, etc.), and the second edition and the second ballet, etc.), dance, of new technologies in the analysed the use edition the Focus in this third museum world, just as the Focus section of the first year’s report year’s section of the first Focus just as the on the of the Internet examined the impact opera, arts (theatre, the performing of world As stated at the beginning of this introduction, of this introduction, the beginning at As stated Focus 2016: impact on on 2016: impact Focus creation artistic Smart Culture: Impact of the Internet on Artistic Creation 8 distribute theminanymediumprovided that licence, whichallowsuserstocopy and ‘Attribution –Non Commercial –No Derivatives free ofchargeunderaCreative Commons consultation, alltheannualreports are published world ofculture. To facilitate theiraccess and advantages that newtechnologiescanoffer the cultural managerswishingtodiscover the reference work that canbeconsulted by The AC/E AnnualReport isintendedasa In oneword, smart. cultural reality. hybrid, interactive, shared andproactive digital longer expectation andfantasybutpartofanew cultural experiences –allthesethingsare no of artworks tailored toourtastes;andextended devices that ‘hack’oursenses;deconstructions based ondata science andtheuseofsmart seems justaround thecorner: newinteractions INTRODUCTION José Luis deVicente José de laPeña Aznar Grace Quintanilla Isabel Fernández Peñuelas Report: 2016 AdvisoryCommittee oftheAC/E Annual Annual Report andfounding partnerofDosdoce.com Javier Celaya, academicdirector oftheAC/E Elvira Marco, director generalofAC/E any way. commercial purposesanddonotmodifythemin they give appropriate credit, donotusethemfor Smart Culture: Impact of the Internet on Artistic Creation 9 51 97 81 35 10 99 94 24 69 112 137 118 133 123 139 129 102 146

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2.8. and VR Data Big (reflection), QR codes websites, Other technologies: responsive 2.6. Wearables and payment wristbands and payment 2.6. Wearables Drones 2.7. and participation crowdfunding 2.3. Crowdsourcing, and use of streaming (digitisation) content 2.4. Online 2.5. Beacons 2.1. Social media and communities 2.2. Own apps 1.2. Multi-genre festivals that are opening up to new media opening up to new are that festivals 1.2. Multi-genre media festivals 1.1. New NT BEFORE AND DURING THE FESTIVAL

A POST-DIGITAL AND CONTEXTUALISED APPROACH AND CONTEXTUALISED A POST-DIGITAL NEW TECHNOLOGIES AS CONTENT NEW TECHNOLOGIES 4. CONCLUSIONS 3. 2. 1. Elisabet Roselló · Javier Celaya · Javier Elisabet Roselló INTRODUCTION FOCUS: USE OF NEW DIGITAL TECHNOLOGIES TECHNOLOGIES FOCUS: USE OF NEW DIGITAL FESTIVALS CULTURAL AT Montecarlo DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE AGE IN THE DIGITAL AUDIOVISUAL & STORYTELLING: INTERFACES DATA, VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS PRAXIS DESIGN AND DISRUPTIVE VIDEOGAME Lara Sánchez Coterón HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE CHANGING IN THE DIGITAL ARE ARTS THE PERFORMING HOW Zapata Pepe Waelder Pau Mariana Moura Santos Moura Mariana OF ACCESS MARKET IN THE AGE THE ART THE IMPACT OF THE INTERNET ON CULTURAL CREATION ON CULTURAL OF THE INTERNET THE IMPACT FIFTEEN YEARS ON FIFTEEN YEARS Martínez Iván THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: SOCIETY: IN TODAY’S PHENOMENON THE WIKIPEDIA Index Smart Culture: Impact of the Internet on Artistic Creation 10 Massachusetts andYorokobu andbytheleadingnational television, radioandInternet media. international mediasuchastheSouthChina Morning Herald, RadioNetherlands, RadioAmherst for the FayerWayer, Código EspaguetiandElDiario.es blogs.His opinionshave beentaken upby broadcast byIbero 90.9FM,apublicradiostation oftheUniversidad Iberoamericana. He wrote Since 2013hehasconducted theonlyWikipedia-based radioshowintheworld: Moebius 909, Chile andtheUnited Kingdom,where hehasdelivered four lectures onhisprojects. related totheWikimediamovement inFrance, Germany, Poland, Israel, China,Argentina, 50 university, businessandculturalinstitutions.He hastaken partininternational events As alecturer, he has given talksonfree knowledgeinseven Mexican states andat some foundation’s Funds Dissemination Committee andavolunteer for WikipediainSpanish. international Wikimania conference heldfrom 15to19July 2015,andisamemberofthe the WikimediaFoundation whichownsWikipedia.He waschiefcoordinator ofthe11th Since 2012,hehasbeenpresident ofWikimediaMéxico A.C., thelocalrepresentative of Iván Martínez (1983) studiedhistoryat theUNAMandisajournalistWikipedian. Attribution-ShareAlike 4.0licence Available underaCreative Commons Iván Martínez · SOCIETY: FIFTEEN YEARSON PHENOMENON INTODAY’S THE WIKIPEDIA THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON @protoplasmakid

IVÁN MARTÍNEZ

Smart Culture: Impact of the Internet on Artistic Creation 11 , 3 , with which it . (Toffler: 1980), that that 1980), (Toffler: Britannica The Wikipedia Revolution Wikipedia The prosumption associated and compared associated AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E of common good or, rather, the commons, the commons, rather, good or, of common all in an 2008), and technology (Lafuente: easy relatively tools are where environment to learn and the meritocracy spurs an almost personal satisfaction. egocentric The early Internet saw the explosion of replicas the explosion of replicas saw The early Internet the ‘real’ ranging from likenesses of electronic 1.0: virtual museums, of the Web to that world email, ebooks. virtual walks, virtual marketplaces, 2.0. by the Web And the new big bang triggered power of the collective rise to the creation gave of the predicted based on collective, and emergence is, creation by people. generated dynamic content the are precedents direct Wikipedia’s collective software, free philosophy of by people and the generated content encyclopaedia. French eighteenth-century hand-in-hand with a type of This went Bechler pointed which, as Yochai organisation in being practiced was already 2009), out (Lih: software in free environments computational of knowledge peer production communities: the notion based on fruitful interaction between is a living fact in the process of finding common of finding fact in the process is a living ground. Richard of Wikipedia are precedents The direct and, in 2009) (Lih: project GNUpedia Stallman’s has that philosophy software his free particular, now and is the 1980s intensely since developed part of the hardware factor in an irreversible the technological world make that and software is out, there has pointed Burke possible. As Peter encyclopaedia French the link between a direct at of dissemination level current and Wikipedia’s Its model of century. the start of the twenty-first based on the structure entries is predominantly in the eighteenth established by the French standards the classification preserving century, albeit possibly practically intact, of the latter enriched by the famous is often community in his book community

1 , is a resource , is a resource nearly 75,000 volunteers free encyclopaedia free it was totally forbidden at the end at it was totally forbidden 2 . journalist Andrew Lih affectionately calls the Lih affectionately journalist Andrew schools, organisations and cultural secretariats and cultural secretariats schools, organisations as Wikipedian and and a ‘bunch of nobodies’, The clash between the poles of production and the poles of production The clash between with of traditional knowledge reproduction universities, their global industries, associations, other resources for reproducing knowledge reproducing for other resources is not without controversy. and information, Wikipedia is a living resource that is part of that Wikipedia is a living resource And as such, its lives. millions of people’s of many that like with society, relationship China, where China, where of 2015 has undoubtedly had a social impact on Internet has undoubtedly had a social impact on Internet of with the exception probably users worldwide, and predict a phenomenon which, although a phenomenon and predict actors, bears on its significant a few having that an encyclopaedia of shoulders the weight comparative studies and above all criticism of studies and above comparative to to find answers attempt They the project. a steadily upward course. Nearly 500 academic Nearly course. a steadily upward including after year, year produced writings are analyses, and qualitative quantitative exercises, volunteers who exploit this diversity. It embraces embraces It diversity. who exploit this volunteers and motivations influences, a variety of trends, and is following the world over all opinions from The Wikipedia universe is a dense web of is a dense web The Wikipedia universe mass media and schools. It is one of the most mass media and schools. It Internet dynamic, ambitious and collaborative 2009). (Ortega: projects the main environments of cultural reproduction reproduction of cultural the main environments the family, and transmission of knowledge: the its capacity to enlist its capacity to enlist modify it daily is the subject of who extend and in comments criticism and everyday research, that serves 16 billion pages per month. Its self- month. Its 16 billion pages per serves that and its editorial standards ecosystem, regulated and French encyclopaedists. and French Wikipedia, it was created, since 15 years Nearly the self-styled Premises: daughter of free software software of free daughter Premises: 1. Wikipedia: the free the free 1. Wikipedia: encyclopaedia. Internet Smart Culture: Impact of the Internet on Artistic Creation 12 These five rules,aspublishedin English, are: valid thananother. as inlegalpractice, theyconsider onetobemore their caseandthere isseldomconsensus when, rules. Wikipediansusethesefive rulestoargue regulate theencyclopaedia, butonlyfive basic recommendations, guidelinesandessays that an edifice. There are hundreds ofpolicies, to thestructuralelementsthat support They are calledthe‘five pillars’, inallusion current editionsin288different languages. Wikipedia hasfive mainrulesthat applytoits The five pillars since 2011. also headedmycountry’s Wikimediachapter the projects oftheWikimediaFoundation. Ihave includes 10,000Wikipediaeditsand23,000for in thisauthor, asmytrackrecord asoftoday should pointout,triggersaconflict ofinterests project asof2015–anundertakingwhich,I This survey aimstoprovide anoverview ofthe sources, especiallywhenthetopiciscontroversial for verifiable accuracy, authoritative citing reliable, truth” or“thebestview”. strive Allarticles must accurately andincontext rather thanas“the describe multiplepointsofview, presenting each one well-recognized pointofview;inothers,we debate them.In someareas there may bejust characterize information andissuesrather than an impartialtone.We avoid advocacy andwe respectweight with totheir prominence in and explainmajorpointsofview, givingdue of view:We strive for articlesthat document 2. Wikipediaiswrittenfrom aneutralpoint its fellow Wikimediaprojects are. collection ofsource documents,althoughsomeof directory. It isnotadictionary, anewspaper, ora indiscriminate collection ofinformation, oraweb ordemocracy,an experimentin anarchy an soapbox, anadvertising platform, avanitypress, almanacs, andgazetteers. Wikipediaisnota features ofgeneralandspecialized encyclopaedias, 1. Wikipediaisanencyclopedia: It combines many THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON modifications. find that thesepolicies are appliedtotheir to beinterpreted mostdiversely bythosewho and neutralityare two ofthepointsthat tend explanation of‘What Wikipediaisnot’. Notability pillar Wikipediashouldprovide anadditional It isstriking that inconnection withthis of others.Beopenandwelcoming tonewcomers. thepart in goodfaith,andassumefaith on never disrupt Wikipediatoillustrate apoint.Act attacks. avoid Seek consensus, editwars,and Wikipedia etiquette,anddon’t engageinpersonal Wikipedians, even whenyou disagree. Apply with respect andcivility:Respect your fellow 4. Wikipediaeditorsshouldtreat eachother alternatives first. use,butstrive tofindfreeallowed as fair sources. Borrowing non-free sometimes media is Respect copyright laws, andnever plagiarize from redistributed.will bemercilessly edited and anycontributions canand owns anarticle and license theirwork tothepublic,noeditor use, edit,anddistribute:Since alleditors freely 3. Wikipediaisfree content that anyone can belong. experiences, interpretations, not oropinions do or isonlivingpersons.Editors’ personal corrected. of apageissaved, somistakes canbeeasily agonize over makingmistakes: every pastversion updatingbut notreckless in articles.Anddonot Wikipedia requires makingexceptions. Bebold than literalwording, andsometimesimproving over time. Theprinciplesandspiritmatter more stone; theircontent andinterpretation canevolve policies andguidelines,buttheyare notcarved in 5. Wikipediahasnofirmrules: discuss. articles ontheEnglish Wikipediatoimprove and procedures, andconsider that there are 5,060,896 appropriate talkpages, follow dispute resolution Should conflicts arise,discussthemcalmlyonthe

IVÁN MARTÍNEZ Smart Culture: Impact of the Internet on Artistic Creation 13 The contributors The contributors

[derived from the from [derived Which is the correct name is the correct Which 5 ratón ratón . Diccionario de la Real Academia de la Academia de la Real Diccionario in support of their claim. But using a in support of their claim. But mouse versus ratón AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Discussions among the community on various among the community Discussions characterised by their exhaustiveness, issues are of data a piece When nature. detail and heated not or may it may or a whole article is revised Some years ago there was a paradigmatic debate debate was a paradigmatic ago there Some years Wikipedians on the use among Spanish-speaking of Spaniards device? this computer for in Spanish their usual defended the animal]. name for Spanish argued countries other Spanish-speaking from in the world was the only country Spain that Wikipedians to use the term, while Spanish cited the Lengua in the so-called term not generally employed was of no benefit to American countries Latin other than Spain. in countries Spanish-speakers place arise in a variety of areas: divergences Such the same event names, euphemisms, names for daily topics of discussion among – all these are on agreement to reach collaborators Wikipedia’s to the public at the information how to present large. easy decision as it must meet the linguistic the linguistic as it must meet easy decision with the relationship whose a region needs of by marked centuries, back five dates language of dense web with another interaction languages. compiled has its own collectively Wikipedia is content its entire and Style of Manual to ensure consent decided on by common improvement. continuous basic style manual needs to be a there Naturally certain with guidelines on how to express or specific terms, neologisms, contextual words, formulas, scientific terms and chemical words, and Wikipedia is based on and constantly of the Wikimedia interacts with another project in called Wiktionary (Wikcionario Foundation further up of entries providing made Spanish) knowledge on a particular word. 2015 was producing the most edits. This is no most edits. This the producing 2015 was On what, or what rules, could rules, could or what what, On 4 . States to Patagonia and across Spain, which in Spain, and across to Patagonia States it base its initial precepts? The people who it base its initial precepts? edition are on the Spanish-language collaborate the United from the world around scattered Wikipedia has its own collectively compiled compiled Wikipedia has its own collectively of Style Manual Policies and style guides Policies bounds, but is more integrating and inclusive of inclusive and integrating bounds, but is more in the most open and elementary culture, what in humans. has produced sense of the word, to a recruitment process – is the awareness – is the awareness process to a recruitment It does Wikipedia is vast but not infinite. that has its It to be a boundless resource. not aspire all, behind the people who keep the project the project all, behind the people who keep not subject running – jobs without duration, who approach the encyclopaedia with different with different the encyclopaedia who approach as to why their article and reasons interests Above matters. everyday should be deleted are Discussions and explanations given to people given explanations and Discussions determined by physical factors in knowledge- determined by physical factors in a completely thus subject to are projects, related dismissal rule in Wikipedia. different has shifted to concern about the permanence of about the permanence has shifted to concern a is trivial or seeks to convey that information formerly criteria, particular viewpoint. Editorial As Famiglietti points out (2011), concern about concern points out (2011), As Famiglietti as a main guideline content physically restricting surpassed the coverage of a twentieth-century of a twentieth-century surpassed the coverage for methods different are there encyclopaedia, should not go in it. should and judging what away from the structured model of what an model of what the structured from away it has can or should include, as encyclopaedia Despite the established aim to include and fully the established Despite in Wikipedia, and the a particular subject cover seeks to break encyclopaedia the free fact that relative. relative. notability policy – that is, what should and is, what – that notability policy – is examined on its pages should not remain be vague and to can be found it carefully, This is a topic of discussion and lengthy topic of discussion This is a built of various – a sort of entelechy arguments Wikipedia’s If and reasoning. conceptions Notability Notability Smart Culture: Impact of the Internet on Artistic Creation 14 have jobs anddevote theirfree timetothe age of33,live intheUnited States or Europe, editors are typically white, withanaverage in 2012revealed that international Wikipedia Wikimedia Foundation onvolunteers worldwide An that Wikipediaisstriving toreduce progressively. society, creates agap, resulting inasystemicbias whole societiesandtheso-calledinformation difference notonlybetween peoplebutbetween This discrimination, whichestablishesa to progressively reduce them. vehicle for disseminatingknowledge.It aims that hinderWikipedia’s activityasasocial The digitalandgendergapsare impairments Wikipedia. another context: withouttheInternet there’s no knowledge toageneralpublicishindrance in for Wikipediaisasocialvehicle for disseminating obtain andconsume information. In short,what effect ontheiropportunitiestolearn,and Internet. Access byregion hasadiscriminating situations even inemergingsocieties:the exclusion, despitetheefforts to reduce these in 2015isafactorofeconomic andsocial encyclopaedia dependsonanelementthat even its non-permanentknowledge,the capacity togenerate revisions andcriticismsof principle ofopennessandinclusiveness, inits Wikipedia’s version ofthefacts.Despite its There are certain factorsthat determine Systemic bias Wikipedia isarepository. improvement oftheknowledgewhich manner, nonethelessencourages theongoing conducted inasubtleroreven more civilised out for thecommon good,despitenotbeing Ultimately, this ‘mediated production’ carried session that may lastfor months. will emergewithchangesfor thebetteraftera survive, andmay ormay notbemodified,butit THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON anonymous survey 6 conducted bythe make somecountries more vulnerablethan Technical disadvantagesinInternet connections version. same interest inthesubjectwillthencheck over anotherbecauseavolunteer withthe prominence toaparticularpiece ofinformation more prejudice thaninothersocieties,orgive than inothers.Or theycanbeladenwithmuch popular inaparticularencyclopaedia edition editions. Idiosyncratic subjectsare muchmore different depthandmay noteven existinother Spanish-speaking societiesare dealtwithin be diverse intoday’s world. Certain issuesof condition aversion orvisionthat aspires to a particularsubjectmay even unwittingly A contributor’s conclusions andhandlingof volunteer work. enable themtowork andcarryoutrelated digital encyclopaedia. Theyalsohave degrees that this information. cities orcountries toobtainreliable sources of absolutely essentialtoday totravel toother countries, despiteinterest incoverage, itis needed tobuildWikipedia.In thecaseofremote coverage andavailability of thedocumentation Reference sources likewise condition the psychologically rewarding for collaborators). could probably satisfy otheraspectsandbe opposed tovolunteer work (though thelatter that canpotentiallydevoted topaidwork as voluntary initiatives –that is,givingaway time where peoplehave more timetocollaborate on and participation are notthesameincountries on aproject basedonvolunteer work. Interest determine theirenthusiasmfor collaborating editors. Countries’ socialconditions also discourages orreduces thenumberofWikipedia leads tolower participation intheproject and most expensive intheworld. Thisnaturally Internet service isoneofthepoorest and others. Such isthecaseofBolivia,where the

IVÁN MARTÍNEZ Smart Culture: Impact of the Internet on Artistic Creation 15 Spain, Spain, 10 . and sexual 9 in August 2015 women and where sexism and where women AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E initiatives. initiatives. America Spanish and Mexico in Usage usage and editing on, Wikipedia’s Fifteen years globally and performing growing are figures years. to the early compared differently is (http://es.wikipedia.org) Wikipedia in Spanish in used and edited resource the most commonly American countries. the Spanish 87 million visits in recorded servers Wikimedia’s 44 million people have where a country Mexico, connection, an Internet the biggest readers Argentina and Chile are in is the leading country of Wikipedia. Spain number of edits, 23,000 per month. in known Wikimedia communities are There Chile, Colombia, Argentina, Bolivia, Brazil, and Venezuela. Ecuador Wikipedia, overcoming as a group the most the most group as a overcoming Wikipedia, them. discourage that restrictions common to experts willing female now more are There all, they and, above learning are others help, harassed and/ when they are can seek support of on the grounds discrimination or suffer underlying all part of a broader This is gender. sector, in the technological which is rife problem paid more better jobs and are men have where than the goes beyond that a reality harassment are and industry. technology environment on statistics Based on the abovementioned Wikipedian, the characteristics of the average against incidents of sexism and discrimination such as Ada Initiatives common. are women this reality designed to combat are Lovelace in the involvement and help boost women’s sector and other related and open software free At these events women can learn and edit can women these events At other and described it as 7 where these situations these situations where 8 , (from the word editathon, linguistically editathon, the word (from rewriting a more inclusive history. inclusive a more rewriting where women can gather, shielded from violence violence shielded from can gather, women where sessions of writing and and harassment, to share gap in Wikimedia projects based essentially on gap in Wikimedia projects editatonas spaces version): a feminine adapted to create phenomenon in Mexico. Wikimedia Mexico Wikimedia Mexico phenomenon in Mexico. the gender reducing for launched a strategy still regard as men’s business. as men’s still regard in tackling this has been decisive The past year more social hurdles to be able to devote their to be able to devote social hurdles more and to addressing work to volunteer time freely many people new technology challenges that to the gender roles traditionally imposed by to the gender roles to overcome have Women heteronormativity. Internet initiatives Internet of all ages. Likewise, to women common are generally busier than men owing are women harassment and violence that are characteristic characteristic are that harassment and violence but of many not only of this project The reasons why women do not take part do not take women why The reasons the is One usually diverse. in Wikipedia are The knowledge environment that knowledge environment The uncertainty, of underpins it is the paradigm any as it is no longer possible to trust implicitly. resource Foundation, took the first steps towards raising took the first steps towards Foundation, of this situation awareness intolerable. prevailing heteronormativity. Sue Gardner, Gardner, Sue heteronormativity. prevailing of Wikimedia director executive former encyclopaedia’s subjects are covered and and covered subjects are encyclopaedia’s content is established and how final displayed, the or maximised by validated reproduced, This fact basically defines how the This fact basically was the very scant presence of women in of women scant presence was the very every nine out of Wikipedia. An overwhelming men. are ten Wikipedians The results of the abovementioned survey survey of the abovementioned The results was that something confirmed dramatically significant biases one of the most suspected: Gender gap: heteronormative history history gap: heteronormative Gender Smart Culture: Impact of the Internet on Artistic Creation 16 a scholarwithparticular fondness for write thearticleonauthor Jorge LuisBorges: commissioned Emir Rodríguez Monegal to Around 1977 the decentralised authorship Collaboration and Spanish-speaking world, the RAE2868th). (Wikipedia, according toAlexa, ranks10thinthe though Wikipediaisthemostvisibleandpopular is equallytrueofotherknowledgeresources, fully trustaresource like Wikipedia.But this (Wallerstein: 1999), itwillnotbepossibleto underpinned bytheparadigmofcertainty In future, inaknowledgeenvironment knowledge permanentlyunderconstruction. has itsadvantages,asitassertstheideaof Decentralised andnon-academic authorship the as theBritannica. Theyreported favourably on Wikipedia andotheronlineencyclopaedias such University carriedoutacomparative studyof in 2012ateamofresearchers from Oxford edition were approved inqualityandlength, magazine notable wascarriedout to checktheirreliability. One ofthemost samples ofarticlesrelated toschoolprogrammes studies have beenconducted takingrandom detail inthefollowing paragraphs.Comparative owing toitsvery nature, aswe shallexaminein articles found inWikipediaisuneven anddiverse The quality, breadth anddevelopment ofthe consult it. a reliable resource for thestudentswishingto Critics commonly questiontowhat extentitis or othercredentials inorder towritefor it. academic qualifications, membershipofsocieties people donotneedtoprove theirknowledge, The Wikipediamodelallowsanyone toeditand Reliability 2. Chiefcriticismsoftheproject THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON reliability ofWikipedia , 11 inwhich42articlesoftheEnglish Encyclopaedia Britannica in 2005by . 12

Nature

carry outresearch day byday. stemming from theacademiccommunity who modified or replaced bynewknowledge with theexception that theycanbeimproved, written. Contributions are permanentlydonated, purpose hasapolicyofdetachmentfrom what is expands –like Wikipediaitself, whichfor this and writtenasknowledgegrows, shrinksor as inavirtualpalimpsestthat canbeimproved as authors’products butasrewritable summae, Borges wasalsofond ofconceiving works not (Sassón-Henry: 2007). and theInternet anditsnewcollaborative age out thesimilaritiesbetween Borges’s thought dream ofknowledge.Scholarshave even pointed a libraryrewritten intheeternityofaBabelian the automation ofprocesses andthefantasyof reasoning advocated decentralised authorship, encyclopaedias andwhoseliterarycritical Brad Wray (quoted byFallis: 2009). much lesscost for gettingthingswrong’, notesK. than scientistsfor gettingthingsrightandsuffer ‘Wikipedia downfall ofacareer orcauseendlessdiscredit. others. In science, however, amistake canbethe can beremedied bythat Wikipedianorby or misinformation generated byaWikipedian permanently underconstruction. Anyomission advocating theideaofaknowledgethat is perception ofscientific certainty bywidely advantages, whichcanhelpimprove people’s Such decentralised authorshiphasits could itbegrantedsuchstatus? assured bypartoftheacademy? Andifso,how Will Wikipedianeedtobehave itscertainty the world were nevertheless placingtheirtrust. diffuse authorinwhichmillionsofpeopleallover new platform like Wikipediatofunctionasa of massproduction’ (Tapscott: 2006) helpeda revised andmanufactured production. ‘Weapons production theadvantagesofcollaboratively software that showed therest ofknowledge In a world of

contributors receive muchlessbenefit wikinomic

IVÁN MARTÍNEZ production, itwasfree Smart Culture: Impact of the Internet on Artistic Creation 17

http:// . One . One Clarín stand out Wikipedia supported the ) that ) that

14 . AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E extra work for the community of people who the community for extra work build Wikipedia. Duarte, governor of Veracruz, to describe his of Veracruz, governor Duarte, of a journalist the murders following profession, he was to suggest that and activist of Veracruz, of lasted a couple This vandalism implicated. minutes. cases of controversial more are There kind, which bring to mind of this modifications journalism, and his gonzo Thompson Hunter to have been discovered as some media have to modified articles in order of the most notorious cases was in Argentina in 2010, when the daily newspaper in vandalised the article ‘La noche de los lápices’ ( to be able to publish on its cover order edant.clarin.com/diario/2006/09/14/um/m- 01271296.htm d’état coup is no references are which there for All data is why actions of this kind make deleted; that ‘amusement’, to launder information that is that information to launder ‘amusement’, of attributions or to exaggerate uncomfortable so, the percentage or people. Even phenomena edits. of good than that is lower of vandalism who mean when somebody we ‘amusement’ By values realises to Wikipedia’s is not committed or can edit it and changes dates anyone that an object or person or gives information attributes. fictitious model of is based on a collective It the Wikipedia donations and funds through organisation a not-for-profit Foundation, and administrative that provides technical, financial support. vandalism can also extend to Intentional in 2015, the example: in Mexico, activism. For was added to the article on Javier ‘criminal’ word that is known to be erroneous, generally for generally for be erroneous, is known to that . And this is this purposely including in the encyclopaedia content content purposely including in the encyclopaedia gonzo journalism gonzo means vandalism the Wikipedia world, In men decided to make it that way. way. it that men decided to make Wikipedia, vandalism and But these testimonies do not make it clear these testimonies do not make But whether this model was questioned or how both Larry Sanger established the basic guidelines for Larry Sanger established the basic guidelines for defining truthfulness and neutrality according 2009). to their philosophical understanding (Lih: functions on the principle of There explanation. it leads to a broad there from and Wales testimonies telling how Jimmy are The reasoning behind Wikipedia’s structure structure behind Wikipedia’s The reasoning predecessors. There are other online knowledge are There predecessors. Quora, aims such as with different resources on questions. which bases its experience embedded in this semantic structure and it embedded in this semantic structure same manner as its questions in the answers remained practically unchanged. As such, practically remained Wikipedia is not an this reasoning, following are its historical roots product; innovative The inherited model of encyclopaedic question The inherited model of encyclopaedic has structure underpins Wikipedia’s that matter in question? matter answer of encyclopaedic Model through what it hasn’t got or because what it what got or because it hasn’t what through of the status the current reflect has got doesn’t it, then, omission of knowledge of new sources of knowledge of new sources it, then, omission knowledge in Wikipedia? permits erroneous that – in the project assess confidence can we How original research product. Wikipedia draws on Wikipedia draws product. original research Is everyone. to available material conventional science, on which its truthfulness is based, and on which science, what from aims different because it pursues assess an we to mean when certainty take we science has upheld with rationalistic fervour fervour upheld with rationalistic has science this is Perhaps century. the eighteenth since is absolutely dependent on because Wikipedia one contributor. And this convention appears appears And this convention one contributor. that of certainty the paradigm to destabilise The decentralised authorship model makes it model makes authorship The decentralised just to be signed by an article for forbidden 3. Fifteen years on The Wikimedia movement as it stands in 2015 can be divided into three main categories: Wikipedia/Wikimedia 1. The community of male and female editors Since 2003 Wikipedia has been supported by who work voluntarily on the Wikimedia projects: a not-for-profit foundation. Jimmy Wales and Wikipedia, Wikibooks, Wiktionary, Wikiversity, Larry Sanger decided to make the radical switch Wikisource, Wikivoyage, Wikispecies, Wikinews, from the original profits-based model to a Wikiquote; the centralised resource sites donations-based model. Up until then Wales’s Wikidata and Wikimedia Commons; and company, Bomis, had borne the costs of the those that are related to internal processes online encyclopaedia. The establishment of the in Meta-Wiki and everything that is linked to Wikipedia Foundation was the first step towards the development of the MediaWiki technical shaping the model of donations and collective and software project that makes the whole fundraising. By 2005 the foundation had raised thing possible. If we take as a parameter its first million dollars, and this amount had the consideration that an active contributor increased to 75 million for 2014–15.15 According produces more than five edits per month in any to the foundation, individual readers give most of these projects, this gives an average number of the money received by the global foundation, of 75,000 people who make up the community though the United States and Canada were the each month. largest donors in the 2014 fundraising campaign. A total of 4.9 million people worldwide donated 2. The Wikipedia entities, which are divided into money to the Wikimedia projects. national chapters affiliated with Wikimedia. The former are civil organisations legally established The foundation, based in San Francisco, in countries that provide support with projects California, has nearly 280 employees, both male of different kinds: educational, cultural, legal, and female. As usual, there is a contrast between etc. The latter are support groups that can work number of employees and the size of the online on thematic or regional projects. Most members, project. The number was almost tripled when partners or affiliates are part of the huge Lila Tretikov took over as executive director of community of contributors. The entities enter Wikimedia Foundation in May 201416 and started into local agreements and report their activity to hiring personnel from the Bay Area, focusing on their countries’ media. technical aspects such as reader experience, improving editing tools and developing more 3. Lastly, the abovementioned Wikimedia advanced mobile capabilities. Foundation is the not-for-profit organisation that provides the technical, administrative and global population

Money specified by the donor for an entity, e.g. WMDE financial underpinning. It regulates and lends people becoming editors of a wiki-website Weltbevölkerung Geld, das der Spender einem Menschen, die Bearbeiter einer Wiki-Website werden bestimmten Verein wie WMDE spendet people becoming a member Menschen, die Mitglied werden support to the communities around the world.

polls other Wikipedia Abstimmg. users with language Money not specified by the donor Wikimedia Deutschland voting rights versions for a specific entity, given usually board Präsidium admins Benutzer mit (more than 280) via Wikipedia Admins Stimmrecht Geld, das vom Spender für eine edit andere nicht näher bestimmte Organisation members bearbeiten COMMUNITY Wikipedia- (GA) gegeben wurde, in der Regel WIKIMEDIA Sprachversionen Director GEMEINSCHAFT über die Wikipedia DEUTSCHLAND Mitglieder (mehr als 280) Vorstand (MV) Wikipedia in German Wikipedia auf Deutsch Fifteen years on, what Wikipedia has triggered is content projects Inhaltsprojekte Entities support the project volunteers, but have no say on the content Vereine unterstützen die Ehrenamtlichen der Projekte, bestimmen aber nicht die Inhalte more chapters weitere nationale Vereine Wiktionary Wikibooks Wikiquote Wikisource 2002 an issue that was probably not foreseen by those 2003 2003 2003

Wikispecies Wikinews Wikiversity Wikivoyage Money specified 2004 2004 2006 2012 by the donor for WMF thematic Geld, das der Spender für organizations who originally designed it. This movement, with die WMF bestimmt hat thematische central central content projects Funds Funds requested by organisational Zentrale Inhaltsprojekte Disseminating individual entities Vereine wiki Geld von einzelnen zentrales Committee Vereinen beantragt Organisations- Spendenverteilungs- Wiki Meta Wiki Ausschuss Wikimedia user groups such a complex, diverse structure, functions in 2001 Wikimedia Commons Wikidata Funds to the WMF Wikimedia-Benutzergruppen 2003 2012 for core business Geld an die WMF für Kernaufgaben Funds requested WIKIMEDIA PROJECTS by WMF WIKIMEDIA ENTITIES WIKIMEDIA-PROJEKTE Geld von der WIKIMEDIA-VEREINE WMF beantragt an asynchronous, self-regulated, horizontal

elect wählen select suchen aus WIKIMEDIA WMF allows use of WMF runs the FOUNDATION Wikimedia trademarks manner from the perspective of a common projects technically (committee advises board) WMF ist der WMF erlaubt Gebrauch der technische Betreiber staff 3 persons elected by 5 persons coopted by all 2 persons selected Affiliation Committee Wikimedia-Marken (Ausschuss berät Vorstand) Mitarbeiter the communities 5 von allen hinzugewählte by the chapters Ausschuss für Vereine 3 von den Personen 2 von den Vereinen Gemeinschaften gewählte Personen mission albeit among the utmost diversity of gewählte Personen executive director other committees WMF board of trustees Vorstand andere Ausschüsse different geographical contacts, distinct THE WIKIMEDIA MOVEMENT WMM chart Ziko van Dijk, CC-BY-SA DIE WIKIMEDIA-BEWEGUNG Apri 2013 socioeconomic groups, and divergent

18 THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON · IVÁN MARTÍNEZ Smart Culture: Impact of the Internet on Artistic Creation 19 Wikimedia there is full perception of is full perception there 18 , AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E them reflected in Wikipedia and Wikimedia them reflected manner in order structured in a more projects of both forms understanding between to foster knowledge. disseminating This movement faces many challenges; for many challenges; for faces This movement and example, guaranteeing the sovereignty sustainability of its support organisations, of the guaranteeing the representativeness the and ensuring that diversity, movement’s in the even governable itself remains movement of internal or external threats. face Wikipedian in residence in interest Beginning in 2010, the movement’s into and developed sector grew the culture 2010 Wikipedian In organised projects. more started up the first museum Liam Wyatt the English- to broaden internship in order knowledge of of Wikipedia’s language version in this case the famous traditional repositories, seek These collaborations Museum. British in depth the holdings of museums, to explore chiefly and see libraries, galleries and archives of national organisations to shape a new model to shape a new organisations of national of groups emerging divided into of affiliates or interests by common linked groups users or was the clash that capabilities. Such regional of chapters the incident within the network and triggered drama’ ‘Haifa was dubbed the organisations the two antagonism between attempted was even months. It a few for in the Wikimedia Conference at unsuccessfully of the by representatives Berlin in 2012, attended of to set up a confederation Wikimedia chapters, to these measures. chapters in reaction by Wikimedia conducted a survey to According in 2014 as part of the Deutschland Chapters Dialogue certain aside from and confidence collaboration perception, issues such as the lack of mutual and lack of understanding in communication some aspects. implemented and even encouraged the creation the creation encouraged and even implemented but 17 model of chapters adopted since 2005, when it model of chapters adopted since It is not known for certain what led the what certain is not known for It the around to turn Wikimedia Foundation size of the mother organisation at least with the at of the mother organisation size projects. long-term possibility of generating within the movement, with organisational and with organisational within the movement, to the capabilities, if not with respect economic grew, other smaller organisations such as other smaller organisations grew, and Wikimedia France, Wikimedia Deutschland into significant entities among others, developed Wikimedia organisations, those of Europe, those of Europe, Wikimedia organisations, in 2011, during the Wikimania meeting surfaced As the Wikimedia Foundation held in Israel. The first disagreement between the US end that the US end that between The first disagreement and the most powerful the movement structures and representativeness in in and representativeness the global movement and powers, and Wikipedia is not unaware of this. is not unaware and Wikipedia and powers, Challenges of governance Internet is a direct product of the economic and economic of the product is a direct Internet its connections dominate that social conditions Such an ecosystem naturally has challenges naturally an ecosystem Such as the and representativeness, of governance Its challenges include guaranteeing the include guaranteeing challenges Its its and sustainability of sovereignty the of the representativeness organisations, in the and continuity diversity, movement’s threats. internal or external of face which the world has been telling its story in has been telling its story which the world years. recent grew into a vast community whose main into a vast community grew with and the discourse Internet is the reference that limit or extend the action of the various or extend the action of the various limit that It began the movement. up make that affiliates but 2009) (O’Neil: tribe’ as an ‘Internet more movement. And its members constantly discuss discuss its members constantly And movement. but also their are powers their what new policies or rules be they counterweights, the combination of both elements as functional as functional of both elements the combination in the Wikimedia fully reflected nodes is idiosyncrasies. Within the Internet there are are there Internet Within the idiosyncrasies. power, or on experience based networks Smart Culture: Impact of the Internet on Artistic Creation 20 common for Wikipedia tobeformally forbidden Wikipedia andtheschool environment. It isvery for improvement inthe relationship between people inMexico it isusedconstantly andwidelyby Although there are statistics indicating that building live knowledge Wikipedia inthelivingroom: ShareAlike licence. under anewCreative Commons Attribution- photographers andhasloanedplaced them images taken professionally byspecialised has furthermore donated high-resolution art butrelated tothe museum.Themuseum well asarticlesonnational andinternational on thecollections inthemuseum’s care, as involved above all creating content based The projects ofthiskindruninMexico in2015 Commons licence. images andplaced themunderaCreative collections. Museums haveprovided 2015 tocreate content basedonmuseum Work wascarried outinMexico during the twentieth centuries. collection, whichspansfrom thefourteenth to developing projects related tothemuseum’s several monthsat theMuseo Soumaya project. In Mexico theauthorofthisarticlespent Institution Archives have collaborated onthis Barcelona, UNESCO andtheSmithsonian German Federal Archives, theMuseu Picasso in Institutions suchasthecastleofVersailles, the display for reasons oftimeandspace. possible toplace museums’entire holdingson conservators andrestorers? It isnotusually curators andresearchers at museums,librarians, meetings. How are linksestablishedbetween Month inGLAM from themare compiled andpublishedin prominent role inculture. Thelessons learned from experiences inthissector, whichenjoys a Since thenmutualknowledgehasbeengleaned THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON anddiscussedat international , 19 there isplentyofroom young This examine aparticulararticleas ranging from gettingagroup ofstudentsto on aparticularsubjectinWikpediaare varied, The modelsshowinghowknowledgeisbuilt of Wikipediainclassrooms underguidance. resources andstrategies that promote theadoption Wikipedia’s Education Programme, aseriesofonline has responded tothisperception bysetting up the capabilitiesofmovement. Instead, it world’s schools;suchamammothtaskisbeyond on therelationship between Wikipediaandthe There are noquantitative orqualitative studies notion ofauthorship. as toitstruthfulnessandaccuracy anddiffuse encourages copying andpastingcontent, aswell about Wikipediarelate tothefactthat it case studies(Bayliss: 2009,Brox: 2012),concerns high-level academiccircles. According toafew at primaryschoollevel andbanishedfrom access toit. it isknowntothoseofus whocurrently have generis asasubstantialpart oftheInternet, as exerts influence asamechanismofvirtualitysui its inspirations andconsequences –onhowit based around Wikipediaiscentred onanalysing As stated earlier, theintellectualproduction ideas andway forward Growth outlook:prospects, through Wikipedia’s educational programme. 2015, WikimediaMéxico hadassessed118students Américas, amongotherinstitutions.By theendof Autónoma dePuebla andtheUniversidad delas de México, theBeneméritaUniversidad Iztapalapa, theInstituto Tecnológico Autónomo Universidad AutónomaMetropolitana campus Universidad Nacional AutónomadeMéxico, the work hasbeencarriedoutsince 2011at the teachers andpupilsof62countries. In Mexico in 2015theprogramme incorporated schools, Started upintheUnited States andCanada, article for asemesterassessment. project , 20 orassigningacomplete Wikipedia

IVÁN MARTÍNEZ semester 21 Smart Culture: Impact of the Internet on Artistic Creation 21 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E a minimal part of its components. The influence The influence a minimal part of its components. will increase the social scene on of its content its interaction with other and to come in years social actors is not only knowledge-related and a substantial part of imminent but a reality to establish links. efforts its voluntary some people uneasy but model makes free Its some others; it encourages easier for life makes and sparks experience and learn from to reflect of 15 years huge misgivings in others. After into Wikipedia seems to fall more existence, which good, of that of common the category belongs to mankind as a whole and as such must than to the closed for, and cared be preserved model of cultural assets upheld in past centuries least. at in the new mobile reality? When it came into it came into When mobile reality? in the new totally was environment computing being the devices least five at by desktop, dominated today’s of what the functions performed and Wikipedia itself was smartphones do on a PC monitor. designed to be viewed devices, adapt to the Web, will the Internet How but also to processing, data objects and mass and on based chiefly on mobiles a digital world them? for generated content 4. Conclusions cannot make we indicates, As this survey a deterministic or take generalisations sweeping phenomenon. view of the Wikipedia Internet characteristics and internal components, Its simple explanations; do not allow for workings on and criticism of reflection they call for rather, included in emerging Internet technologies, technologies, in emerging Internet included : 22 priorities in 2009 community by doubling the percentage of doubling the percentage by community increase and editors to 25 percent female South editors to 37 of Global the percentage percent. Encourage readers to become contributors contributors to become readers Encourage number of total editors the by increasing least 5 edits per month to at who make 200,000. in the editing healthy diversity Support Ensure information is high quality by information Ensure of material the percentage increasing high quality to be of high or very reviewed by 25 percent. Increase the total number of people served served the total number of people Increase to 1 billion. articles the number of Wikipedia Increase to 50 million. offer we • • • • • emerging economies, how will Wikipedia be emerging economies, the number of people who turn to Wikipedia and the or contributors, whether as readers with in countries expansion of the Internet In addition to these concerns, centred on centred addition to these concerns, In In future Wikipedia must seek a way of must seek a way of Wikipedia future In Internet the latest emerging incorporating technologies in a digital world based on mobile devices. specified its and legal mechanisms for guaranteeing this guaranteeing mechanisms for and legal the contrary. despite decisions to continuity strategy five-year The Wikimedia Foundation’s at least for a few more years. Its community community Its years. more a few least for at social series of technological, a has developed Every year Wikipedia raises more funds and funds more Wikipedia raises year Every assured, seems to be therefore its continuity Smart Culture: Impact of the Internet on Artistic Creation 22 handle/10115/11239/thesis-jfelipe.pdf Available at Rey Juan Carlos,Madrid (Spain), 2009. Doctoral dissertation submittedat Universidad Ortega, Felipe. Press, 2009. Authority inOnline Tribes O’Neil, Mathieu. Encyclopedia Bunch of Nobodies Created theWorld’s Greatest Lih, Andrew. handle/10261/96935 2008. Available at Consejo Superior de Investigaciones Científicas, Un proyecto endefensa delbiencomún Lafuente, Antonio. Stanford University Press, 2014. An Ethnography of Wikipedia. Jemielniak, Dariusz. scholarworks.bgsu.edu/acs_diss/16 State University, 2011.Available at at theGraduate College ofBowlingGreen History of Wikipedia Wikipedians: thePolitical Economy andCultural Famiglietti, Andrew. article/3f353b07f6cb437fa9c96848e2339e2b Tromsø, 2012.Available at Tidsskrift ilitteratur ogkultur for WikipediainHigher Education?’, Brox, Hilde. ‘TheElephantintheRoom: aPlace article/3f353b07f6cb437fa9c96848e2339e2 Group, LLC. Available at Librarianship Institutions’, Education: Implications for Higher Education Attitude Toward WikipediainHigher Bayliss, Gema.‘ExploringtheCautionary digital resources Bibliography and THE WIKIPEDIA PHENOMENON IN TODAY’S SOCIETY: FIFTEEN YEARS ON https://eciencia.urjc.es/bitstream/ , 19:36–57, 2013,Taylor &Francis . Hyperion Books,2009. New Review of Academic The Wikipedia Revolution: How a Wikipedia: AQuantitative Analysis CyberChiefs.Autonomy and http://digital.csic.es/ Laboratorio delProcomún. . Dissertation for aPhD Common Knowledge. Hackers, Cyborgs and https://doaj.org/ . New York, Pluto https://doaj.org/ , Universitetet i United States, http:// / Nordlit: . Spain, . sociales.pdf libro/El_fin_de_las_certidumbres_en_ciencias_ computo.ceiich.unam.mx/webceiich/docs/ Humanidades, 1999. Excepts available at Investigaciones Multidisciplinarias enCienciasy en lascienciassociales Wallerstein, Immanuel. Books, 1984. Toffler, Alvin. Virtual Worlds Sassón-Henry, Perla. Colaboration.pdf free_download/9780262518208_Good_Faith_ mitpress.mit.edu/sites/default/files/titles/ States, MITPress, 2010.Available at Collaboration: theCulture of Wikipedia Reagle Jr., Joseph Michael. @hatnote @Wikiresearch @padaguan @WeAreWikipedia @eswikipedia @pazpena @alafuente @bernardosampa @alan_lzd @Jimmy_wales @Wikinoticias @Wikipedia Tweeters Wikipedia Top 100: Wikipedia statistics: The Third Wave . Peter Lang,2007.

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http://news.bbc.co.uk/hi/spanish/science/ ture/journal/v438/n7070/full/438900a.html Jim Giles. ‘Special Report: Internet encyclopaedias encyclopaedias Internet Report: ‘Special Giles. Jim go head to head’. at 2005). Available dia/squids/SquidReportPageViewsPerCountry Overview.htm gy_industry at Available This phenomenon is summarised in en.wikipedia.org/wiki/Sexism_in_the_technolo UN Women reported this phenomenon as occurring reported UN Women in 2015: ries/2015/9/cyber-violence-report-press-release nine-reasons-why-women-dont-edit-wikipedia-in- their-own-words/ wiki/Research:Wikipedia_Editor_Survey_2012 at Available ica%29 at available Results Available at at Available cusi%C3%B3n:Rat%C3%B3n_%28inform%C3%A1t Available at at Available pedia:Manual_of_Style pedia.org/wiki/Wikipedia:Manual_de_estilo from from newsid_4540000/4540140.stm BBCMundo.com BBCMundo.com 2005. Retrieved 18 December BBCMundo.com, sia.com/news/asiapacific/wikipedia-boss-to-lob by/2312740.html Naidu, Sumisha. ‘Wikipedia boss to lobby China ‘Wikipedia boss to Sumisha. Naidu, 2 Decem Channel NewsAsia, to unblock website’, at ber 2015. Available Average figure for 2015 available at available for 2015 figure Average dia.org

11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1. Notes Smart Culture: Impact of the Internet on Artistic Creation 24 and leadsthetransformation ofcommunities byequippingthemwithdigital skills. runs workshops ondesignthoughttoencourage amultidisciplinaryapproach tostorytelling pioneered thenewsroom’s useofmotiongraphicstomake data storiesmore compelling. She as amemberoftheinteractive teamat independent journalists.Mariana Santosisavisualstorytellerwhodidground-breaking work Journalism Fellow in2013–14sheworked in leadingnewsrooms ofLatin Americaandwith recently completed aJohn S.KnightFellowship at Stanford in2015andasaKnightInternational journalists withnewsroom technology. Director ofinteractive andanimation at Fusion. She Founder ofChicas Poderosas, adigitalteachingcommunity designedtofamiliarisefemale Mariana MouraSantos · CREATION INTERNET ONCULTURAL THE IMPACT OFTHE THE IMPACT OF THE INTERNET ON CULTURAL CREATION The Guardian @marysaints inLondon. Atrained animator, she

MARIANA MOURA SANTOS Smart Culture: Impact of the Internet on Artistic Creation 25 open, an interdisciplinary team of an interdisciplinary at the Universities of Manchester, St St of Manchester, the Universities at

1 display how misinformation corrects itself in misinformation display how forums. unregulated analysis and dynamic graphics. Its purpose: to Its purpose: to dynamic graphics. analysis and AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E tweets belong to each cluster. Again, our Again, belong to each cluster. tweets a invaluable, providing academic partners proved algorithm for distance parametrised Levenshtein from ‘distance’ certain within a finding all tweets each other in textual terms. With help from With help from researchers distilled the overall we and Leicester, Andrews a series of subsets related down to corpus a more then undertook We to each rumour. best that to find the tweets hands-on approach each story. represented of came the task of visualising the ‘flow’ Next Looking a particular rumour as it took flight. we inspiration, Fizz for Bloom’s like to projects shows tweets decided upon an aesthetic that our In into larger circles. grouped as circles the items into place would case, this grouping for a set of retweets clusters – each comprising tweet. a given needed to find which we this work, make To Our initial source was a corpus of 2.6 million of 2.6 million was a corpus initial source Our all of which ‘related by Twitter, provided tweets least one at by virtue of containing the riots to’ of a series of hashtags. work out which was to The first challenge should track, and how to isolate rumours we in Working to these rumours. related that tweets the covered with journalists who’d conjunction ranging key rumours, seven identified we story, army tanks had been (that the frivolous from to the more in the City of London) deployed riots began with the Tottenham sobering (that girl). a 16-year-old beating the police open’ are that the ‘channels fact The news, opinions and mean that the doesn’t are rumours social media users transmit truthful. necessarily newspaper, one of the newspaper, project, we resolved to find resolved we project, is one of the most ambitious The Guardian The Reading the Riots Reading a way to show the birth and death of rumours on to show the birth and death a way The result Twitter. pieces we have ever built, both in terms of data Asked to produce an interactive visualisation for for visualisation an interactive to produce Asked the truth. The rise and fall of rumours on Twitter is a truth. The rise and fall of rumours on Twitter in action. of social forces striking display countless topics came and went. As worries As worries topics came and went. countless individuals Rare grew. mounted, speculation sought the hearsay, countered sources, requested internet in search of reliable information. In the In information. of reliable internet in search web was often the news, the of confirmed absence Amidst the hubbub, of tracking events. only way Throughout the UK riots, many scanned the Throughout Jonathan Richards, former Guardian Interactive Interactive Guardian former Richards, Jonathan explains it Australia, Google Ideas now at editor, as follows: our most ambitious visualisations to date. our most ambitious visualisations An interdisciplinary team of academics and some team of academics and An interdisciplinary behind one of technologies were web advanced analyse the power of Twitter as the main form of main form as the of Twitter analyse the power among not only journalists but in communication particular the population. working at at working team was to to the interactive assigned projects Analysing social media while the riots of 2012 in London, During transmit is necessarily truthful. transmit is necessarily though this does not mean that just because just because not mean that though this does they information open now the the channels are With open channels and freedom of expression, of expression, and freedom With open channels for of opinion and the opportunity the exchange openly available, the news has become spreading The digitalisation of information and open access and open access of information The digitalisation to the people. power brought to knowledge has the entire manifestation and exchange of culture of culture and exchange manifestation the entire and expression. The Internet has brought media and the power power media and the has brought The Internet therefore and to another level of communication Smart Culture: Impact of the Internet on Artistic Creation 26 alternative renderers for WebGL, HTML5 Canvas for thelargestpossible audience. He built Robin went topains toensure we could cater current state tothescreen. to reflect the results anda renderer draws the what’s inplay, acustomphysicsengineisupdated model. Every frame,themodelisqueried tofind loaded from aJSONfileandplaced inastructured of anarcade game.Thedata for eachrumour is that resembles what you’d find under thehood experienced friends,we chose anarchitecture many problems. After seekingadvice from some graphics inplace usingweb standards poses replayed like avideo.Gettingsuchcomplex timeline that would alloweachrumourtobe Shuttleworth andRobin Beitrabuiltaninteractive With thiswork underway, developers Martin one another. activists, artistsandexperts,allbuildingoff a dialoguebetweenreaders, journalists, be partof aconversation where storiesare The newgeneration of readers wantsto picture ofwhat direction thedialogueistaking. code eachtweet sothat readers getanoverall These categories could thenbeusedtocolour final review for qualityassurance purposes. reliability. Alltheresults were thensubjectto students inorder toenableuscheckfor independently coded bythree sociologyPhD our academicpartners,eachtweet was rumour? In additiontoanalgorithmicanalysisby support, oppose,queryorcomment ona its mainrole asacommunicative act. Did it according toa‘common of sense understanding’ Our lastchallengewastoclassifyeachtweet voices. shrink astheirthemeistaken upbyadditional dissipate over time.Assuch,clustersgrow and added adecay functionthat would allowitto its author(determined byfollower count), we Sizing eachtweet according totheinfluence of a systemtovisualisetheirriseandfallover time. Once theclusterswere identified, we developed THE IMPACT OF THE INTERNET ON CULTURAL CREATION a somewhat abstractjourney. adds helpfulcontext towhat mightotherwisebe tweets) from withinthelife oftherumour. This panels, eachofwhichcitesakey tweet (or of eachstorywithaserieseditoriallycurated Finally we attempted totrace thenarrative arc browser capability. story. Thisisdrawn inSVG orVMLdependingon people findthemostinteresting partsofthe a graphoftweet volume over timetohelp useful for keeping everything insync.We added system what timeitis.Backbone.jsproved very interactive playhead that letstherest ofthe Martin didsomegreat work tomake an the wholescene eachframe. draws what haschangedrather thanrebuilding information passedtotherenderer sothat itjust have access. He thenfine-tuned theamountof and Flash sothat even olderbrowsers would totally disagree with him. being ajournalistintheage oftheInternet, butI some controversial opinionsaboutthe difficultof Fusion, whomIdeeplyrespect, hasexpressed more evidentthanever. Acolleague ofmineat The importance oftherole ofjournalismisnow cases rumours. employed tospread news,opinionsorinmost among usersofthesenewtechnologies willarisefromthat thedialogues the truth just because ‘channels are open’ it doesn’t mean This project wasthelivingexamplethat in digitalculture The importance ofjournalism too.’ untangle theforces at play infurtherdialogues putting memesunderthemicroscope willhelp watching biologicalphenomenaunfold. We hope flow andpolarised colours gives theeffect of combination offluid movement, ebband We’re pretty happywiththeresult. The

MARIANA MOURA SANTOS Smart Culture: Impact of the Internet on Artistic Creation 27 undergoing a huge is to be a journalist is AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E male with height, education, and a nice accent accent and a nice male with height, education, of career still helps, it no longer guarantees a life And expecting luck to help build or make safety. strategy. is a dangerous career your Let me be clear: journalism Let easily. But this shift, and change doesn’t happen of new and shift also provides a whole bunch and reinvent exciting opportunities as we adapt our notions both of what it means. ‘media’ and what and activists are entrepreneurs Journalists, world in a a difference to make joining forces of information, inaccessibility corruption, where and bad policies discrimination abuse of power, the topic of the day. are to created ventures all the amazing new at Look needs that on the new kinds of media work take AJ+, Media, Vox outlets like to be done, from and The Quartz The Skim, Project, The Marshall Fusion. to my beloved Conversation, Though being a white, intelligent and privileged more importantly, the chance to be part of to be the chance importantly, more of in the world As someone the conversation. graphics, I realised and motion graphic culture bring could background my skills and that the table. something new to me, but a need for was not only room there Now with new minds fresh myself: others like for of a generation to serve and a desire approaches of the who wanted to be part readers is no longer the story where conversation, a dialogue as a monologue but as presented journalists, activists, artists and readers, between experts, all building off one another. rather than problem finding about It’s The into problem solving. jumping straight starts with the users – process creative observing learning about their actions and needs. their behaviour to find out their and audiences were hungry for video and, hungry for were and audiences I was eager – advice to young young to advice so I began searching for for so I began searching – trying to break into media: as he into media: break trying to

2 the tumultuous shift from print to digital, the tumultuous shift from what was out there. what was this: news was making I realised What might exist for more fulfilling work, but I fought work, but I fulfilling more might exist for me and explored at gnawing doubts and fears accomplishment. opportunities know what a bit lost: I didn’t I felt to tell stories, but I wasn’t telling the stories that telling the stories that to tell stories, but I wasn’t to me truly mattered of me with a feeling provide would that work I soon became frustrated, however however I soon became frustrated, designer, I thought I would be confined to be confined I would I thought designer, telling stories to sell industry, the advertising to people. and services products When I began my career as a motion graphics I began my career When I did not set out to become a journalist but a I did not set out to become designer. communications I tell the news with images, words and video, in I tell the news with images, words and otherwise. static forms I should know, because that’s exactly what I’ve I’ve exactly what that’s because I should know, where Fusion, at of interactive done as director chance to build a media career that is uniquely is uniquely that to build a media career chance set in by structures than defined theirs, rather prior. decades or centuries places yes, but even more opportunities for a wider opportunities for more but even yes, and the heard, ever than we’ve of voices group And though much of what Salmon said is true, Salmon said is of what And though much into journalism is more getting I think that With new challenges, before. than ever exciting guaranteeing success. privileged class that has traditionally found has traditionally found privileged class that is being disrupted, with media jobs well-paying no longer and family connections elite degrees Salmon said it’s never been more competitive, competitive, been more never Salmon said it’s the so, and that more will be future the that journalists do it’. ‘Don’t it himself, himself put On 9 February, my dear colleague Felix Salmon Salmon Felix my dear colleague 9 February, On solicited) some (frequently gave Smart Culture: Impact of the Internet on Artistic Creation 28 making itmore accessible for everyone. comfort zone, cooperate insteadofcompete, shift ofstrategy andvision,coming outofthe create impactandsocialchange.Basedona campaigns, thepower of mediacanbeusedto As storiescome outofthepapertobecome live community tochange image tocommunity, from From texttoimage,from My advice issimple:ifyou love it,don’t leave it! I wouldn’t behere ifIhadquitbefore Istarted. advocacy together. and teachthemhowtocarry outeffective want tohelpthemconnect withothers you wantpeopletohavepower, thenyou Power comes fromorganised groups.If the mindset. opportunities are there, butonlyifwe change JSK Fellowship at Stanford –realise that the the International Centre for Journalists, andthe the future ofmedia,like theKnightFoundation, granted. They–andorganisations whobelieve in by questioningfactsthat usedtobetaken for All thesejournalistsare tryingtofindsolutions to getaccess toinformation that shouldbefree. is committed tomakingiteasierfor journalists consuming storiesonlineandanotherJSKfellow why ourattention spansare decreasing when on mobile.Anotherisworking tofigure out is tryingtoreinvent howvideosare consumed S. KnightFellowship. There’s onewoman who me at Stanford, where I’m completing aJohn conversation. Someofthemwork alongside have insightsandperspective toaddthe film andanthropology. Theyknowthey political science, finance, sociology, ecology, backgrounds: design,engineering,geography, make adifference. They come from allsortsof they care, have astorytotell,andwant working rightnowhave incommon isthat What someofthemostexciting journalists THE IMPACT OF THE INTERNET ON CULTURAL CREATION That’s hard. how tocarryouteffective advocacy together. help themconnect withothersandteachthem want peopletohave power, thenyou wantto Power comes from organisedgroups. If you Fazlalizadeh, 29,totravel toMexico City and Fusion commissioned thevisualartistTatyana street harassmentinMexico. In September2015, women around theworld andtargetingfemale Observing theever growing aggressivity against social, societal,institutionalchallenge. that aslickwebsite solves. Building It’s notatechnologyproblem. It’s notsomething

MARIANA MOURA SANTOS power isa Smart Culture: Impact of the Internet on Artistic Creation 29 put 4 Italian Coalition Coalition Italian and the 3 Protection Now, Ghost Now, Ghost Protection

two-week event in Rome, where we we where in Rome, event two-week (Sina Mossayeb and Ed White), a company a company White), and Ed Mossayeb (Sina 5 Carovane Migranti, among others. Migranti, Carovane

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E This team was joined by two designers from designers from This team was joined by two IDEO to finding solution using human-centred devoted bring together journalists from different, and different, bring together journalists from together newsrooms, sometimes competitive activists, lawyers with designers, developers, with new up to try to come and digital thinkers, trying refugees solutions to help these millions of of in search their home country to escape from their for quality of life and decent a livelihood in collaboration families. All of this is carried out cultures talents, across across newsrooms, across this and all with the same goal – to help solve NGOs, Governments where problem unsolved to had no answer have makers and Policy and I, together with Fusion this For address. Network Editors Global - CILD and Freedom Rights Human for together a NGOs such as the to several had the access Nations, UNHCR, Urban United Cross, Red refugees, European Boat, The Files, Archivio Migranti Migrant and human-centred design design human-centred media innovation for a topic is facing’ is the crisis ‘media about Talking quite some been making headlines for has that where talking about media… Media time now. they feeling see journalists themselves often we time to of their stories… it’s the protagonists are to the digital point and adapt shift the focus they our readers, need to start with – we reality group. need to be the focus design starts by framing Human-centred problems as opportunities by observing people and their behaviours. crisis taking place With the huge migration Sea, I decided to create in the Mediterranean this to try to address something revolutionary to a strategy new strategy: with a problem How might we use use might we How ’ acoso en las acoso ‘ . Fazlalizadeh’s . Fazlalizadeh’s ’ says the NYC-based the NYC-based says ’ What are their experiences? What What experiences? their are What ‘ I wanted to find out, what do women do I wanted to find out, what ‘ is an enormous problem in Mexico City City in Mexico is an enormous problem ’, Stop Telling Women to Smile to Women Telling Stop empathy. them, bringing these women closer to the them, bringing these women of reaching understanding in expectancy public’s they hear everyday, how that makes them feel them feel makes how that they hear everyday, of telling huge amounts etc. This is a new way to consume way accessible of stories in a very interaction among population and their stories. interaction among population we bring this story to our online audience To telling us what used video of theses women a harassment. Combining image and text in a harassment. Combining an create would this project the public space, Here the text wouldn’t do justice, so we used so we do justice, the text wouldn’t Here with faces the women’s image: the artist drew they hear mostly as what a line of text saying of the individuals who wanted to speak out of the individuals who wanted to harassment. with street about their experiences highest in the world. highest in the world. stories tried to bring 76 short we this project, In and the country as a whole, where rates of rates as a whole, where and the country of the some are against women sexual violence Street harassment, also known as Street calles are their stories? How’s what they experience they experience what How’s their stories? are How can I experience? I what from different in these pieces? those differences reflect in Mexico City go through? in Mexico Fazlalizadeh. the ways in which their communities turn a in which their communities the ways against to harassment and violence blind eye women. The goal of this project was to amplify the was to The goal of this project challenging who are women Mexican of voices their street harassers — had ever been created been created harassers — had ever their street States. outside of the United and then exhibited was also the first time the STWTS project — for — STWTS project the first time the was also with hand- city streets papers which Fazlalizadeh pushing back against portraits of women drawn ‘ it country; to the was her first visit to Mexico create an installation of her highly-acclaimed of her highly-acclaimed an installation create harassment, against street protesting art project is a power women around the world and targeting female targeting female and the world around women September 2015, In harassment in Mexico. street the visual artist Tatyana commissioned Fusion City and to Mexico 29, to travel Fazlalizadeh, It’s not a technology problem. It’s not something It’s not a technology problem. It’s Building solves. a slick website that social, societal, institutional challenge. against aggressivity growing the ever Observing want people to have power, then you want to want to then you power, to have want people them others and teach with connect help them together. advocacy out effective how to carry hard. That’s Power comes from organised groups. If you you If organised groups. from comes Power Smart Culture: Impact of the Internet on Artistic Creation 30 happy, sadorafraid! if heisagoodperson,orwhat thingsmake him questions that reveal more humandepth,suchas than exploringandprobing more deeplywith to hear, for example,‘yes, I’m corrupt’ rather interviewee willtellthemwhat theywant go intoaninterviewwiththeideathat the empathy research. may Asthey (journalists) faced withdesignthinkingmethodologyand We seesomeresistance from journalistswhen that have noimpact. the wrong problems, andgenerating solutions one inneedofasolution.We mightbesolving problem we choose toaddress mightnotbethe straight intoproblem solvingbecausethe It’s aboutproblem findingrather thanjumping observing theirbehaviour tofindouttheirneeds. the users–learningabouttheiractionsand product. Thecreative process startswith This istheprocess usedwhencreating anew shore safe andsound. attempting tohelpthemsurvive andreach the both thosetryingtomigrate andthose these peoplehadintheprocess ofmigration, the sources police andhelpbodies,inorder tolearnfrom centres assistance, marine for humanitarian on usingempathy tolearnfrom therefugees, designers andeveryone involved intheteams first week They were with design intheirapproach totheproblems. other’s languages, I played aDaddy Yankee song and connected withthosegirls,withoutknowing each centre andIgave themtwo pairsofshoes.I felt I it’s November. Thenextday Icamebacktothe refugees at thecentre onlyhave sandalsand so theycould walkinthewinter. Most women that theonlythingtheyneededwere shoesjust refugees empathy research. At the the personallevel –that mykillerfeature isfield invaluable tomeasaprofessional andeven on I learnedthrough thisprocess –and ithasbeen THE IMPACT OF THE INTERNET ON CULTURAL CREATION , coaching journalists,developers, , what what 7 Italked totwo girls,andtheytoldme The 19 Million Project were thebiggest struggles Babobab Center for 6 forthe comfort zone andthere isoftenresistance. In well-defined stepsthat bringspeopleoutof their first time. It isaprocess –aprocess with very who are experimentingwiththisconcept for the something notimmediately understoodbythose The power ofhuman-centred designthinkingis observes theinterviewee, notinggestures, facial questions, thesecond takes notes, andthethird conducted bygroups ofthree people:oneasks to theinterviewprocess. Interviews are always This bringsabiggeranthropological approach people personally, emotionallyandimmediately. connection, gettingwhat really matters mostto into thehumancore, andnotjustasuperficial observation issofundamental –we are diving from what theythink,doorfeel. Thisiswhy because what peoplesay mightbedifferent and theirbehaviours. Not justwhat theysay, problems asopportunitiesbyobservingpeople Human-centred designstartsbyframing Discovery present aprototype. most salientideaanddevelopitfurtherto big clusters.The teamwillthenselectthe group ideas,merging identical thoughtsinto Once theideageneration endsit’s timeto way, we willhave thesameoutcomes. we dothings.If we always dothingsthesame order tocreate changewe mustchangetheway opportunity oftryinganewapproach. I amchangedandhappytobegiven this out ofmycomfort zone, gettingsomanyinsights. decision todive intothismethodology, stepping of The19 Million Project. Asajournalist,Itookthe White, thedesignersfrom IDEO who’ve beenpart design approach shared bySina Mossayeb andEd basis. Thisisallthankstothehuman-centred professionals andconnect onahumanto for amoment thefactthat we are journalistsand music, theuniversal language.Thisisforgetting we danced. ChileandEritrea connected through

MARIANA MOURA SANTOS Carolina Astuya, ChileanjournalistandChicas Poderosas AmbassadorinChile Smart Culture: Impact of the Internet on Artistic Creation 31 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Internet has another extremely powerful role, as role, powerful has another extremely Internet investigative of although a huge percentage only a women, America are journalists in Latin in digital production, savvy extremely are few a woman happens in most cases is that and what solutions. When the European Union is the first Union the European solutions. When a lack of leadership facing to admit they have approach. an extreme time for it’s this problem, was a collaborative Project Million The 19 Fusion, CILD, Poderosas, Chicas between effort more and GEN, bringing together Univision designers, than 150 journalists, developers, 70+ humanitarians, and activists from lawyers, countries to use 28 different across organisations design thinking to bring forth human-centred Mediterranean change and find solutions to the crisis. refugee Chicas Poderosas on this same philosophy and approach Using a Chicas Poderosas, storytelling, in 2013 I created from the lack of power to address movement the Here in the digital world. voices female feedback. This is a kind of small reality check as check small reality This is a kind of feedback. addressing ‘is this really the question, it examines extremely is needs?’ Feedback the users’ egos for no space is is why there that important, After design approach. in the human-centred together and back come the pitch, the teams until the continues process The iteration iterate. this time, the teams have phase. At prototype can be implemented. a solution that at arrived is highly used by IDEO, This methodology Chaplin, Heather and now recently Island Hyper with who has been trying this approach Journalism+Design. human-centred Project, Million The 19 For meaningful and a design thinking is extremely crisis. game changer in this huge humanitarian to allow faith in humanity is lost it is time When extreme calls for crisis change. Extreme for space of eyes’ on their thought process and receive and receive thought process on their of eyes’ ‘public’, exposing their ideas to get a fresh ‘set ‘set exposing their ideas to get a fresh ‘public’, Prototype to the next. The team presents comes Pitch human-centred design approach and is more and is more design approach human-centred meaningful and insightful. this brings diversity of thoughts and different of thoughts and different this brings diversity in the a huge role This plays points of view. big clusters. The team will then select the most The diversity it further. salient idea and develop as here role an extra special plays of the group Once the idea generation ends it is time to the idea generation Once ideas, merging identical thoughts into group ideas need to be allowed to exist in this initial ideas need to be allowed to be able to mature. phase in order authentic and meaningful solution to a problem. to a problem. authentic and meaningful solution a in this phase but rather is no critique There shoulders. The spirit of building on the giant’s magic happens. In the beginning ideas are the beginning ideas are magic happens. In idea can lead to the most but a wild raw, pretty big, wild and free, creating a safe space for for space a safe creating big, wild and free, the brain to unblock and allowing innovation, ideas. This is where unexpected and generate questions then the brainstorm process starts. starts. questions then the brainstorm process sprint idea generation fast-paced This is a very to think allowing you self-judgment avoids that Ideate We Might How the team has several Once experience for refugees? for experience turning the insights inside out and making them turning the insights brainstorming. into an operable question for a safer create We Might example How For lead to solutions or answers but rather be open but rather or answers lead to solutions and allow for opportunities for and inclusive research. The team then will come up with a up with come The team then will research. questions they number of limited and focused on. The questions should not want to brainstorm The next step is Downloading. This is where This is where step is Downloading. The next on ‘post-its’ together to write the team comes gleaned based on the field all the insights they Might We. Might expression, reactions. This allows data to be This allows data reactions. expression, into How as insights will serve that gathered Smart Culture: Impact of the Internet on Artistic Creation 32 communities around theworld viaTwitter, are share theirnewsonFacebook orengagewith technological toolsenablingthem to have a blog, learn from what theyare recording. So these to come willhave access toand beableto dialects alive andmaking sure future generations heritage, astheyare theoneskeeping their in culture exchange andmaintenance oftheir connected witheachother. Thisisahugeshift of connectivity suchas we are teachingthem howtouseoptions of connectivity insomeremote areas –and the maincommunication tool,duetothelack were usingonlyvoice recorders –asradiois WordPress, Snapchat, Periscopic etc.They have anemailaccount, useWhatsApp, YouTube, the ruralareas ofBoliviahowtouseTwitter, most ofthemcommunity communicators, from I amteachingagroup of60women journalists, Professor Robert Hernandez andTeresa Bouza, As Iwritethis,sittinginLaPaz, togetherwith give themasayandboosttheircareers. equipping themwithtechnological toolsto lack of female voices inthedigitalworld, Chicas Poderosas setsouttoaddress the communicate andoperate today andforever. as well asintechnology, asthisistheway we voices, have areal diversity bothinnewsrooms and democracy, we needtobeablehearall have avoice online,motivating culture exchange to beaddressed asinorder tobepowerful and best. Thisisanissuethat Ideeplybelieve needs something alongthelinesof90%–10%at the male developers greatly outnumberwomen, used towork suchas The sameusedtohappeninnewsrooms where I follow analytics,abadlyneededskillnowadays. audience andisunabletotrackoutcomes or the storyinfirstplace loses contact withher with thisisthat thewoman journalistwhowrote makes sure thestorygetsonline.What happens building, where aweb developer, usuallyaman, journalist writesherstory, andemails ittotheIT THE IMPACT OF THE INTERNET ON CULTURAL CREATION The Guardian FireChat 8 toremain , where the Foundation andsoon. United Nations, United Airlines,Open Society like theInternational Center For Journalists, as we move intoaglobalreach withpartners Latina Americaandsoonfrom thewholeworld we are empowering otherwomen from allacross Poderosas: whileusingmyprofessional network, to make ithappen.That’s therole ofChicas need tobetoldthat we can,andtobeallowed Due toculturalheritage,Ifeel that we [women] entrepreneurial spiritflourishand foster change. believe inthemselves andtake astand,lettheir with leadershipskills,soastomotivate themto training andmentorshipempowering them newsrooms byproviding themwithtechnology exactly this:give voice towomen journalistsin Chicas Poderosas have beentryingtodo language, soastokeep theculture alive. has aFacebook pageonlyin of extreme importance. One ofourattendees resonate withaudiences. digitalstoriesthatand todevelop thematic teams ofjournalists,developers anddesigners, members learntowork inmultidisciplinary leading mediainnovators, ChicasPoderosas Through mentoringfromleadership positions. them thetoolsandsupporttheyneedtotake significant roles inthemediaindustry, giving Latina women journaliststoplay more The ChicasPoderosas movement empowers entrepreneurs. women leadersand tobecome news media increase thediversity ofvoices andencourage news storiesusingopendata. Thegoal:to their career trajectoriesandgenerate timely independent platforms andprojects, advance roles intheirnewsrooms, starttheirown helpingwomeninitiative is take onleadership forefront ofdigitaljournalism.TheChicas Chicas Poderosas

MARIANA MOURA SANTOS 10 isbringingwomen tothe Aymara , 9 a native Smart Culture: Impact of the Internet on Artistic Creation 33

El Espectador . , a digital platform , a top Mexican online , a top Mexican El Universal El Soberano member its top editor. as monthly. In 2016, she and her husband 2016, she and her husband In monthly. will launch their to contact will allow citizens that local civil society organizations to find on issues such as critical information and water crime urban development, sanitation. hired its first developer – a woman – – a first developer its hired design. interactive to improve Animal Politico a young hired news publication, Chicas participant female Another Mexican of the data became the head biggest journalism unit her country’s at newspaper, Astuya Carolina Chicas Ambassador hosted lab’ an ‘innovation is creating 2016, January in Chile. In at MQLTV workshops on the lab will offer storytelling, mobile, visualisation, and digital and house data microreports content. head of digital became A Chilean woman $710 more Chilevision, earning media at Leading Colombian daily daily Colombian Leading ► ► ► ► ► ► ► ► ► ► AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E spread it. With globalisation, having a place a place having it. With globalisation, spread get lost, but instead has doesn’t culture where and re-invented the opportunity to be re-created in connecting a huge role – plays – the Internet and knowledge. people, ideas, cultures Mariana Santos and ICFJ are committed to committed Santos and ICFJ are Mariana expanding the Chicas and strengthening the across movement in cities and countries media become Americas and helping women of leaders and influencers in shaping the future the news industry. Conclusion is turning into a huge digital hub, As the world most heritage where is the place the Internet understanding can a deep where is recorded, to it can be attempted be gleaned and where

11 , and NPR , pollution in

in the run-up to the The New York York New The 12 The Guardian The , (Costa Rica). To date, we have have we date, To Rica). (Costa ProPublica , visualising the campaign spending Over 15 months, Chicas Poderosas held 17 held 17 Poderosas 15 months, Chicas Over its members connecting training events, with mentors such cutting-edge from as media organisations Times Poderosas is forging a network of women of women a network is forging Poderosas who have the Americas journalists across to bring diverse the skills and support and the public newsrooms into voices conversation. With more than 2,500 members, Chicas than 2,500 members, With more in their newsrooms, improving their improving in their newsrooms, trajectories and spearheading career As a result: ventures. entrepreneurial Brazil’s Guanabara Bay Guanabara Brazil’s Games. 2016 Olympic women Thanks to Chicas Poderosas, taking on leadership positions are from from and candidates presidential of Colombian an app to help citizens the verify creating in candidates claims of 2014 presidential to mapping the Rica, Costa Brazil, Colombia and Mexico. Colombia Brazil, of the Chicas Poderosas As a result journalists, teams of Latina movement, created developers and designers have projects, data than 70 interactive more As an outgrowth of the 2015 Chicas As an outgrowth University, Stanford at Summit Leadership starting five locally-led Chicas chapters are a support network and build to form Bolivia, across Latin America: Argentina, La Nación organised Chicas boot camps in Argentina, Rica, Costa Bolivia, Chile, Colombia, Brazil, States United the Italy, Mexico, El Salvador, and Venezuela. • • • • • with tech, use experts and thematic design and projects. reporting in-depth, interactive for data The Chicas movement has facilitated events events has facilitated movement The Chicas journalists can collaborate women where Impact Smart Culture: Impact of the Internet on Artistic Creation 34 society’s access toculture. work onsocialissuesthat canreally improve We needanopengovernment, sothehackers for communities andthefreedom of expression. of data ingovernments, access toinformation hand toaddress them,suchasthetransparency often posesocialproblems inneedofanextra are committed tosolvingchallengesthat very communities isthepower ofthehackers who Another pointofinterest inthesedigital THE IMPACT OF THE INTERNET ON CULTURAL CREATION 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1. Endnotes

we-do.php journalists-asking-for-advice/ https://readymag.com/u49401909/sosguanabara http://colombian-elections-2014.github.io http://www.chicaspoderosas.org/?lang=en https://www.facebook.com/ilaies1 https://vimeo.com/135979388 http://www.baobabsurvivors.org/pages/what- http://the19millionproject.com/about http://ideo.org http://www.cilditalia.org http://www.globaleditorsnetwork.org http://fusion.net/story/45832/to-all-the-young- http://www.analysingsocialmedia.org

MARIANA MOURA SANTOS

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◄ Smart Culture: Impact of the Internet on Artistic Creation 35 Realtime. Realtime. (Spain). (Spain). art.es (France) and (France) artpress (Media Art Futures Festival, Festival, Art Futures (Media (Canada), (Canada), AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Data Cinema ETC MEDIA ETC @pauwl (Arts Santa Mònica, Barcelona, 2016) and 2016) Barcelona, (Arts Santa Mònica,

(Spain), among others, and is editor of the Media Art section of the magazine among others, and is editor of the Media (Spain),

http://www.pauwaelder.com Murcia, 2015). He has been a member of the team of curators of the Art Futura festival since 2013. since festival of the Art Futura been a member of the team of curators has 2015). He Murcia, art magazines to contemporary has contributed He Input Open University of Catalonia (UOC). His recent projects as a curator include the exhibitions as a curator projects recent His (UOC). of Catalonia University Open Art en temps real Palma de Mallorca, 1974 de Mallorca, Palma society and knowledge, thesis on the information has a PhD He and researcher. Art critic, curator the at art, new media and the art market, contemporary the interactions between which explores Pau Waelder · Waelder Pau

AGE OF ACCESS AGE THE ART MARKET IN THE MARKET IN THE THE ART Contemporary art and to friction and distancing, as well as occasional digital culture and enthusiastic recognition. The first computer- generated artworks of the 1960s were spurned Social media expert Clay Shirky (2008) states by the artistic community (Nake, 1971, p. 18), that ‘communications tools don’t get socially to the extent that, as gallery owner Wolf interesting until they get technologically boring. Lieser states (2010), for years artists regarded […] It’s when a technology becomes normal, art produced with a computer as something then ubiquitous, and finally so pervasive as to be that was ‘almost degrading’ (p. 25). Back invisible, that the really profound changes then computers were weird, bulky machines happen’ (p. 105). Ever since personal computers to which only a few specialists had access. started to become popular in the 1980s, followed Incomprehensible and distant, they conjured by the so-called ‘digital revolution’ of the 1990s, up the possibility of a dystopic future in which the digital media and particularly the Internet they would replace man and, therefore, the have been increasingly pervading all areas of notion that they might generate something industrialised societies. Machines that were as specifically human as a work of art seemed formerly only found in costly research abhorrent. As technology has grown closer to laboratories or in science-fiction novels are now the general public, so has new media art, though part of everyday life. The adoption of new the contemporary art world has been particularly technologies has wrought deep changes in the loath to accept it, partly because it is heavily ways much of the population finds information, geared to technological advances and partly communicates, has fun or works. As Shirky because it is developing in an environment of its suggests, technology progressively goes from own, in thematic festivals and exhibitions. being interesting for its own sake, as an experiment whose possibilities fascinate Closer to the academic environment than the specialists, to being used by an increasingly large art market, artistic practices linked to the new sector of the population and finally to becoming media did not succeed in making an appearance everyday [Fig. 1] . The Internet is a good example on the mainstream contemporary art scene of this. until the mid-2000s, by which time digital technologies were more widely embraced in all areas of society, beginning with the development of Web 2.0. platforms and, especially, the social media. According to curator and theoretician Peter Weibel (2006), new media art has struggled to achieve the same degree of recognition as painting and sculpture and has finally succeeded in doing so in what he describes as the ‘postmedia’ age when all the artistic disciplines have been transformed by the digital media (p. 96). Nowadays practically all artists use digital tools in some stage of producing their works or are influenced in some way by the culture they generate, particularly in relation to the content FIG.1: Daniel Canogar, Storming Times Square (2014). Site-specific circulating on the Internet. But this does not installation in Times Square, New York. Photo: Sofía Montenegro. mean to say that new media art is fully accepted Courtesy of the artist. in the art world, or that it is commonly sold in In the art world, the relationship with new galleries, art fairs or auctions, just as the use technologies over the past five decades has led of Internet platforms for selling art was not

36 THE ART MARKET IN THE AGE OF ACCESS · PAU WAELDER Smart Culture: Impact of the Internet on Artistic Creation 37 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E the major galleries, which have sought to the major galleries, which have by opening branches in their markets broaden new customers can now reach other countries, sustainably and sometimes more more for As an online platform. through effectively development of the technological industry. First, industry. of the technological development harsh impact on the financial crisis of 2008 had a galleries and auction houses saw the art market: seek new their sales plummet and began to countries with booming chiefly in markets, new channels. also through but economies an had experienced the Internet Second, in its number of users (more exponential growth owing chiefly to the than 500% in a decade) 2.0. of the social media and Web development technology broadband while improved platforms, images made it possible to view high-resolution 2010 the In and videos on any device. returned market art contemporary mainstream it started and 28) 2011, p. (Boll, prices to pre-crisis to sell works galleries to for to be common art fairs at by showing photos on iPads collectors 2012, or emailing them to their clients (Horowitz, is an of the art market The globalisation 100). p. to is leading players additional factor that the business potential of the Internet: explore million dollars. This string of commercial flops of commercial This string million dollars. loss that the 80 million-dollar ended with in its incurred to have is reckoned Sotheby’s section with an online auction to create attempt 2000 between eBay, and subsequently Amazon, 86; Thompson, 2012, p. and 2003 (Horowitz, of trial processes costly These 2014, pos. 4195). socially in a technologically and and error and auction led galleries environment immature for to the Internet scant attention houses to pay nearly a decade. business is seeking art market The major opportunities on the Internet: and clients galleries use online platforms online. find all the information changed, 2010 the situation around However, of factors again to a combination owing once and the to the global economy related few years later after investing more than 11 more after investing later years few after incurring 1 auction section in 1999, but also had to close a auction section in 1999, p. 88). The artnet platform, one of the oldest The artnet platform, 88). p. launched its online to the art market, dedicated as Damien Hirst and Jeff Koons, which was and Jeff Hirst as Damien down in 2002 to close forced 2012, losses of some 30 million dollars (Horowitz, launch of Eyestorm Media, a website selling a website Media, launch of Eyestorm by artists such limited-edition and original works invested 260 million dollars in developing an art an art 260 million dollars in developing invested but was forced section in its auctions platform the also saw year that to abandoned the project; context of this bubble that the first major of this bubble that context witnessed in – and losses – were investments in 2009 eBay art sales platforms: contemporary it was founded), hindered by the bursting of the by the hindered it was founded), in the was precisely bubble in 2001. It dotcom pointed out that electronic commerce has been commerce electronic pointed out that did not (Amazon to develop slow and complex years after until 2002, seven start making a profit display the prices of the works on a website on a website of the works the prices display it should also be 85). But 2012, p. (Horowitz, the conviction that a work of art can only be a work that the conviction 2012, pp. and Velthuis, (Lind appraised ‘in vivo’ to reluctance and many professionals’ 85–88) houses. The fact that the mainstream mainstream the houses. The fact that to the was a latecomer market art contemporary factors, among them is due to several Internet biggest development in online art sales platforms in online art sales platforms biggest development auction supported by the main galleries and showing firm interest in the Internet’s business Internet’s in the showing firm interest and the potential until the end of the 2000s, the witnessed have (2010–15) years past five The contemporary art market did not start did not art market The contemporary The online art market The online art emerging channels for selling and disseminating disseminating selling and for emerging channels is giving rise points to the possible artworks sector. of a new market appearance of new platforms and devices and how this and and devices of new platforms artists who work Spanish by is perceived market the to which The situation with the new media. the contemporary art market over the past five past five the over art market the contemporary appearance to the special attention paying years, accepted until only a few years ago. This article ago. years until only a few accepted in place taken have the changes that examines Smart Culture: Impact of the Internet on Artistic Creation 38 FIG.2: Advertisement ofVIPArtFair publishedinArtforum magazine, in 2006asaspace where anyartistcould show Art The oldestofthesenew platforms is rare exceptions. particularly benefiteddigitalartsave for a few newfound interest indigitaltechnologies hasnot and therefore thecontemporary artmarket’s art that canbefound inagalleryorauction, The aimisgenerallytosellonlinethesame Phillips currently have onlineauctionplatforms. initiatives, whileChristie’s, Sotheby’s and David Zwirner andWhite Cube supportthese prominent namessuchasSaatchi, Gagosian, houses; rather, theyhelpexpandtheirbusiness: are notasubstitutefor galleriesandauction or explore newformats. Theseplatforms which seektoexpandthetraditionalmarket online platforms for sellingcontemporary art, chiefly inthepastfive years,ofavariety All thishasspurred therapidemergence, galleries orartfairs. more quicklyontheInternet thanbyvisiting artists. Thisinformation canbeobtainedmuch of information onthemostcoveted works and are makingitnecessary torapidlygleanallkinds luxury objects to purchase allkindsofproducts online,even customers, itisbecoming increasingly common THE ART MARKET IN THE AGE OF ACCESS 2

(formerly Saatchi Online), whichstartedout vol. 51,no.1,September2012.Photo: Pau Waelder. [Fig. 2] , whilespeculative trends Saatchi

PAU WAELDER White Cube andHauser andWirth) and them theprestigious David Zwirner, Gagosian, together 138galleriesfrom 30countries (among Between 2011and2012itstwo editionsbrought exclusively onlinecontemporary artfair. leading itsshareholders tosellitin sales, thebusinessincurred constant losses, appeared todemonstrate thesuccess ofonline some ofthem.AlthoughSaatchi’s platform becoming more directly involved inpromoting sales ofitsmore than100,000usersand the sitein2010,charging30%commission onthe This rapidgrowth prompted Saatchi torenew 130 milliondollars(Edgecliffe Johnson, 2007). whose salesgenerated anestimated turnover of the website attracted more than70,000artists, Saatchi (Vogel, 2006). Withinlessthanayear, involvement ofthegallerycollector Charles and sellwork at nocost andwithoutthe formats. forms ofaccessing works anddifferent sales Internet, otherinitiatives are exploringnew As well asbringingthe artmarket tothe rare exceptions. particularly benefiteddigitalartsave for interest indigitaltechnologieshasnot The contemporary artmarket’s renewed art publications, museumsandcollections. publishers, anditsscope wasthusbroadened to market. In 2014itwasacquired byPhaidon clients, Artspace becameareference intheart collectors andseveral hundred galleriesasits created in2011.With approximately 200,000 was purchased by VIP Artnever gottodevelop this aspect,asit intermediary between galleriesandcollectors. permanent platform that functionedasan the organiserstoredesign thefairasa 4275) whichdisappointedgalleriesandprompted rather poorsalesfigures (Thompson,2014,pos. for several days only) anditsformat resulted in The temporarynature oftheevent (accessible attracted between 40,000and160,000visitors. profitable results is Another initiative that hasfailedtoyield Artsy , 6 aplatform withfunctionssimilar Artspace

VIP ArtFair , 5 asimilarplatform , 4 thefirst 2014 . 3

FIG.3: ‘In gallery’ preview of a work onsaletheArtsyplatform. the endof2011bygallerist Harry Blain, former for publicisingandselling artworks. Founded at most attention tothedigitalmedia’s potential Sedition art galleries. centred more onputtingcollectors intouch with progressively shunnedinfavour ofanapproach delayed thelaunchofplatform, hasbeen Even so,thisproject, whosecomplexity has them towards thearttheyfindmostinteresting. can recommend similarworks tousersandguide they have incommon. That way Artsy’s database on thebasisofnumbercharacteristics which allowworks toberelated toeachother work isassignedbetween 30and40‘genes’, each piece byateamofarthistorians.Every colours andmanymore) whichare identifiedin characteristics (art movement, subject,forms, classifying artworks basedonawholehostof the so-calledArtGenomeProject, asystemfor sets Artsyapartfrom othersimilarinitiatives is began hostingonlineauctions.One feature that consultancy services andthefollowing year it 2011). Since 2013,ithasalsooffered art together 180galleriesin40countries (Chayka, platform for collectors ofhigh-level artbringing Gagosian andotherinvestors itbecamea under theresponsibility ofgalleryownerLarry [Fig. 3] felt intimidated bygalleries(Siegler, 2010) and lovers whocouldn’t find works theyliked or to create anartsearch enginefor artcollectors engineer CarterCleveland, whoin2010setout to thoseofArtspace, stemsfrom aproject by . Initially designedasasocialnetwork, 7

is currently theinitiative that pays the respective sellingprices. FIG.4: Sectionofpopularworks inSedition’s catalogue, withtheir to those of Artspace, stems from a project by owner of Haunch of Venison, and Robert L. engineer Carter Cleveland, who in 2010 set out Norton, former director of Saatchi Online, the to create an art search engine for art collectors platform attracts the attention of the media and lovers who couldn’t find works they liked or by offering ‘digital editions’ by artists such as felt intimidated by galleries (Siegler, 2010) Damien Hirst or Tracey Emin for between 10 and [Fig. 3]. Initially designed as a social network, 15 euros [Fig. 4] . Sedition sells photos and videos under the responsibility of gallery owner Larry in digital format in editions of up to 10,000 Gagosian and other investors it became a copies at very affordable prices. Even so, the platform for collectors of high-level art bringing works are not acquired as such by the purchaser together 180 galleries in 40 countries (Chayka, but remain on Sedition’s server and can be 2011). Since 2013, it has also offered art viewed through a web browser or applications consultancy services and the following year it for smartphones and tablets. Although the began hosting online auctions. One feature that platform was initially centred on acclaimed sets Artsy apart from other similar initiatives is artists, it has progressively incorporated digital the so-called Art Genome Project, a system for artworks by young artists such as Casey Reas, classifying artworks based on a whole host of Aaron Koblin, Matt Pike and Rafaël Rozendaal. characteristics (art movement, subject, forms, The format proposed by Sedition makes more colours and many more) which are identified in sense in the case of works designed to be viewed each piece by a team of art historians. Every on a computer screen, though the limitations work is assigned between 30 and 40 ‘genes’, of its digital editions pose certain problems. which allow works to be related to each other The main disadvantage is that collectors do on the basis of the number of characteristics they have in common. That way Artsy’s database can recommend similar works to users and guide them towards the art they find most interesting. Even so, this project, whose complexity has delayed the launch of the platform, has been progressively shunned in favour of an approach centred more on putting collectors in touch with art galleries.

FIG.3: ‘In gallery’ preview of a work on sale on the Artsy platform.

Sedition7 is currently the initiative that pays the most attention to the digital media’s potential

for publicising and selling artworks. Founded at FIG.4: Section of popular works in Sedition’s catalogue, with their the end of 2011 by gallerist Harry Blain, former respective selling prices.

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 39 Smart Culture: Impact of the Internet on Artistic Creation 40 as theitems(priced between 44dollarsand contrasts withthemethods ofotherplatforms, its website (inthe‘Home andgarden’ section) since 2013.Theway Amazon presents works on ecommerce firms,hasbeensellingartworks be booming,as The onlineartmarket canbeconsidered to and could reach 6.3billiondollarsby2019. billion dollarsin2013to2.642015 Internet, theonlineartmarket grew fromone More andmore artisbeingsoldoverthe interested intraditionalformats. art showed that collectors continue tobemore publicity thansales. turned outtobemore profitable intermsof media’s attention toPaddle8, andtherefore These auctions,heldfor charity, attracted the of digitalartit organise riskiersales,suchasthethree auctions By eliminating thesecosts, theplatform can insurance costs make sellingthemunprofitable. included intraditionalauctionsasshippingand below 100,000dollars,whichare notusually auctions ofartworks anddesignobjectspriced Hirst (Gamerman, 2013).Paddle8 focuses on including galleristJay Jopling andartistDamien support ofapowerful group ofinvestors entrepreneur AdityaJulka, itsoonenlisted the Alexander Gilkes, chiefauctioneerat Phillips, and auctions exclusively online.Founded by initiative that explores thebenefitsoforganising In thefieldofauctionhouses, contemporary artworld. it currently enjoys anactive presence inthe doubts astoSedition’s continuity, even though particular feature of the businessmodelarouses by Seditioninasectionofitswebsite. This edition have been soldonthemarket established can onlydosoafterallthecopies ofalimited able tosellit(Waelder, 2014,p. 54), butthey collectors feel theyownawork whentheyare The platform’s director, Rory Blain, states that Sedition toview, preserve andeven resell it. not actuallypossessthework butdependon THE ART MARKET IN THE AGE OF ACCESS hosted between 2013and2014 Amazon 10 Paddle8’s foray intodigital , 11 oneoftheleading Paddle8 8

is an

. PAU WAELDER 9

painting), followed bylimited-editionwork (53%), customers oftheweb platforms purchased a to becollectors’ favourite format (62% of according tothisreport, paintingcontinues mean that interest indigitalartitselfisgrowing: conducted through digitaldevices doesnot p. 5).Even so,thisupward trend inartsales reach 6.3billiondollarsby2019 (ArtTactic, 2015, dollars in2013to2.64billion2015andcould global onlineartmarket grew from onebillion market research firmArtTactic since 2013,the Online ArtTrade Report compiled bytheart sophisticated platforms. According totheHiscox ecommerce websites like Amazon andmore more andmore artisbeingsoldonline,through channel that reaches abroader public.Indeed, the latter basicallywantaneffective distribution 40,000 works for 150galleries,indicating that Nevertheless, Amazon currently sellsmore than manner asanyotherconsumer product. 4.8 milliondollars) are advertised inthesame on themanypayment platforms that existin the people currently consume films,booksandmusic can thusbeexperienced in asimilarway tohow acquire works todisplay onthescreen. Artworks application featuring astore where userscan these framesiscontrolled byasmartphone of collectors’ homes connection anddesignedtobehungonthewalls incorporating aPCandwireless Internet digital picture frames:high-resolution screens show andcollect artindigitalformat. Theseare joined bynewdevices that make itpossibleto alternative ways ofsellingworks were recently online artmarket andtheinitiatives that explore The platforms that extendthereach ofthe Art inadigitalframe 2015, pp. 6–19). indicates that profits willbesizeable (ArtTactic, euros), butthehighnumberofpotentialbuyers online continues tobemodest(lessthan12,000 The highestprice fetched byanartwork sold (22%). Only 10%boughtwork indigitalformat. photographs (35%),drawings (31%)andsculptures [Fig. 5] . Thecontent of 12

interaction withtheframe. Targeted chiefly at an horizontally andwasequippedwithsensors for (24 and40inches); itcould behungvertically or crowdfunding campaign,thistimeintwo sizes second version waslaunchedthrough a animations that displayed thetime.In 2014a with functionalpieces suchasseriesof could originallyonlybehungvertically andcame released ontothemarket in2012.Thescreen an inbuiltwebcam and microphone that was product, FRAMED1.0,wasa55-inch screen with Yugo Nakamura and producer WilliamLai.Its first frame was The first company tolaunchadigitalpicture artworks created oradaptedtothedevice. selling adevice oftheirownandacollection of the public,theyallbasetheirbusinessmodelon caters toarelatively differentiated sectorof homes, offices andstudios.Althougheachfirm the wallsofartcollectors andenthusiasts’ selling digitalpicture framesdesignedtograce In 2014 and2015,variouscompanies began be adaptedtothisformat. work butfirstbuystheframeandthenartto Even so,thebuyer doesnotacquire aframed some casestheycanonlybehungvertically. a wooden frame(or even apasspartout) andin to framedartworks, thesescreens generallyhave for TVsetsandgive themasimilarappearance market. To prevent themfrom beingmistaken Schwarm (2014) byAndreas Nicolas Fischer. Photo: Emin Sassi. FIG.5: Promotional imageoftheDAD digital frame showing FRM of Japan Courtesy ofDAD, theDigital ArtDevice. , 13 founded byengineer Smart Culture: Impact of the Internet on Artistic Creation 41 Digg. a firm Electric

15 , Meural founded in New York in 2014 by Jake in 2014 by Jake York in New founded

founded in San Francisco in 2013, in San Francisco founded 14 , 16 , ) with a share capital of 1.7 million dollars capital of 1.7 ) with a share AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E thanks to the 2.4-million dollar share capital dollar share thanks to the 2.4-million its it developed of investors, put up by a group with 4K resolution a 50-inch screen own device, equipped with a multimedia player (UltraHD) a clients can pay Depict’s connection. and WiFi work that can be shown on its screen, focusing focusing shown on its screen, can be that work designers on emerging artists, illustrators, to attract in order and videogame developers particular. in collectors younger is also home to York New which in April 2015 advertised in 2014, founded a large audience. its digital canvas aimed at with built-in screen of a 27-inch Consisting offers device frame, Meural’s PC in a wooden selection of images of classical and a broad with collaboration its art through contemporary museums, galleries, image banks and platforms of selling these images, such as Sedition. Instead collection in to its access offers the company a monthly subscription. for exchange Depict which its art collection, began by developing on any TV via streaming its clients can access 2015, January In connection. with an Internet screen was presented at the MoMA Design Store Store Design the MoMA at was presented screen in 2015. began to be distributed and York in New show and it possible to make devices New picture Digital art in digital format. collect incorporating screens high-resolution are frames connection. Internet a PC and wireless is company Another newly created Objects of the website director (former Levine com The digital art of investors. by a group provided called by Electric Objects, developed display incorporating screen 23-inch is a vertical EO1, Unlike connection. wireless and a computer interaction or it does not allow direct FRAMED, and is designed to show fixed loudspeakers have The company or moving images without sound. to the selection of has paid special attention audience interested in technology and design, the and design, in technology interested audience founded by engineer founded 13 , Courtesy of DAD, the Digital Art Device. the Digital of DAD, Courtesy of Japan FRM Promotional image of the DAD digital frame showing image of the DAD FIG.5: Promotional (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Sassi. Emin Photo: Fischer. Nicolas by Andreas Schwarm (2014) interaction with the frame. Targeted chiefly at an chiefly interaction with the frame. Targeted crowdfunding campaign, this time in two sizes campaign, this time in two crowdfunding or be hung vertically it could and 40 inches); (24 and was equipped with sensors for horizontally animations that displayed the time. In 2014 a In the time. displayed that animations a was launched through version second released onto the market in 2012. The screen in 2012. The screen onto the market released and came originally only be hung vertically could such as series of with functional pieces Yugo Nakamura and producer William Lai. Its first William Lai. Its and producer Nakamura Yugo with screen FRAMED 1.0, was a 55-inch product, was that and microphone an inbuilt webcam The first company to launch a digital picture company to launch a digital picture The first frame was selling a device of their own and a collection of of their own and a collection selling a device or adapted to the device. created artworks caters to a relatively differentiated sector of differentiated to a relatively caters model on the public, they all base their business selling digital picture frames designed to grace frames designed to grace selling digital picture and enthusiasts’ the walls of art collectors and studios. Although each firm homes, offices In 2014 and 2015, various companies began 2014 and 2015, various companies In be adapted to this format. format. be adapted to this some cases they can only be hung vertically. be hung vertically. they can only some cases a framed does not acquire so, the buyer Even the art to first buys the frame and then but work to framed artworks, these screens generally have generally have these screens artworks, to framed and in a passpartout) even (or frame a wooden market. To prevent them from being mistaken being mistaken them from prevent To market. appearance them a similar sets and give TV for Smart Culture: Impact of the Internet on Artistic Creation 42 digital format. of acquiring, collecting andexperiencingartin buyers. Nevertheless, theyoffer anewmeans and theirpopularitywithcollectors andother soon toascertain theirimpactontheartmarket sold inSeptember2015,anditistherefore too Internet). Digital artframesstartedtobewidely content uploadedbyusersorextractedfrom the in manycasesitispossibletoshowother is associated withaselection ofworks (though and definesthe content, aseachofthesedevices cases theframeismostimportantelement high-level collectors). Asstated earlier, inthese low prices (except DAD, whichistargetedat in editionsofhundreds orthousands,for very wish. Works canalsobepurchased –usually screen andcanreplace itwithothersasthey that canbedisplayed conveniently ontheir where customerspay for access tocontent consuming artsimilartothat ofmusicorfilms, like iTunes andSpotify, proposing aform of products inamannercomparable toplatforms Most ofthesecompanies have launchedtheir with others astheywish. comfortably ontheir screen orreplace it for access tocontent theycan display With subscriptionservices, clientspay editions. as well asacollection ofworks soldinlimited exhibitions (which are displayed onthescreen), multimedia player) andasubscriptiontocurated that includestwo devices (a 42-inchscreen anda hotels, theyhave developed inFrance asystem experience incontemporary art and luxury entrepreneur Vincent Justin. Basedontheir launched bygalleristCarlosCárdenas and Lastly, most salientfeatures ofDepict. a wooden frameandpasspartout,isoneofthe The size andresolution ofitsscreen, whichhas can alsopurchase certain limited-editionworks. subscription fee toaccess itsartcollection and THE ART MARKET IN THE AGE OF ACCESS DAD (the Digital ArtDevice) 17

has been

PAU WAELDER festival heldinLinz(Austria). Despite having distinction at theprestigious ArsElectronica while mosthave taken partinorreceived a Fundación Telefónica between 1999 and2015, life international competition promoted by have won VIDA awards at theartandartificial received manygrants andprizes. Five ofthem museums, artcentres andfestivals andhave taken partininternational exhibitions at Germany, AustriaandEstonia.They have all European countries suchasFrance, Belgium, more thanone-third currently live inother career. Hailing from different Spanish cities, contemporary artmarket ontheirprofessional with newmedia,regard theinfluence ofthe an overview ofhowthesecreators, whowork between themid-1960s andmid-1980s provides A survey conducted on14Spanish artists vis-à-vis theartmarket New mediaartists Striking ahappymedium, working inanenvironment ofacademicresearch. Moisés Ma This opinionisshared by with [the] ideaofartthat themarket proposes’. experimentation andprocesses, ‘clashes head-on that theirway ofworking, centred on profitable. investment that theyhave not managedtomake art market has entailedasubstantialfinancial and Varvara Guljajeva with theirinterests. In theopinionof artists’ creativity and are notalways inkeeping market demandscertain formats that limit Guillem Bayo development costs galleries, asitentailshighproduction and that theformat oftheirworks isnotsuitablefor as ‘low-key’ oreven negative. market intheirprofessional career is‘tangential’, Most ofthemfeel that therole played bytheart enjoy apresence at galleriesandartfairs. professional careers, very few oftheseartists pursued, orjuststartedouton,brilliant Félix Luque Clara BojandDiego Díaz ñas 22 20 , and 27 and

who are more drawn to [Fig. 6–7] Pablo Valbuena Néstor Lizalde , 24

securingaplace inthe Patxi Araujo Daniel Palacios 19 Someartists,such . Others,suchas , , 23 21 25 Mar Canet pointout believe the believe 26 and 18 28 born

FIG.6: Félix LuqueandÍñigo Bilbao, Memory Lane(2015). Installation the installation showinga3Dimpression ofarock levitating above FIG.7: Félix LuqueandÍñigo Bilbao, Memory Lane(2015). Detail of presented at theNaked Veriti exhibitionat theArsElectronica electromagnets. Photo: Félix Luque.Courtesy oftheartists. festival, Linz.Photo: Félix Luque.Courtesy oftheartists. Smart Culture: Impact of the Internet on Artistic Creation 43 states, ‘contemporary art ‘contemporary states, 30 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E that it is difficult to find buyers for works costing works for buyers it is difficult to find that than 20,000 euros. more mention presence, to market With respect the that should be made of the attention process of assimilating digital technologies in all digital technologies of assimilating process to fully accept reluctant remains of society, areas generally notedigital art. The artists interviewed of digital art and acceptance the presence that in blogs (especially growing are in the art world as the extent that, to and online communities) de los Ríos Jaime there’s media art and therefore has embraced it with a special category’. no need to stress is that with a market contrasts This situation to ‘resistant or even reluctant conservative, Spain is in the art market Specifically, digital’. ‘bleak’ and compares or even described as ‘poor’ though abroad, with the situation unfavourably new Díaz to Clara Boj and Diego according many difficulties gaining media artists also have Daniel in other countries. foothold a market such a Canogar is the only one not to take in pointing out that view of the market, negative very who are host of collectors ‘a are there Spain though he admits scene’, faithful to the national produce limited editions, issue certificates of issue certificates limited editions, produce so as to details and other important authenticity field. I’m playing market on the art a place secure or an remorse any have it, and don’t easy about uneasy conscience’. at and exhibitions art festivals Digital to be the continue centres museums and art showing for environment most favourable digital artworks. to entails adapting Being in the art market traditional formats for established requisites which and engraving, such as painting, sculpture end product. as a unique the artwork conceive based onThe challenges posed by works subject and technologies of calculation processes compatible hardly are obsolescence to built-in sales andwith the traditional models of art in the currently the market, Therefore, collecting. working on. I’ve come to terms with having to to with having to terms working on. come I’ve says he strikes a balance a balance he strikes says 29 festival, Linz. Photo: Félix Luque. Courtesy of the artists. Luque. Courtesy Félix Linz. Photo: festival, electromagnets. Photo: Félix Luque. Courtesy of the artists. Luque. Courtesy Félix Photo: electromagnets. exhibition at the Ars Electronica the Ars Electronica exhibition at Veriti the Naked at presented outlet for, but [that] I don’t want to stop I don’t but [that] outlet for, that function on the art market help me fund help me fund market function on the art that to find an difficult more are that other projects between more experimental projects and pieces and pieces projects experimental more between studio ‘My adapted to galleries’ requirements: works Certain thanks to the market. survives misgivings or difficulties posed by the art market, posed by the art market, misgivings or difficulties Canogar Daniel been able to produce work for clients like Nike Nike like clients for work been able to produce to contrast In Museum’. Science or the London of who spoke nearly all the interviewees, the studio and in new experimental projects, so projects, and in new experimental the studio a higher production has it increasingly that I’ve way That independent. capacity and is more production agency of which I’m the main I’m agency of which production in reinvested are a project from Profits customer. focuses on producing projects specifically on specifically projects on producing focuses studio as a my regarded always ‘I’ve commission: (2015). Detail of Detail Lane (2015). Memory Bilbao, Luque and Íñigo Félix FIG.7: the installation showing a 3D impression of a rock levitating above above levitating of a rock showing a 3D impression the installation (2015). Installation Installation Lane (2015). Memory Bilbao, Luque and Íñigo FIG.6: Félix

born 28 18 and 26 believe believe believe the believe point out Mar Canet Mar 25 21 23 , , . Others, such as Some artists, such 19 Daniel Palacios Daniel Patxi Araujo Patxi securing a place in the securing a place

24 , Néstor Lizalde Néstor Pablo Valbuena Pablo [Fig. 6–7] who are more drawn to drawn more who are

and 27 and , 20 22 ñas Clara Boj and Diego Díaz Clara Boj and Diego Félix Luque Félix with [the] idea of art that the market proposes’. proposes’. the market idea of art that with [the] by This opinion is shared Ma Moisés of academic research. in an environment working a happy medium, Striking pursued, or just started out on, brilliant pursued, or just started out on, brilliant of these artists few very careers, professional and art fairs. galleries at a presence enjoy by the art played the role that of them feel Most is ‘tangential’, career in their professional market negative. or even ‘low-key’ as is not suitable for of their works the format that and galleries, as it entails high production costs development Bayo Guillem limit that formats demands certain market in keeping not always and are artists’ creativity the opinion of In with their interests. Guljajeva and Varvara has entailed a substantial financial art market not managed to make they have that investment profitable. on centred of working, their way that head-on ‘clashes and processes, experimentation vis-à-vis the art market vis-à-vis artists on 14 Spanish conducted A survey provides and mid-1980s the mid-1960s between who work of how these creators, an overview of the the influence regard with new media, on their professional art market contemporary cities, Spanish different from Hailing career. in other live currently than one-third more Belgium, such as France, countries European all They have Austria and Estonia. Germany, at exhibitions part in international taken and have and festivals museums, art centres of them Five many grants and prizes. received the art and artificial at awards VIDA won have by promoted competition international life and 2015, 1999 between Telefónica Fundación a part in or received taken while most have Ars Electronica the prestigious distinction at having Despite held in Linz (Austria). festival New media artists artists media New Smart Culture: Impact of the Internet on Artistic Creation 44 Mar Canetrelated toMedialab, Arteklabwith example, Iremember theteamat Lummo, with that we don’t know where theywork […].For many openproduction spaces, somanyartists curious howinjustafew years we’ve lostso media art.Jaime delosRíos remarks that ‘it’s that usedtosupportthe production ofnew fabric ofthecommunities andcreative spaces funding hasdrasticallyfallen,damagingthe happening at atimewhen culturalinstitutions’ largely ignored bytheartmarket. Thisis time itconfines artists’ work toafieldthat is provides thegreatest visibility, yet at thesame showcase for new media art.Thefestivals circuit them, whofeel itisnolongeraninteresting Nevertheless, thisfestival iscriticisedbysomeof among themtheprestigious ArsElectronica. taken partin,orwon prizes at, variousfestivals, [Fig. 8] favourite environments for showingtheirwork and artcentres continue tobetheseartists’ Digital artfestivals andexhibitionsat museums work online. circuit orthepossibilitiesofdisseminating their fairs andare more interested inthefestivals to notknowingaboutspaces ofthiskindat art César Escudero Indeed, someoftheyounger artists,suchas not facilitate itsincorporation intothemarket. establish dividinglines,asultimately theydo kind are includedinartfairsbutseenoneedto regard positively thefactthat sectionsofthis is pointedoutbytheartistsinterviewed, who distinct from that ofcontemporary artworks, same timerelegating ittoaseparate space, of givingvisibilitytothiskindartandat the a somewhat negative effect. which newmediaworks were grouped hashad alike, whobelieve that the‘Black Box’ into scepticism byartistsandspecialisedgallerists digital artinthefairhasbeenreceived with and 2009. devoting aspecificspace toitbetween 1998 inconsistently) for thepastdecadeorso, Madrid hasbeenpaying todigitalart(somewhat international contemporary artfairARCO THE ART MARKET IN THE AGE OF ACCESS . Asstated earlier, mostofthemhave 31 Althoughlimited,thisinclusionof 33 and Mario Santamaría 32 Thecontradiction , 34 admit

PAU WAELDER quite separate.’ gallerists, andvice-versa. Theplaygrounds are work inmuseumsare oftentotallyunknownto financial assistance. […]Artistswhoshowtheir would beeven more visibleifthere were more different sectors:‘Spain isadigitalartpower and potential andtheseparation between the Canet himselfunderlinesthiscountry’s creative Arteleku, Noish andMinipimer withHangar’. my works togalleries’requirements inthehope involvement intheart market, or should Iadapt work inexhibitions,withlessvisibilityand summed upas:shouldIcarryonshowingmy Therefore, thesituation faced byartistscanbe Meredith. Courtesy ofGoogleDevArt andtheartists. Revolution, TheBarbicanCentre, London. Photo: Andrew Interactive installation presented at theexhibition Digital FIG.8: Varvara Guljajeva andMar Canet,Wishing Wall (2014). Smart Culture: Impact of the Internet on Artistic Creation 45 securities to invest in and to invest securities 36 . AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E case of digital works, there are no limitations on no limitations are there case of digital works, is identical to as each copy their reproduction, is next to of duplication the original and the cost object of being sold as a unique nothing. Instead can thus be a digital artwork with a high price, (2014) by (2014) image of Sedition showing Prosopopeia FIG.9: Promotional of Sedition. PC. Courtesy on a user’s Collishaw Matt of art has addition, the value of a work In traditionally been based on its rarity as a unique have of a particular work object. Reproductions in limited numbers, and only been allowed the influences is a factor that number of copies with photography However, value of the work. that adopting formats are and video, works the In permit a large number of reproductions. works are viewed as viewed are works with speculate characteristic of stock markets, as artists and of stock markets, characteristic

35 is leading to the adoption of practices is leading to the adoption of practices exhibitions, etc.) are analysed by companies that that analysed by companies exhibitions, etc.) are The trends. reports on market collectors’ offer of the financial aspect of art importance growing Furthermore, quantitative data on works and on works data quantitative Furthermore, auctions, number of at fetched artists (prices with as much information as possible about with as much information including their price. artworks, This control over the information is lost on the information over This control to it necessary online sales make the Internet: buyer anonymous) the potential (and provide and the artist’s reputation, and they therefore they therefore and reputation, and the artist’s 2007). (Velthuis, manipulation undergo precise houses, which give rise to a distorted view of houses, which give of artworks of art. The prices the economy appreciation on their influence a decisive have worth tends to be kept quiet except for the for quiet except tends to be kept worth published by auction figures astronomical known by those who play an active role in the role an active known by those who play not clearly accessible sector and it is therefore its financial large, whereas to the public at by information asymmetry (Moulin, 2010, pos. asymmetry (Moulin, by information is value of an artwork the symbolic 40–46): alternative ways of selling art in digital format of selling art in digital format ways alternative anchored changes in a market trigger deep may is characterised The art market to old structures. The progressive introduction of new channels of new introduction The progressive and the and selling artworks disseminating for Conclusions: towards towards Conclusions: art market a third The Internet makes it possible to analyse it possible to makes Internet The quantitative data on and supply all the collectors so as to offer works and artists trends. on market reports and they are not convinced that these products products these that not convinced and they are underpinned by a sound market. are spoken to found them interesting, but consider but consider them interesting, to found spoken to the technical to adapt their work having that is a disadvantage of these devices requirements and frames for digital art (commented on earlier) on earlier) (commented digital art for and frames most of the artists solution: a feasible not are that a new generation of collectors will pay more more will pay of collectors a new generation that platforms The new distribution to me? attention Therefore, the situation faced by artists can be by faced situation the Therefore, summed up as: should I carry on showing my in exhibitions, with less visibility and work or should I adapt in the art market, involvement in the hope to galleries’ requirements my works (2014). (2014). Wall Canet, Wishing and Mar Guljajeva FIG.8: Varvara the exhibition Digital at presented installation Interactive Andrew Photo: London. The Barbican Centre, Revolution, and the artists. of Google DevArt Courtesy Meredith. Canet himself underlines this country’s creative creative this country’s underlines Canet himself the between and the separation potential and is a digital art power sectors: ‘Spain different more were visible if there more be even would […] Artists who show their financial assistance. totally unknown to often museums are in work are The playgrounds gallerists, and vice-versa. quite separate.’ Arteleku, Noish and Minipimer with Hangar’. with Hangar’. and Minipimer Noish Arteleku, Smart Culture: Impact of the Internet on Artistic Creation 46 device butawork ofart. a picture onascreen toseenotatechnological to be‘boring’enoughfor aspectator gazingat Clay Shirky pointsout,thedigitalmedianeed expressions oftheartourtime.Allinall,as technology willnolongerseemaberrations but with digitaldevices, works that employ this At thesametime,aswe become usedtoliving for thesedevices willbemore widelyaccepted. it isonlylogicaltoassumethat works created items theyhave acquired (Waelder, 2010a,p. 71), art collectors willhave screens for displaying the gallery ownerSteve Sacksstates, inthefuture recognition andenjoy acertain advantage.If, as which works indigitalformat canachieve greater their work, buttheyare establishingacontext in do notautomatically signifygreater interest in in themarket bytheseplatforms anddevices For newmedia artists,thechangeswrought to aservice orexperience (p. 6). no longerpurchased; insteadwe pay for access ‘markets give way tonetworks’ andobjectsare Rifkin (2000) callsthe ‘age ofaccess’ inwhich products, artisbecoming partofwhat Jeremy that supplythem.Aswithothercultural which remain ontheservers ofthecompanies collectors acquire therighttoaccess theworks, numbers ofcopies ofeachwork are sold).These affordable prices for lessexclusivity (as large acquiring butnotreselling art,whopay more at alargesegmentofconsumers interested in to thepossibilityofa‘third market’ targeted volume ofpotentialbuyers. Thissituation points do notfetch very highprices, butthere isalarger from theHiscox report that artworks soldonline commented onearlier such asSeditionandthedigitalpicture frames format. Thisisthestrategy pursuedbyplatforms similar way tofilms,booksandmusicindigital distributed massively at affordable prices ina THE ART MARKET IN THE AGE OF ACCESS [Fig. 9] . It may beinferred

PAU WAELDER Journal Collecting FindsIts Footing’. Gamerman, E.(2013, 7November). ‘Online Art funding/ tech-start-up-art-sy-raises-a-new-6-million-in- artinfo.com/artintheair/2011/11/03/art-sales- Funding’. Start-Up Art.syRaisesaNew $6Million in Chayka, K.(2011, 3November). ‘Art SalesTech Art Market. Boll, D. (2011). online-art-trade-report-2015.html markets/us-a-european-art-market/699-hiscox- www.arttactic.com/market-analysis/art- Report 2015’. ArtTactic (2015). ‘TheHiscox Online ArtTrade Bibliography (pp. 17–50). Berlin:Sternberg Press. Report on Current Conditions and Future Scenarios Contemporary Artand itsCommercial Markets. A Lind, M.andVelthuis, O. (2012) (eds.). Potsdam: h.f.Ullmann. Lieser, W. (2010). truth-about-the-murky-online-art-market-53811 from Murky Online ArtMarket’. Johnson, P. (2014, 2July). ‘TheTruth Aboutthe Berlin: Sternberg Press. Conditions andFuture Scenarios its Commercial Markets. AReport onCurrent & O. Velthuis (eds.). —(2012) ‘Internet andcommerce’. At M.Lind Press. Princeton andOxford: Princeton University Contemporary ArtinaGlobal Financial Market Horowitz, N.(2011). 5850288529912 news/articles/SB1000142405270230337690457913 https://news.artnet.com/market/the- . Retrieved from Artinfo Ostfildern: Hantje Cantz. ArtTactic Art for Sale.ACandid Viewof the . Retrieved from The World of Digital Art Art of theDeal: Contemporary Artand . Retrieved from http://www.wsj.com/ Artnet news The Wall Street (pp. 85–112). http://blogs. . Retrieved http:// . .

Smart Culture: Impact of the Internet on Artistic Creation 47 http://www. http://we-make- http://theartnewspaper. (90–100). Madrid: Centro Centro Madrid: (90–100). http://talkinggalleries.com/ http://hyperallergic.com/ . Retrieved from from . Retrieved http://artmatters.blogs.uoc.edu/ http://www.arttactic.com/ http://www.artspace.com/ http://rhizome.org/ (102), 52–61. (102),

http://neural.it/ http://www.artsy.net/ AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Artsy – – Artspace – Hyperallergic Art – Not Money Make We money-not-art.com/ – Neural – Art Matters Galleries – Talking profiles 10 Twitter @georginaadam @KellyCrowWSJ @wmmna @NoahHorowitz @artfagcity @_neural @ElectricObjects @aservais1 @ArtTactic @artmarkettech interview with Rory Blain, director of Sedition’. of Sedition’. director Blain, with Rory interview Media ETC In Condition’. ‘The Post-Media (2006) P. Weibel, Postmedia Condición Duque. Conde Cultural Selling Is ‘Amazon 7 August). Willet, M. (2013, “Fine New Its In Monet This $1.45 Million Hilarious’. Are The Reviews Art” Section, And Insider Business businessinsider.com/comments-on-amazon- art-2013-8 10 online resources – Art Tactic – The Art Newspaper com/ – Rhizome — (2014). ‘Collecting art in the age of access: access: art in the age of ‘Collecting — (2014). . New . New , 18–19. , 18–19. [Kindle (38), 68–71. (38), [Kindle art.es, , (39–40), 114–17. , (39–40), y el mercado del y el mercado http://techcrunch.

art.es The Supermodel and the Supermodel The y el mercado del arte: y el mercado Media art Media New York: Penguin Putnam. Penguin York: New Talking Prices. Symbolic Symbolic Prices. Talking y el mercado del arte: y el mercado Princeton: Princeton Princeton Princeton: Le marché de l’art. l’art. marché de Le Here Comes Everybody. The The Everybody. Comes Here (44), 68–71. (44), The Age of Access. The New New The Access. Age of The http://www.bbk.ac.uk/hosted/ Retrieved from Retrieved Media art Media , (101), 35–39. , (101), art.es, Media art Media Bulletin of the Computer Arts Society Arts Computer the of Bulletin ETC Media ETC — (2013). ‘Carroll/Fletcher: Art beyond Medium’. Medium’. Art beyond ‘Carroll/Fletcher: — (2013). — (2011). ‘ — (2011). y Tamas Sawon a Magdalena entrevista Banovich’. — (2010b). ‘ — (2010b). Lieser’. a Wolf entrevista arte: entrevista a Steve Sacks’. Sacks’. a Steve arte: entrevista University Press. University ‘ (2010a). P. Waelder, Meanings of Prices on the Market for for on the Market Prices of Meanings Art. Contemporary ebook]. New York: Palgrave Macmillan. Palgrave York: ebook]. New (2007). O. Velthuis, Brillo Box. Back Stories and Peculiar Economics Economics and Peculiar Back Stories Box. Brillo Art Contemporary of from the World com/2010/05/25/artsy (2014). Thompson, D. Siegler, MG. (2010, 25 May). ‘Screw the Gallery, the Gallery, ‘Screw 25 May). MG. (2010, Siegler, Art.sy’. at Picasso Great the Next Discover TechCrunch. York: Penguin Books. Penguin York: Shirky. C. (2008) C. (2008) Shirky. Organizations Without Organizing of Power Culture of Hypercapitalism, Where All of Life is a Life All of Where Hypercapitalism, of Culture Experience. Paid-for cache/archive/PAGE/PAGE18.pdf (2000). J. Rifkin. Nake, F. (1971). ‘There should be no Computer be no Computer should ‘There (1971). F. Nake, Art’. from Retrieved ebook]. Paris: Flammarion. ebook]. Paris: Moulin, R. (2010) R. (2010) Moulin, et nouvelles technologies Mondialisation Smart Culture: Impact of the Internet on Artistic Creation 48 14. 17. 16. 15. 13. 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1. Endnotes

DAD, the Digital Art Device, Depict, Meural, ElectricObjects, FRM, 2013). when Amazon launcheditsartsection(Willet, Thisparticularcharacteristicsparked criticism Amazon Art, million dollarsin2013(Johnson,2014). the turnover ofPaddle8, whichamountedto50 pounds sterling,insignificantsums compared to ON! Auctionstotalled90,600dollarsand83,500 Cardenas andJustin, 2015,pp. 55–56), thePaddles According tovarious sources (Galperina, 2013; don ( dle8.com/auction/linkart auction/paddleson2013 TheauctionsPaddles ON!( Paddle8, Sedition, Artsy, Artspace, longer exists. VIPArtFair wasat it-miserable-returns/ com/market-notes/saatchi-online-graceful-ex Skate’s, ‘Saatchi Online: Graceful Exit,Miserable Returns’, Saatchi Art, es/AboutEyeStorm.aspx ‘About’, It currently continues toselllimited-editionart. and wasacquired byagroup ofinvestors in2011. Eyestorm waslater relaunched onasmallerscale THE ART MARKET IN THE AGE OF ACCESS http://paddle8.com/auction/paddleson ◄ http://frm.fm https://www.artsy.net 27 October 2014. Eyestorm. http://www.depict.com http://www.meural.com https://paddle8.com http://www.seditionart.com http://www.artspace.com http://www.saatchiart.com http://www.amazon.com/Art ◄ http://www.electricobjects.com http://www.eyestorm.com/pag www.vipart.com

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- ◄ - - 20. 19. 18. 23. 22. 21. of Honour at theArsElectronica festival (Linz), a the distinctionshehasreceived are aMention which have beenshowninternationally. Among technology anddevelops complex installations ist whoworks withtheaestheticofcutting-edge Félix Luque(Oviedo, 1976) isaBrussels-based art to theauthorofthisarticle. are taken from theanswers suppliedbytheartists Thecitations inthisandthefollowing paragraphs 2015. a listofquestionsemailedtotheminDecember and Mario Santamaría(Burgos, 1985) answered (San Sebastián,1982), César Escudero (Ávila, 1983) Daniel Palacios (Córdoba, 1981), Jaime delosRios (Zaragoza, 1979), Mar Canet(Barcelona, 1981), Pablo Valbuena (Madrid, 1978), Néstor Lizalde Bayo (Barcelona, 1976), Félix Luque(Oviedo, 1976), Clara BojandDiego Díaz (Murcia, 1975), Guillem jo (Pamplona, 1967), Moisés Mañas (Alicante,1973), ArtistsDaniel Canogar(Madrid, 1964), Patxi Arau tres andgalleriesinmanycountries. Amongthe projects inpublicspace andinmuseums,artcen tual space. He hasshownhis work inlarge-format site-specific installations combining real andvir Pablo Valbuena (Madrid, 1978) mainlyworks on guillembayo.net award at theVIDA 8.0competition. galleries. Amongtheprizes hehasreceived isan of contemporary artinmuseums,centres and created usingdigitaltechnologiesat exhibitions professional career mainlyinSpain, showingworks Guillem Bayo (Barcelona, 1976) haspursuedhis of AC/E. Luque andPablo Valbuena, withthecollaboration exhibition at ArsElectronica togetherwithFélix chiefly in Spain. He recently tookpartinagroup at various exhibitions,festivals andartgalleries, his work, characterisedbyinteractive installations, ing onhisacademicbackground. He hasshown practice onexperimentingwithnewmedia,draw Néstor Lizalde(Zaragoza, 1979) baseshisartistic http://felixluque.com and aproduction prize at theVIDA competition. nomination at thetransmedialefestival (Berlin) ◄ http://nestorlizalde.com

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introduced the ARCO Electróni the ARCO introduced ARCO http://www.danielcanogar.com César Escudero (Ávila, 1983) focuses on studying focuses 1983) (Ávila, Escudero César in ar grounding based on his academic interfaces, and Salamanca University and design at chitecture laboratory ARTEK[Lab] who has worked in col who has worked ARTEK[Lab] laboratory with other artists, institutions such as laboration recently He ArtFutura. like Arteleku and festivals Bal artist Sylvie with French a project completed of residencies. programmes estra as part of AC/E’s http://www.arteklab.org 1998, In in 2000 by selection, which was replaced co which lasted until 2002. In Netspace@ARCO, Box as Black was again presented 2005, the space with Expanded Box, and in 2008 it was renamed art. video art and digital sections for separate in 2010. was discontinued Expanded Box Car York), (New of Postmasters The directors and York) (New bitforms (London), roll/Fletcher galleries specialising in digital art, (Berlin), DAM art at space of a separate criticise the creation 2010a, (Waelder, ARCO at Box fairs such as Black 68; 2011, p. Waelder, 117; p. 2010b, 71; Waelder, p. 37). 2013, p. Waelder, London Science Museum, as well as companies as companies well as Museum, Science London the offers currently Berlin studio His such as Nike. or new adaptations of specific projects, possibility on commission. his projects of productions danielpalacios.info is an artist with a 1964) Canogar (Madrid, Daniel both who has shown his work sound track record as (such in the public space in large installations York) in New Times Square, Storming the recent in museums and galleries. and in exhibitions Estrella by the Max represented is currently He Scogna Mimmo Bärtschi (Geneva), Guy (Madrid), and bitforms (Milan) miglio Artecontemporanea has been artistic director galleries. He York) (New es and has written various contest of the VIDA and new media photography on architecture, says art. is an active (San Sebastián, 1982) de los Ríos Jaime of the open Art and Science artist and founder Centro Andaluz de Arte Contemporáneo and the de Arte Contemporáneo Andaluz Centro AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E 33. 31. 32. 29. 30. - - ◄

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and art fairs, producing works on commission for for on commission works and art fairs, producing the and institutions such as collections private Daniel Palacios (Córdoba, 1981) has presented his has presented 1981) (Córdoba, Palacios Daniel museums, festivals various international at work University of Valencia. He has completed research research has completed He of Valencia. University States. and the United in Europe residencies http://www.hibye.org seums and art centres and has focused his career his career and has focused seums and art centres earning a doctorate on the academic environment, the Polytechnic from in Visual Arts and Intermedia Moisés Mañas (Elda, Alicante, 1973) has shown his Alicante, 1973) (Elda, Mañas Moisés as in mu as well many digital art festivals at work nology of the Faculty of Fine Arts at the University the University of Fine Arts at nology of the Faculty of the Basque Country. as an artist on the meeting ground between new between as an artist on the meeting ground it arts, combining technologies and the performing of Art and Tech the Department with teaching at www.lalalab.org his work focuses 1967) Araujo (Pamplona, Patxi Singapore. They both have doctorates and teach and doctorates They both have Singapore. and Castellón. of Murcia the universities at such as the Interface Culture Lab in Linz (Austria), Lab in Linz (Austria), Culture such as the Interface and the (Japan) Lab in Kyoto System Symbiotic in Center Research and Entertainment Interaction worked together since 2000 on projects that bring bring that 2000 on projects together since worked They have new technologies to the public space. grants by centres various research been awarded mcanet.info have 1975) (Murcia, Díaz Clara Boj and Diego cofounder of the Derivart and Lummo groups. He He groups. and Lummo of the Derivart cofounder (Estonia). in Tallin and works lives to develop the interactive piece Wishing Wall as Wishing Wall piece the interactive to develop in With a background project. part of the DevArt is Canet development, art, design and videogame combining art and design, such as the Knitic art and design, combining chosen by Google recently machine. They were Varvara Guljajeva since 2009 developing art and 2009 developing since Guljajeva Varvara installations, interactive in new media projects, and interventions spaces in public interventions http://www.pablovalbuena.com with has worked 1981) Canet (Barcelona, Mar awards he has received are a Mention of Honour of Honour a Mention are he has received awards (France). in Toulouse lives He Ars Electronica. at 28. 27. 26. 25. 24. Smart Culture: Impact of the Internet on Artistic Creation 50 34. mariosantamaria.net include curating onlineexhibitions. Art Project andotheronlineresources, hisprojects Focusing particularlyonplatforms suchasGoogle art centres andfestivals, aswell asartgalleries. and hasshownhiswork ingroup exhibitionsat artistic research invarious residencies inEurope Mario Santamaría(Burgos, 1985) hascarriedout online exhibitions. internationally at artcentres andfestivals andin Lab ofLinzUniversity. His work hasbeenshown sity, andhiscurrent research at Interface Culture in visualartsandmultimediaat Valencia Univer THE ART MARKET IN THE AGE OF ACCESS http://escuderoandaluz.com

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◄ 36. 35. they publish. this sectionhasbeeneliminated from thereports whose works itadvised‘selling orliquidating’, but investing. It initiallyincludedaselectionofartists a listofartistsinwhosework theyrecommend site ArtRank, whichevery four monthspublishes Anillustrative exampleisthecontroversial web on request. acclaimed artists) galleriesprefer tosupplyprices in thisarticle,thoughsomecases(particularly sales platforms for contemporary artreferred to Theprices oftheworks are available onthemain ◄ http://artrank.com

◄ - Smart Culture: Impact of the Internet on Artistic Creation 51 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E @PepeZapata

Fabra University. He has always been linked to the performing arts as an actor, producer and translator. producer arts as an actor, the performing to been linked has always He University. Fabra secretary of the Catalan association of cultural management professionals. He teaches and lectures teaches and lectures He of cultural management professionals. association of the Catalan secretary in languages, a degree a bachelor’s holds He programmes. and postgraduate master’s several at regularly Pompeu the an MBA from and Barcelona of University the from management cultural in degree master’s Previous posts include director of marketing and communications at the Mercat de les Flors theatre, theatre, de les Flors Mercat the at and communications of marketing posts include director Previous was He University. Fabra the Pompeu Alícia and cultural manager at of the Fundación coordinator Partner and consultant at TekneCultura at and consultant Partner Pepe Zapata · Pepe Zapata DIGITAL AGE DIGITAL ARTS ARE CHANGING IN THE ARE CHANGING IN THE ARTS HOW THE PERFORMING THE PERFORMING HOW Smart Culture: Impact of the Internet on Artistic Creation 52 digital. Because,although theessentialpartis effect ofculture when it comes in contact with this seductionisenhanced bythespectacular it does,however, have clientstoseduce’. longer hasa“populace” toenlightenandnoble; Zygmunt Bauman The factisthat inour‘liquidmodernworld’ even prosumer audience. author andinfluencer, aswellthat of alongside thepre-eminence of reference authorship intheperforming artscoexists In theageof co-creation, thedispersionof dimension are constantly merged? end whenthephysicaldimensionandvirtual dimension? Where docreative spaces beginand digital andvirtualare partofthesamestage engaged.’ all that isneededfor anactoftheatre tobe whilst someoneelseiswatching him,andthisis bare stage.Amanwalksacross thisemptyspace century: ‘Icantake anyemptyspace andcallita performing artsat theheightoftwentieth importance ofthe emptyspace inthe It was taking place. Willyou joinme? many significantquestionsonhowthischangeis I’m keen toshare withreaders someofthe performing artsandlive shows.But alsobecause the digitalexperiences that are changingthe I wanttopropose we take alookat someof the oneI’ve chosentoheadthisarticle.Because the aphorismsof But above allbecauseI’m afervent reader of point ofdescribingmyselfwiththosewords. I’m freaky andgeekyinmanyways –tothe to virtualcorridors From emptyspaces… Overture HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE ‘Changing theanswer isevolution. Changingthe Peter Brook 3 How isthisstatement relevant when

Jorge Wagensberg 4 2 preaches that culture ‘no whoopenedoureyes tothe question isrevolution.’ Jorge Wagensberg , 1 especially 5 And

live artsare analysed: undoubtedly alsoaffect howtheperforming and far-reaching significance insocial relations that Manifesto of communication, describedinthe updated with authors ofthe the conversation, asadvocated bythe visionary protecting/sharing creative work? Creative Commons new typesofstorytellingandplaywriting? Will these circumstances signifytheadvent of transmedia conceptualisation ofshows?Do and dissemination channelsconditioning the extent isthemultiplicityofcommunication teams, machines,hybridformulas? To what the creator now? Should we talkofegos, prosumer audience… Who –oreven what –is author andinfluencer, as well asthat of alongside thepre-eminence ofreference authorship intheperforming artscoexists In the ageofco-creation, thedispersionof ‘to co-create ornottoco-create’ From ‘tobeornottobe’… to Act I d) c) b) a) •

stem cells. which enableshimtocompose withhisown entitled like musicianGuy Ben-Aryandhisproject body are triggeringtheemergence ofcases issues suchasthemateriality ofthehuman If we consider newforms ofauthorship, things totheprimacyofinteractions. and thetransitionfrom theprimacyof information overload; the progression from scarcity to nature; between humanbeing,machineand the disappearance oftheboundaries and virtual; the fadingofboundariesbetween real

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Cluetrain Manifesto PEPE ZAPATA , 10 9 ‘thefirstneuralsynthesiser’, attain ahegemonicstatus in 7 –thenewparadigm 6 –recently Onlife

• • • • Signal Strength online tocreate thefirstWiFi orchestra in grouped togethervarious street musicians New York subway bycomposer Ljova,who A similarexperimentwascarriedoutinthe people intodirect, personalcontact with it. music andmake itfamiliarbybringing world, inorder todemocratise symphonic made upofmusiciansfrom allover the orchestra, the has startedupanInternet symphonic The Philharmonic Orchestra ofCopenhagen Judenburg, New York, Prague andVienna. which involved artistsinBarcelona, in theexperiment performing artsandtechnology, for example the mostactive groups inthiscombination of in real time.Kònic Thtr-Kòniclab isoneof connected online,toperform asingleshow writers come togetherindifferent spaces, performances inwhichstageactorsand There are manyexamplesofnetworked success inhitmusicals. as abasispredictive Big Data onrecipes for research centres have beeninvolved, taking process inwhichvariousinternational computer-generated plotandmusicina Beyond theFence A strikingexampleisthetransmediamusical kinds ofinstruments. convert themintosoundsproduced byall to interpret varioushandgestures and on theuseoflightandmovement sensors Mu’ attention toexperimentssuchasthe Even inthefieldof wearables, we can draw Promotional posterfor themusicalBeyondFence 11 gloves devisedbyImogen Heap, based World Online Orchestra . 15 , 12 Near inthedistance 2 whichfeatures a ‘Mi. , 14 13

Experiment Near inthedistance2byKònicThtr-Kòniclab Smart Culture: Impact of the Internet on Artistic Creation 53 with the 19 Pixel project project 16 and 18

body(input) experiments with the poetics 17 by Kònic Thtr - Kòniclab Near in the distance 2 company formed by Adrien M and by Adrien M formed company Le mouvement de l’air Le

as of choreographers collaboration respective Merzouki. Raballand and Mourad Yan of the pioneers in this field, Thierry de One Mária Júdová’s Júdová’s Mária between experiments with bio-interaction body and technology with the aid of to the dancer’s respond light sensors that biological functions. The B Claire using techniques of bodies in movement, and circus dance to contemporary related their interaction through or hip-hop, by means of a with virtual environments called eMotion. technological application memorable shows such produced They have • • • AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E of blending with technology owing to the of blending with technology owing language, movement of its artistic universality and dancers and body poetics. Choreographers its huge possibilities to technology for drawn are and of expression of exploring new forms bodies. plasticity based on interaction with Experiment II Act wall… fourth From dimension to fourth in movement Bodies and bodily forms is dance contemporary that is no doubt There amount the greatest is witnessing the field that

13 14 , ‘Mi. which features a which features Near in the distance 2 in the distance Near 12 , 15 . World Online Orchestra Online World gloves devised by Imogen Heap, based based Heap, by Imogen devised gloves 11 Promotional poster for the musical Beyond the Fence poster for Promotional grouped together various street musicians together various street grouped in orchestra the first WiFi online to create Strength Signal world, in order to democratise symphonic to democratise in order world, it familiar by bringing music and make with it. personal contact people into direct, A similar experiment was carried out in the Ljova, who composer by subway York New The Philharmonic Orchestra of Copenhagen of Copenhagen Orchestra The Philharmonic symphonic has started up an Internet the orchestra, the all over made up of musicians from in real time. Kònic Thtr - Kòniclab is one of Thtr - Kòniclab time. Kònic in real of in this combination groups the most active example for arts and technology, performing in the experiment artists in Barcelona, which involved and Vienna. Prague York, New Judenburg, performances in which stage actors and performances spaces, in different together writers come a single show to perform online, connected success in hit musicals. success Beyond the Fence plot and music in a computer-generated in which various international process taking been involved, have centres research for on recipes Data Big as a basis predictive on the use of light and movement sensors of light and movement on the use and gestures various hand to interpret by all produced them into sounds convert kinds of instruments. is the transmedia musical A striking example Even in the field of wearables, we can draw draw we can wearables, in the field of Even the such as to experiments attention Mu’ There are many examples of networked many examples of networked are There • • • • • Klaus Obermaier, together with Ars • In his project Prospectus for A Future Body,33 Electronica Futurelab, creates a real-time Choy Ka Fai experiments with various ways interactive dance performance in in which our body recalls and proposes new Apparition.25 And in a previous show, Le stories through technology: interactions Sacre du Printemps,26 he experimented with stemming from the memory of our muscles stereoscopic dance generated in real time. and choreographies based on the synchrony of stimulated movements. • 3D projection mapping is part of some of the shows performed by the Anarchy Dance • Blanca Li also made a contribution to the Theatre, such as Seventh Sense,27 in which it interrelationship between humans and interacts with the dancers depending on the robots by collaborating with Maywa Denki Le mouvement de l’air, by the company Adrien M and Claire B movement performed and the surface onto and Aldebaran Robotics, creators of the which it is projected. robot Nao, on the show Robot!34 Mey, created the performance Light Music20 • Quixotic Fusion created a dance, circus • An imaginative reinterpretation of the to explore the interrelationship between and video-mapping piece for TED entitled musical My Fair Lady was presented by Gob the movement of bodies and the creation Dancing with Light.28 And Tom O’Donnell Squad at the Komische Oper in Berlin: My of sound. With Oui21 by Billie Secular and joined forces with MIDASpaces to develop Square Lady,35 in which the main role was Ladonna Matchett proposes a narrative the performance The Midas Project29 to played by Myon, a robot created by the play on communication based on an object show the changing relationship between Beuth University of Applied Sciences in located in the centre of the stage equipped technology and human being. Berlin. with a movement sensor (Wiimote) that • Wayne McGregor and Random Dance have • In connection with the fascinating allows the audio to be manipulated. even developed the interactive digital exhibition Human+ The Future of Our • One of the most prolific creators is Hiroaki software ‘Becoming’30 as a tool for Species36 staged by the CCCB, various Umeda and his company S20. Their shows choreographic creation. Similarly, the group experiments have been conducted involving Adapting for Distortion22 and Holistic prince_mio has devised ‘Pathfinder’,31 a robots in stage performances, such as Strata23 recreate virtual environments using visual language that recreates Teatronika,37 which explores the audiovisual effects and sound rhythms. choreographies related to urban dance. interpretative capacities of robots led by the The company Chunky Move, a regular at SPECS38 laboratory of the Pompeu Fabra IDN festival, has also experimented with But where is the boundary between the University; and in a meta-robotic spiral, we projections that react to the performers’ living, inert and animated bodies that find the case ofYuM i39 interacting with the movements and become a further extension perform a show? Reactable40 in a genuine electronic music of their bodies in Glow.24 performance. But where is the boundary between the living, inert and animated bodies that perform a show? Does the artificial condition the human? And is the reverse true? Or, going even further, what does it take to convert a robot into a person? Are the performers’ feelings and emotions essential to bringing a live performance to life? Should we Poster for the exhibition HUMAN+ also envisage a robot audience? The Future of Our Species, CCCB

• Choreographer Hyuang Yi created the show • Mention should also be made of a few A Duet of Human and Robot32 with the robot cases of drones on stage. For example, Kuka as a reflection on the interaction of Ryoji Ikeda’s experiment Online – The machine and man. Performance41 at the Heart Noise Festival; or the direct interaction of devices of Apparition, by Klaus Obermaier

54 HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE · PEPE ZAPATA Smart Culture: Impact of the Internet on Artistic Creation 55

46 , 43 . 24 and Sparked 51 A Midsummer A Midsummer in which he 47 , Facebook and Facebook Drone Orchestra Drone 49 , ended. are gradually becoming a gradually becoming are PlayStation VR PlayStation Vive 52 came on stage for a curtain came on stage for performed at Texas A&M Texas at performed 44 Gear VR Sony and HTC and HTC 42 Patetisme il·lustrat Patetisme . 50 48 , , after the show 45 company ElevenPlay, in collaboration with in collaboration ElevenPlay, company in the show Research, Rhizomatiks this type with dancers belonging to the belonging with dancers this type ironically plays with everyday objects such with everyday plays ironically cleaner and a hand vacuum as a robotic Absolutely brilliant. drier. drones the least is John to say A curious creation Cale and Liam Young’s of Shakespeare’s A version Dream Night’s robots drone incorporated even University as fairies, which call an intriguing du Soleil carried out Cirque together with experiment with drones in Studios and Verity ETH Zurich can be used technology showing that and machines in actors to combine choreography. Santos And meanwhile, the brilliant Carles latest has pulled out all the stops in his show, • • • AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Virtual and augmented reality for active for Virtual and augmented reality making teaching about artistic processes, them understandable and appealing to all audiences. immersive experience, relates to the performing to the performing relates experience, immersive new aesthetic arts and their ability to create allows this that content and generate spaces technology to be easily adopted. Will the new worlds videogame industry help generate From augmented reality augmented reality From reality to more into augmented reality the forays seems that It Google and its DIY like by major corporations cardboard VR Oculus Samsung and reality. business model and palpable commercial down the barrier to break The old yearning in an preferably and unreal, real between

33 , My 34 Online – The – The Online Robot! interacting with the 39 i was presented by Gob was presented CCCB Species, Our of Future The Poster for the exhibition HUMAN+ for Poster YuM in which the main role was in which the main role Prospectus for A Future Body Future A for Prospectus at the Heart Noise Festival; Festival; Noise the Heart at 35 , 41 which explores the which explores in a genuine electronic music in a genuine electronic 37 Human+ The Future of Our of Our The Future Human+ , 40 staged by the CCCB, various staged by the CCCB, My Fair Lady Fair My laboratory of the Pompeu Fabra Fabra of the Pompeu laboratory 36 38 Performance of interaction of devices or the direct Mention should also be made of a few should also be made of a few Mention example, on stage. For cases of drones experiment Ikeda’s Ryoji University; and in a meta-robotic spiral, we spiral, we and in a meta-robotic University; find the case of Reactable performance. experiments have been conducted involving involving been conducted experiments have as such performances, in stage robots Teatronika led by the capacities of robots interpretative SPECS Berlin. with the fascinating connection In exhibition Species musical in Berlin: Oper the Komische Squad at Lady Square by the created a robot by Myon, played in Sciences of Applied Beuth University interrelationship between humans and between interrelationship Denki with Maywa by collaborating robots of the creators and Aldebaran Robotics, on the show Nao, robot of the reinterpretation An imaginative stories through technology: interactions interactions technology: stories through of our muscles the memory from stemming synchrony based on the and choreographies movements. of stimulated to the Li also made a contribution Blanca In his project his project In ways with various experiments Ka Fai Choy new and proposes our body recalls in which • • • • • (and new lives) that can be extrapolated to • VANBeethoven,56 an experiment led by the realm of live experience? How can this Gustavo Dudamel and the Los Angeles augmented reality be feasibly experienced in Philharmonic Orchestra, is particularly a shared manner by artists and the rest of the noteworthy in its conception of immersive audience? user environments and experiences that go beyond the dimensional notion of a live • The Wall Street Journal produced a video53 show. Through Oculus devices based on of Sarah Lane, a dancer belonging to the Samsung Gear VR technology, virtual reality American Ballet Theatre, preparing to comes to classical music, helping it engage perform The Sleeping Beauty at the Lincoln with a broad variety of audiences. More at: Center. It showed, in 360 degrees, the https://youtu.be/WiHlVPj6i-o. step-by-step process down to the end result. This is undoubtedly a fantastic means of actively teaching about artistic processes as it makes them understandable and attractive to audiences. To optimise viewing, it is not sufficient to press play and merely gaze at the screen; instead, we need to scroll around in all directions, interacting with the mouse or with our finger. The 360-degree experience is starting to gain ground in many stage performances. The video clip of the number ‘Circle of Life’ from the Broadway musical The Lion King54 has proved to be a huge Internet hit. • Without a doubt, the landmark project in this field is Google Cultural Institute’s © La Phil Performing Arts,55 which underlines the Gustavo Dudamel conducting the Los Angeles Philharmonic Orchestra offers a virtual-reality concert as part of the project possibilities this technology has to offer in VANBeethoven music, opera, theatre, dance and • The spectacular immersive mapping performances, featuring images of artists, technique, both outdoor and indoor, can performers and shows on leading stages. also serve the same purpose. An interesting case is the performance of the Youtube Symphony Orchestra57 at Sydney Opera House. • Even the use of GoPro cameras – as in Waltz on the Wall,58 a dance show by Amelia Rudolph and Roel Seeber – gives the audience an insight into the sensation of vertigo and verticality experienced by the dancers. • Similar cases are the Czech Philharmonic59 © Google Cultural Institute performing a piece by Richard Strauss, the Homepage of the website of the Performing Arts BYU Philharmonic Orchestra60 performing project of Google Cultural Institute Copland and the violinist Lara St John61

56 HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE · PEPE ZAPATA Smart Culture: Impact of the Internet on Artistic Creation 57 66 . Coachella Coachella

Billboard Music Awards Music Billboard Tupac Shakur at at Shakur Tupac or Michael Jackson’s stellar stellar Jackson’s or Michael 65 ;

the late rapper the late festival the at appearance – with his own hologram at a performance; a performance; at own hologram – with his In the case of stage production, LED the case of stage production, In revolutionised technology has significantly in other stage lighting, as has occurred • AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E based on digital resources that bring costs down? bring costs that based on digital resources to the show must go on sector still has a long arts the performing But as transformation digital to go towards way phase is concerned. far as the production a and managers need to make Organisations technology more to incorporate effort concerted their developing in forward to move in order digital stages, videographic stage projects: and sensorisation designs, sound reinforcement in the present increasingly are that concepts are running of the sector. day-to-day of tailoring the cost where an environment In shows to their potential takings is aproducing adds to that any alternative primary concern, artistic also entail greater appeal may audience technology can make risk. And in this respect will processes What contributions. interesting Will new technologies allowdigital redefine? productions ambitious more organisers to go in for © abc the Billboard hologram at Jackson by the Michael The performance Awards Music III Act rises… the curtain From , to offer , to offer developed 62 who came 64 , John McCormick McCormick John 63 Four Seasons Four Yoshiki Obscura Digital Obscura Emergence gone particularly viral online, such as those of the composer piano – piano versus musically face-to-face interactive dancing figure that responds that dancing figure interactive by of an actual dancer to the movement and brightness. changing colour experiments with holograms have A few Angeles. The added value was provided byAngeles. The added value was provided a mapping to create the use of 3D projection graphics. animated sense of depth through the duet In a virtual and experimented with creating M.I.A. and Janelle Monáe to give a joint to give Monáe M.I.A. and Janelle holographic devices through performance the launch of a new Audi model, evenat physically located though the artists were LosYork and New cities, different in two The company The company singers it possible for made technology that performing Vivaldi’s Vivaldi’s performing immersive an intense and the audience experience. • • • elements make direct interaction possible? interaction direct elements make the performing where main area The towards arts still have a long way to go the is precisely digital transformation production stage. what extent will we need to interact with artists’ extent will we what emotions their experience Can we materiality? holographic Will presence? without their real different angles – that is not physically in that in that is not physically angles – that different To potential? its interactive and to explore space, practice the ability to present the audience with audience the to present the ability practice three- someone or something – floating can be seen from that dimensional figures inventing and reinventing futures, what better what futures, and reinventing inventing of show business to put into than the world Nobel Prize for Physics in 1971 for inventing inventing for in 1971 Physics for Prize Nobel but the future, cannot predict you holography, to it. And when it comes can invent you of being present of the winner Gabor, Dennis As pointed out by Holograms and other ways ways and other Holograms

61 Youtube Youtube performing performing . 60 Lara St John Lara St at Sydney Opera Opera Sydney at 57 Czech Philharmonic Czech a dance show by Amelia a dance 58 , an experiment led by an experiment 56 , Even the use of GoPro cameras – as in the use of GoPro Even on the Wall Waltz the Seeber – gives and Roel Rudolph of an insight into the sensation audience by the experienced and verticality vertigo dancers. the cases are Similar the Strauss, by Richard a piece performing Orchestra Philharmonic BYU and the violinist Copland The spectacular immersive mapping The spectacular immersive can technique, both outdoor and indoor, the same purpose. An interesting also serve of the case is the performance Orchestra Symphony House. show. Through Oculus devices based on devices Oculus Through show. virtual reality technology, Samsung Gear VR it engage to classical music, helping comes at: More variety of audiences. with a broad https://youtu.be/WiHlVPj6i-o VANBeethoven Angeles Los and the Dudamel Gustavo is particularly Orchestra, Philharmonic immersive of conception in its noteworthy go that experiences and user environments notion of a live the dimensional beyond • • • • © La Phil Angeles Philharmonic the Los conducting Dudamel Gustavo as part of the project concert a virtual-reality offers Orchestra VANBeethoven Smart Culture: Impact of the Internet on Artistic Creation 58 • • • • HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE Future Internet-Performing Arts use theFI(Future Internet), through the develop creative networked projects and multidisciplinary stageproductions that Barcelona) isproviding incentives for The ICUB(Instituto deCultura de by guitars created from Lego bricks designed experimentation, asthis caserecalls the instruments isanendlesssource of Indeed, itseemsthat the fieldofmusical the firm by university lecturer Olaf Diegel through University concerts at the technology. Theyhave even performed whose instrumentsare madeusingthis University have created abandofmusicians for example,agroup ofstudentsfrom Lund stage elementsimmediately. In Sweden, order tobringdowncosts andcustomise for processes ofthiskindtobeappliedin field of3Dprinters,ismakingit feasible the ‘maker’ phenomenon, especiallyinthe The emergence ofDIYphilosophyand performing artssector. technological breakthroughs tothe projects andnewformulas for applying to beafertile ground for developing new based onlightandsoundfactorsisproving shown, theproduction ofnewstagesets As theexamplesofartisticcreation have a substantialsaving inproduction costs. basic partofilluminating ashow, aswell as reconsideration ofcolour managementasa Light, LEDtechnologyhasbrought abouta in connection withInternational Year of the CDN(Centro Dramático Nacional) a conference onstageartorganisedby at the of today’s live arts.Aswasconcluded they convey, isanessentialcomponent movements, andtheemotionsfeelings reception oftheactors’gestures and activity sectors.Optimising theaudience’s Pavan Wood Works II Jornadas dePlástica Teatral Odd Guitars . 68 Theinstrumentsare alsosold Music Academy ofMalm . 69 . 70 awards. , 67

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Basically, thedigitaltransformation yet tobe suppliers andcustomers. financial andanalytical accounting, to beusedfor production,maintenance, management stagewillallowERPsystems Incorporating technologyintothe optimised. the information shared bytheorganisation tobe question oforganisational efficiencytoenable accounting, suppliers,customers.It ispurely a production, maintenance, financialandanalytical applications neededtomanageanorganisation: systems that bringtogetherthecomputer integrated ERP(Enterprise Resource Planning) still needsregulation toallowtheuseof phase ofthelive artsisnotsoclear. Thesector incorporating technologyintothemanagement for mosteconomic sectors,theideaof Although itmightseemtheobviousway forward processes ismosturgent. Thesectorhas incorporate technologyintostagemanagement and communication where theneedto However, itisprecisely intheareas ofmarketing digital pressure morphsintoaservice’. of of matching supplytodemand?AsGenísRoca operators appearinthesectorwhoare capable and artisticprojects? Willnewmediators and between supplyanddemandfor bothcreators of marketplaces asplatforms for exchange sector. Why notconsider thepossibilities of habitsthat are stilldeeplyrooted inthe by achangeofattitude andthedisappearance carried outismuchdeeper, asitmustbespurred • • RocaSalvatella on themusicsector. Kompoz Similar casesare the professional collaborators for theirprojects. managers, organisations…) togethertofind sector agents(production companies, themselves asasocial network) that brings platform ofperforming artists(they define Such isthecaseof

75 · communities, thelatter focused

PEPE ZAPATA putsit, Afactys 72 Meetinarts ‘any product under , 73 anonline 74 and witnessed a constant restructuring of ticketing, • An up-and-coming alternative is harnessing going from a bank-controlled model to in-house the potential of digital to reach bigger and formats. But, once again, in most cases the part more diverse audiences than usual through has been mistaken for the whole. The key projects for transporting plays from stage to doesn’t lie solely in how you control the ticket big screen. An illustrative example is Miracle office and public access but mainly in having a Theatre,77 a modest English company which thorough knowledge of audiences through CRM has explored ways of boosting its income (Customer Relationship Management) systems through ‘theatre for screen’ productions. that allow strategies to be devised for This method shuns B2B and fully espouses segmenting and retaining audiences and B2C, as creations are delivered directly to ensuring their loyalty, and where data from the audience while revenues are earned ticketing, email marketing and social media from stage performances. For example, chats, use of apps and online navigation via showing one of their productions, Tin,78 in Google Analytics can and should converge. If to cinemas, as well as the sale of merchandise, these processes we add the possibility of having has enabled them to explore the earning BI (Business Intelligence) tools for carrying out a potential of the project, as a result of which comprehensive analysis of this information with revenues have exceeded production costs. a view to decision making, it is not far-fetched to The ‘theatre for screen’ experience has been envisage the possibility of smart systems of so successful that they have even published warnings and automation of marketing actions. a Manual for Bringing Theatre to the Screen79 At the end of the day, as Marc Vidal states, ‘the explaining this good example of optimised strategy will be human and the tactics pure use of digital technology. artificial intelligence’.76 • Live-streaming shows of all kinds bring a host of possibilities for global distribution. Knowledge of the audience can be gleaned Such is the case of the National Theatre through CRM systems for devising strategies Live80 programme, which includes the for segmenting and retaining audiences and Behind the scenes section81 for discovering ensuring their loyalty, including ticketing, additional videos of the making-of of shows. marketing social media and browsing.

So, it is a question of normalising the sector, which should enable us to question issues such as: is the sector’s environment properly analysed, is it actively listed to, is it truly connected? Are we familiar enough with the audience’s motivations? Do performing arts managers deliver what audiences and artists really want? And what is more… does that make us necessary?

But let’s now go one step further and consider how technology makes it possible to think about new ways of distributing shows, especially in an environment with many communication Homepage of the website of ‘Globe Player’ channels and where transmedia storytelling • The system of video on demand can also be offers huge possibilities for interconnection and applied to the sector, as in the fascinating interrelation. ‘Globe Player’82 project linked to the

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 59 Smart Culture: Impact of the Internet on Artistic Creation 60 keener than evertotake partandinteract. increasingly mature, betterinformed and evolution of ourhypermediasociety. It is The audience isgrowinginpace withthe audiences. giving risetonewinteractionsandrelations with basically, theIoT (Internet of Things), whichis through newmobiledevices, wearables and, before, duringandafterashow, especially performing artsisinbroadening userexperience can begiven totheuseoftechnologyin precisely theaspectwhere emphasisandpriority videogames are already experiencingthis.And Sectors suchasmusic,literature, cinemaand citizens’ participation inandaccess toculture. determining factorintherecent changein There isnodoubtthat technologyisa Interaction andengagement From gods…to Act IV • • HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE personalised tutorialsover Skype. the useofvideostreaming togetherwith of thearts(inthiscasemusic) through in ruralareas ofEngland toboostteaching Education Hubs (MEHs) andimplemented arts is the educational aspectoftheperforming An interesting project designedtocater to hotel, aswell asanoperaperformance. theatre, variousmerchandise orastay ina that canincludepersonalisedvisitstothe the Liceu Box, anexperience package exploring thischannelintensively through opera house,the leisure andtourismactivities.Barcelona’s and marketing isthecombo packsoffering Another interesting meansofdissemination theatres. which hasalsospread toshowinginmovie universe ofShakespeare andTheGlobe,

Connect: Resound selfie show Gran Teatre delLiceu , 84 ledbyMusic , 83 is Image oftheexperimentwithiOrchestra • • • http://www.philharmonia.co.uk/re-rite/home musicians andorchestra. More information: engage asmuchpossiblewiththe with aMusicLab that enabledaudiences to Suite Stravinsky’s deconstruction ofclassicssuchas where visitorsexperienced the experiments suchastheiOrchestra Tent project wasimplementedthrough travelling Plymouth, Torbay andCornwall areas –the Developed insoutheastEngland –the well-defined engagementstrategies. shows tonon-regular familyaudiences using music experience tobringqualityorchestral and active installations –education andlive to combine technology–specificallydigital by the audiences inunusualenvironments. Led has helpedbringmusicalstoallkindsof with theirhuge,spectacularscreens The experimentwiththeWallcast concerts The University toexperimentwith up withBreakfast Creatives andLeeds The Yorkshire Dance agencyteamed Barcelona. platja Nacional deCatalunya) andthe OBC (Orquestra Simfònica deBarcelona i Mediterranean contexts, suchasthe this activityhasbeenreadapted tomore iOrchestra , andtheiOrchestra Truck equipped 87 programme runbytheAuditoride New World Symphony Orchestra

PEPE ZAPATA Rites of Spring 85 isagoodexampleofhow orHolst’s respond L’OBC ala Planet , 88 ,

. • • • Barcelona Summer Festival implemented intheperforming arts. Alternative payment systemsare alsobeing show for customisedsubtitlesofcontent at the incorporating augmentedreality technology has experimentedwiththeuseofglasses English subtitlesfor international audiences, on offering French theatre showswith The Jonah Bokaermove aswe wish. across whichwe can make thechoreographer tablet screen intoadigitalinteractive stage environment). ‘fifth wall’ (the samebutinadigital watching theperformance inperson) and separating theperformers from theaudience the ‘fourth wall’(the invisiblebarrier iPad appthat breaks away from theideaof The 2wice ArtsFondation hasdeveloped an com/110465773#at=161 youtu.be/TrBvYXbskCc, https://vimeo. yorkshiredance.com/respond, https:// Yakira. More information: choreographers Robbie Synge andHagit contributions, withthecollaboration of dance projects makinguseofspectators’ has encouraged thestart-up ofnewcreative engagement. Through respond, theagency audience feedback andtestvariousforms of enabling artiststoobtainofflineandonline Response Process) methodologyfor an onlineplatform basedonCRP(Critical ‘Theatre inParis Mistinguett ‘Fifth Wall’ . 91 Use ofthe‘FifthWall’ application

’ 90 initiative, focused . 89 transforms the transforms the http://www. 92 devoted topop Cruïlla • The iOrchestra85 is a good example of how an online platform based on CRP (Critical music introduced cashless payment using to combine technology – specifically digital Response Process) methodology for smart wristbands equipped with the PayPal and active installations – education and live enabling artists to obtain offline and online system. music experience to bring quality orchestral audience feedback and test various forms of • Beacon technology is used at performing shows to non-regular family audiences using engagement. Through respond, the agency arts events to improve interaction with well-defined engagement strategies. has encouraged the start-up of new creative spectators; beacons are located in the Developed in southeast England – the dance projects making use of spectators’ stage areas. Such is the case of Festival Plymouth, Torbay and Cornwall areas – the contributions, with the collaboration of Temporada Alta,93 where the use of project was implemented through travelling choreographers Robbie Synge and Hagit Bluetooth to launch campaigns via mobile experiments such as the iOrchestra Tent Yakira. More information: http://www. telephones has enabled it to attract new where visitors experienced the yorkshiredance.com/respond, https:// audiences through public libraries and deconstruction of classics such as youtu.be/TrBvYXbskCc, https://vimeo. interact with them to provide promotional Stravinsky’s Rites of Spring or Holst’s Planet com/110465773#at=161. offers before and after the shows. Suite, and the iOrchestra Truck equipped • The 2wice Arts Fondation has developed an with a MusicLab that enabled audiences to • Children also have the chance to experience iPad app that breaks away from the idea of engage as much as possible with the interactive shows, such as that of the the ‘fourth wall’ (the invisible barrier musicians and orchestra. More information: company Imaginart. Little Night94 is a separating the performers from the audience http://www.philharmonia.co.uk/re-rite/home. floor/screen that interacts with the young watching the performance in person) and audience, who play the leading role, based ‘fifth wall’ (the same but in a digital on their reactions. It is a marvellous way environment). ‘Fifth Wall’89 transforms the of stimulating and educating the senses so tablet screen into a digital interactive stage that they create a world of their own. across which we can make the choreographer Jonah Bokaer move as we wish. • Kinect95 technology, widely developed in the videogame environment, has also been applied in the performing arts sector, as in the case of The Computer Orchestra96 project run at the ECAL, which allows somebody to direct and monitor a whole computerised orchestra through the recognition of gestures and movements: https://vimeo.com/74922458. Image of the experiment with the iOrchestra • The experiment with the Wallcast concerts with their huge, spectacular screens has helped bring musicals to all kinds of Use of the ‘Fifth Wall’ application audiences in unusual environments. Led by the New World Symphony Orchestra,86 • The ‘Theatre in Paris’90 initiative, focused this activity has been readapted to more on offering French theatre shows with Mediterranean contexts, such as the English subtitles for international audiences, OBC (Orquestra Simfònica de Barcelona i has experimented with the use of glasses Nacional de Catalunya) and the L’OBC a la incorporating augmented reality technology platja87 programme run by the Auditori de for customised subtitles of content at the Barcelona. show Mistinguett.91 • The Yorkshire Dance agency teamed • Alternative payment systems are also being up with Breakfast Creatives and Leeds implemented in the performing arts. Cruïlla The Computer Orchestra project University to experiment with respond,88 Barcelona Summer Festival92 devoted to pop

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 61 Smart Culture: Impact of the Internet on Artistic Creation 62 also findthespectacleexperience time (hooray for asynchrony!) becausewe can society. We canfinditanywhere and at any in pace withtheevolution ofourhypermedia The audience isgrowing (and reproducing itself) manipulates, ‘memes’… collaborates, produces versions,recreates, to take partandinteract. It processes, better informed, andkeener thanever Our audience isincreasingly mature, to bewhat we have heldittobeupuntilnow. underline thesamepoint:audience willcease host ofassessments,thoughtsandideasthat creative processes. There isevidentlyawhole the participation ofaudiences inartisticand We startedoutspeakingprecisely ofco-creation, and participation Emancipation, empowerment • • HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE McCann at theTeatreneu. per Laugh and spectator. Proof ofthiswasthe artist andaudience, andbetween spectacle for enhancingtherelationship between non-verbal language.It hasahuge potential of interaction,that whichisprovided by machines byincorporating anewmethod communication gapbetween peopleand such as Affective computing, developed byfirms score whileitisbeingplayed onstage. instruments separately oroffollowing the possibility oflisteningtotheorchestra’s discussion onsocialmediasites,andthe accompanying programme that incorporates applaud according tousualrules), an (even indicating whentheaudience should user experience: thestructure ofthework from aconcert inorder tooffer anextended establish parametersfrom data gleaned centres, makes itpossibletoanalyseand together withseveral European research Concertgebouw Orchestra ofAmsterdam The platform Affectiva 99 programme runbyTheCyranos Phenicx , 98 seekstoclosethe , 97 developed bythe urbi etorbi. Pay Pay

spectator’ Let’s notforget thetheoryof‘emancipated formulas. of theartisticproject through crowdfunding It iseven transformed intoapatron orcofounder becomes artandpart,spectator andco-creator. manipulates, ‘memes’ (ifImay bepermitted)…it it collaborates, produces versions, recreates, interact. It isinvolved intheartisticprocesses, informed, andkeener thanever totake partand Our audience isincreasingly mature, better Viewing aBioreactive Concert © ChristianBertrand/Shutterstock for interpretation. For thespectator possessesanactive capacity him totherole ofeducator ofignorantmasses. creator, whomustbanishbeliefsthat confine which alludesmore totheemancipation ofthe • performance experience that makes possible also responsible for anetworked The aforementioned Kònic Thtr-Kòniclab is their homesviawebcam. which 12usersare invitedtotake partfrom artists, asintheproject direct interactionbetween audience and 100 putforward by

PEPE ZAPATA Jacques Rancière Umbrales , 102 in , 101

Our audience is increasingly mature, better • Pepsi’s Bioreactive Concerts103 project, criticisms, the expressions they liked, their informed, and keener than ever to take part and managed through the Lightwave favourite photo, what they found boring… interact. It is involved in the artistic processes, technological platform, makes it possible Since then they have incorporated this type it collaborates, produces versions, recreates, to analyse in real time, through sensor- of dynamic into all their shows. manipulates, ‘memes’ (if I may be permitted)… it equipped wristbands, audience data such • The fact is that we are currently witnessing becomes art and part, spectator and co-creator. as rising body temperature as the music a growing number of stage productions, It is even transformed into a patron or cofounder session progresses. aimed especially at young audiences, and of the artistic project through crowdfunding • Audience involvement in developing musical shows that are doing away with the formulas. performing arts projects also entails the tradition of not allowing photos to be taken possibility of contributing to their funding. during the performance and are adapting to Let’s not forget the theory of the ‘emancipated Apart from through crowdfunding, 2.0. communication. The omnipresence of spectator’100 put forward by Jacques Rancière,101 technology can help boost participation smartphones today has triggered this which alludes more to the emancipation of the through digital philanthropy, a phenomenon change in our habits of cultural creator, who must banish beliefs that confine widespread in English-speaking countries, consumption. The immediacy of the him to the role of educator of ignorant masses. where the idea of donating is omnipresent audience’s reaction can be turned into the For the spectator possesses an active capacity in the culture sector. best possible strategy for encouraging word for interpretation. of mouth among spectators, real audiences • The Twitter hashtag #postfuncio,104 and potential audiences. Indeed, it is the • The aforementioned Kònic Thtr - Kòniclab is which is widely used in the Barcelona very spectator-prosumer who acts as a also responsible for a networked area, provides first-hand information vehicle for communication via Twitter, performance experience that makes possible about first impressions, via Twitter, of Facebook or Instagram. And, in turn, direct interaction between audience and the audience’s critiques as a sort of ‘Trip producers and distributors make the most artists, as in the project Umbrales,102 in Advisor’ for theatre performances, filtered of this exchange of opinions to promote which 12 users are invited to take part from by the immediacy of the social media their shows. Such is the case of Los Zurdos’ their homes via webcam. site. It encourages the participation and production Amores minúsculos.108 interaction of all the agents involved in a stage production (authors, companies, performers… audiences) and generates a multiway channel between them. One of the consequences of this type of dynamics is that they give rise to new meetings, both face-to-face and virtual, between audiences and artists in the form of talks. • Cross Border,105 a company specialised in theatrical productions that encourage audiences to interact and participate, was one of the first to enlist the social media to trigger this interaction, especially with the youngest audiences. They began by Scene from Roger Bernat’s show Pendiente de voto experimenting with Twitter for the preview of the show Perdidos en Nunca Jamás106 at • Experiments in ‘electronic democracy’ in the Teatro Circo in Murcia; they asked the the field of the performing arts have also secondary-school pupils in the audience been carried out. Roger Bernat presented an not to switch off their mobiles, instead ironic view of the concept of participatory encouraging them to use the hashtag democracy in his show Pendiente de © Christian Bertrand / Shutterstock #NuncaJamás107 to share their comments, voto,109 in which the spectators became Viewing a Bioreactive Concert

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 63 Smart Culture: Impact of the Internet on Artistic Creation 64 focusing onthemicro-moments ofthetruth of personalised relationships withthemand segmentation andinvolves establishing management effort that goesbeyond mere This situation willprompt anaudience engage withaudiences. making decisionsandlearninghowto how toconvert dataintoinformation for Technology mustenable ustoexplore irremediably unpredictable. and communities, astheirbehaviour is difficult to properly learnaboutouraudiences performing artssectoristhat itisincreasingly consequence ofthisreality appliedtothe be sometruthinallthis.But theimmediate multiscreen, megaconnection. Andthere must beings: superubiquitous,hyperactivity, expressions todescribeourselves associal We currently useallkindsofhyperbolic to (very) smalldata From bigdata… Epilogue • HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE were cast. 2013–14 dance season.Nearly 15,000votes decide onwhichshowsshouldopenthe through whichtheycould vote onlineto the platform Mercat delesFlors offered itsaudience In anotherparticipatory practice, the management andinteractive script. designed combining thefunctionsofvoting guided byvoting, for whichsoftware was temporary parliamentariansinaprocess

‘¡Que dance quienquieras!’

, 110

For what citizens are callingfor isprecisely this: through transmedia. to extenduserexperience asmuchpossible channels ofcommunication anddissemination once againtechnologymusthelpoptimise tracks tohelpthemchoose.Anditishere that enables themtooffer users routes, paths and projects needtohave acrystal-clearstorythat increasingly lesstime.That iswhycultural attention ofusers,whofurthermore have where we needtobeseenbyandattract the We are livinginanageofabsolute infoxication, audiences. decisions andlearninghowtoengagewith rather microdata) intoinformation for making enable ustoexplore howtoconvert data (or a demandingprosumer. Andtechnologymust have already commented –hasmutated into the culturalexperience. Theaudience –aswe arrived’. So:let’s carryonasking. away withmore questionsthanwhenthey experience that ‘it’s alive whenvisitorscome who stated inconnection withamuseum aphorism ofthemasterfulJorge Wagensberg, arts inthedigitalagewilldojustice toanother observations onchangesintheperforming I amconfident that reading thesehumble must beourallyinachievingthis. and disciplines…And,once again,technology also draw from theblendoflanguages,genres place toanother. But theseexperiences must private orpublicspace, orontheway from one these experiences take place inourhomeora unique moments.Andthisisfeasible whether experiences, enjoying andsharingemotions,

PEPE ZAPATA Smart Culture: Impact of the Internet on Artistic Creation 65 ) . ). Pew ). Pew . ) ) ) ) . Gylphi Limited, . Gylphi http:// ) ( ; original in English: ; original in English: ) http://blocs.gencat. ) ) https://www. ( http://www. humano en la era de la humano en la era ( Literary Art in Digital Art in Digital Literary ) Interactive Art and Embodiment: Art and Embodiment: Interactive http://www.mediaestruch.cat [in Catalan] ( [in Catalan] (collective translation into Spanish: into Spanish: translation (collective ( http://empac.rpi.edu http://www.fact.co.uk https://hangar.org http://mosaic.uoc.edu (Experimental Media and Performing and Performing Media (Experimental ( ( (Foundation for Art and Creative Art and Creative for (Foundation AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E http://www.pewinternet.org/2013/01/04/ facebook.com/NewMediaPerformance Research Performance performance-research.org/ Digital Resources Digital Digital Cultura cat/blocs/AppPHP/culturadigital the Arts for R&D Fund Digital artsdigitalrnd.org.uk EMPAC ( Arts Center) FACT ( Technology) Hangar MediaEstruch Mosaic Performance Media New Performance: case studies and critical positions studies and critical case Performance: 2011. Continuum, Nathaniel. Stern, Performance Body as Implicit The 2013. Kristen; Rainie, Lee. Purcell, Thomson, Kristin; Technologies and Digital Arts Organizations ( arts-organizations-and-digital-technologies 2013. Project, Internet Ser Onlife. El Manifiesto hiperconexión https://drive.google.com/file/d/0B19fnVg9- hoDN09UNkg5TEE3b2c/view https://drive.google.com/file/d/0B19fnVg9- hoDN09UNkg5TEE3b2c/view Ricardo, Francisco J. J. Francisco Ricardo, . . . Performing Performing . Palgrave . Palgrave ). Cultural ). Cultural . Booz & . Booz . MIT Press, . MIT Press, New Visions in New http://www. New Data Directions Data Directions New . ( Virtual Theatres: an Virtual Theatres: The Digital Future of Creative Creative of Future Digital The Theatre and Performance in and Performance Theatre Sensorium: Embodied Sensorium: Embodied http://www.strategyand.pwc. Aesthetics of Interaction in Digital in Digital Interaction of Aesthetics Digital Performance Digital . MIT Press, 2011. . MIT Press, . Routledge, 2004. . Routledge, . MIT Press, 2013. . MIT Press, Data Project, 2013. Project, Data new-data-directions-for-the-cultural-landscape- a-report-by-slover-linett-audience-research-for- the-cultural-data-project_final.pdf Informed, Stronger Sector Stronger Informed, culturaldata.org/wp-content/uploads/ Lee, Sarah; Linett, Peter. Sarah; Linett, Peter. Lee, a Better- Toward Landscape: the Cultural for Kwastek, Katja. Katja. Kwastek, Art Experience, Technology, and Contemporary Art and Contemporary Technology, Experience, 2006. MIT Press, Introduction A. Caroline Jones, Giannachi, Gabriella. Giannachi, Dixon, Steve. Steve. Dixon, 2007. Digital Culture: from Simulation to Embeddedness from Simulation Culture: Digital 2009. Routledge, Taylor & Francis, 2004. & Francis, Taylor Matthew. Causey, Carver, Gavin; Beardon, Colin. Colin. Beardon, Gavin; Carver, Technologies Digital of the Impact Performance: Virtual Embodiment and Interactivity Virtual Embodiment 2006. Macmillan, Broadhurst, Susan; Machon, Josephine. Josephine. Machon, Susan; Broadhurst, of Practices and Technology: Performance Benford, Steve; Giannachi, Gabriella. Giannachi, Steve; Benford, Reality Mixed com/media/file/The-digital-future-of-creative- Europe-2015.pdf Europe. The impact of digitization and the Internet the Internet digitization and impact of The Europe. industries in Europe on the creative 2015. Company, Acker, Olaf; Gröne, Florian; Lefort, Thierry; Thierry; Lefort, Florian; Gröne, Olaf; Acker, Laura. Kropiunigg, Bibliography Smart Culture: Impact of the Internet on Artistic Creation 66 Colectivo Visual404: Jane Winters: Carles Sora: Elisabet Roselló: Anna Monteverdi: Carlo Infante: Josep M.Ganyet: Alain Baumann: TWEETERS ZKM vice.com The Creators Project Tea-tron performingmedia.org/ Performing Media HOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE ( http://zkm.de/en ( ) http://www.tea-tron.com @carlesora @jfwinters @carloi @koniclab @LisRosello @ganyet ( @annamonteverdi http://www. ( @visual404exp http://thecreatorsproject. ) ) ) 11. 10. 9. 8. 7. 6. 5. 28. 27. 26. 25. 24. 23. 22. 21. 20. 19. 18. 17. 16. 15. 14. 13. 12. 4. 3. 2. 1. Endnotes

Commons agenda/files/Manifesto.pdf World, Bauman,Zygmunt

Brook, Peter, https://www.youtube.com/watch?v=PKIvop5hJ90 https://en.wikipedia.org/wiki/Zygmunt_Bauman https://es.wikipedia.org/wiki/Jorge_Wagensberg https://youtu.be/vJWzxMVDq8IL http://guybenary.com/work/cellf https://en.wikipedia.org/wiki/Creative_ https://ec.europa.eu/digital-agenda/sites/digital- http://newclues.cluetrain.com http://tremendo.com/cluetrain/ https://youtu.be/iQlDEPLHPyQ https://youtu.be/DhPtrpSIHXU https://vimeo.com/64624233#at=0 https://youtu.be/C4He543_a80 https://youtu.be/6hXD1rQTJio https://youtu.be/-PWAQPbOx7I https://vimeo.com/128720880 https://vimeo.com/24453131 https://vimeo.com/114767889 https://vimeo.com/145201272#at=13 http://www.am-cb.net/projets https://vimeo.com/133901650 https://vimeo.com/109672232 https://youtu.be/jlxCiXUKasI https://youtu.be/eTfV33KhYcE http://beyondthefencemusical.com https://en.wikipedia.org/wiki/Peter_Brook Cambridge Polity Press, 2013

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PEPE ZAPATA The Empty Space, , Culture inaLiquidModern

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◄ , Verso, Smart Culture: Impact of the Internet on Artistic Creation 69 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E @laracoteron

from time to time by running seminars and workshops on these subjects (UIMP, 2015). on these subjects (UIMP, seminars and workshops time to time by running from the Design and Digital Culture #EDCD sessions at Medialab Prado (since 2013). She teaches She 2013). (since Prado Medialab #EDCD sessions at Culture and Digital the Design programme the master’s the ESNE and at at game design as part of the videogame course with other important academic institutions collaborates the UPM. She in videogames at Holds a PhD in fine arts, specialising in interactive art and game design (UCM, 2012). Founder (UCM, 2012). art and game design arts, specialising in interactive in fine a PhD Holds various 2008 she has curated of artists. Since group and game designer of the YOCTOBIT 2015) and (Germany, Fest games such as NotGames on experimental cultural programmes Lara Sánchez Coterón Lara Sánchez Coterón

DISRUPTIVE PRAXIS PRAXIS DISRUPTIVE VIDEOGAME DESIGN AND DESIGN AND VIDEOGAME Smart Culture: Impact of the Internet on Artistic Creation 70 culture begantoappealartisticsensibilities. and theirspecificity complexity asa form of three decadeslater that theirsocialacceptance mere technologicalcuriosities,anditwasn’t until years videogameswere overlooked, regarded as questioned establishedideas.During theseearly mature, rebelled againstconventions and western artandcounterculture, muchmore of thetwentieth century (Fig.1) inanagewhen science labsat thebeginningofsecond half emergence ofcomputing systemsinisolated Digital gamescanbetraced backtothe artefacts thatexisttoday. are the mostuniqueandcomplex cultural essence of artisticcreation. Videogames Attitude andexperience of playare the of storytelling(Costikyan 2013). making filmsin response tothehumanimpulse listening tosoundsorcreating narratives and cultural construct related tothepleasure of comparable totheactofcomposing musicasa derived from thehuman drive toplay, aneed desire toacknowledgethemasanartform analyse themasaculturaldevice stemfrom the of culture (Eric Zimmerman 2013).Attempts to exist, thepredominant twenty-first-century form and complex culturalartefactsthat currently examples ofgames,are possiblythemostunique It canbesaidthat videogames,asdigital artistic creation (Huizinga 2008). attitude andexperience ofplay astheessence of and art,afieldheavily imbuedwithaction, when establishinglinksbetween digitalgames need tobearthesenuances very muchinmind predetermined byformal designparameters.We challenges that are sometimesnegotiablebut activity toaseriesofrules,mechanicsand object. Playing gamesentailssubjectingludic difference between ludicactivityanddesigned redundancy butanassertionthat underlinesthe To speakofplaying gamesisnotaconceptual VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS

LARA SÁNCHEZ COTERÓN were startingtouse thetermnewmediaartto By themid-1990s artists,curators andcritics of newmediaart Game artasasubgenre Museum, California). Wiitanen, mountedonaPDP-1 computer (Computer History developed at theMITbySteve Russell, Martin Graetz andWayne FIG. 1: themes. with arichsource ofinteresting andrelevant cosmetic, videogames begantoprovide creators status asreferences, whichwe mightclassifyas (Mitchell andClarke 2003).Apartfrom this reasonably expecttheiraudience torecognise capital –thesetoficons that artistscould had already become apartofshared cultural new mediaart.Theiconography ofvideogames game artbegantotake shapeasasubgenre of It wasduring thisperiod,inthemid-1990s, that than objects(Graham andCook 2010). process –that is,patterns ofbehaviour –rather networks andcomputation andisoftenabout of new media art is characterised by interactivity, digital tools(Tribe andJana 2006:6,7). Thefield political andaestheticpossibilitiesofthese social significance, andexaminethecultural, sophistication, technologicalinnovation and displaying anoutstandingdegree ofconceptual broad practicalrangeofthenewtechnologies, 2006). Various authorsciteworks whichspanthe Wardrip-Fruin andMontfort 2003,Tribe andJana using newdigitaltechnologies(Manovich 2001, refer toartisticprojects created anddeveloped Spacewar! (1961) oneofthefirstvideogamesinhistory, Smart Culture: Impact of the Internet on Artistic Creation 71 (audiovisual (audiovisual

a few examples as well as tools to allow consumers tools to allow consumers as examples as well a few 1998) (Manovich own versions. to build their define the basic structure of an object, and release object, and of an basic structure define the AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Borrowing audiovisual elements from audiovisual elements from Borrowing videogames and adapting them to in the the most art is probably of conventional context in the art of the period. used strategy commonly do so, artists did not need to know anything To The 1k project, 2006. machinima The BlackShark’s from FIG. 2: Photograms replay using the races by editing a thousand different Film recorded Sunrise editor of the videogame Trackmania device Videogames: motive, artists and tool for social of the abovementioned The combination with an overall and cultural factors, coupled with of enthusiasm and fascination sensation aroused the potential of this new technology, in game art of interest level an unprecedented among the artistic community. They later released a full, corrected commercial commercial a full, corrected released They later a of the game. This was therefore version decision strategic ID Software’s historic moment. and tools that in a series of concepts ushered of new in the creation a determining role played the mid-1990s, Beginning in artistic discourses. of a large corpus generated the phenomenon such as player-developed experimental creations, machinimas (mods), modifications videogame settings, from produced pieces and other creative characters and environments) to digital games. related formats

, ID ). (1993), (1993), Doom Here was a new cultural economy that that was a new cultural economy Here between the usual relationship transcended (…): The producers and consumers producers by anyone. way to a whole host of content created by users created to a whole host of content way available which became new levels themselves, to be downloaded and modified on the Internet a level editor, ID Software enabled players to to enabled players ID Software editor, a level new levels creating extend their own product, thus gave self-hacking The company’s of play. By offering its software free, along with a free, its software offering By and detailed description of the game formats the original game were downloaded worldwide downloaded worldwide the original game were 1998). (Manovich other online services. The result of this new The result other online services. of than 15 million copies more tactic was that of user-generated content (crowdsourcing content of user-generated of version free out a smaller, brought Software and channels shareware the game via Internet economic and social model with an initiative that that model with an initiative and social economic phenomenon was nearly a decade ahead of the comes from the cultural industry of videogames from comes period. The videogame of that a new pioneered made by ID Software, stimulus to artistic production of game art A major milestone in the history Strategies of the cultural of the cultural Strategies a industry of videogames as Game art uses emerging technologies for technologies for emerging Game art uses audiovisual borrows It artistic purposes. videogames and adapts them elements from art. conventional of to the context and videogames of the 1980s (Tribe and Jana and Jana (Tribe of the 1980s and videogames 2006: 10). the appearance of this trend in the 1990s. So did So did in the 1990s. of this trend the appearance had of creators this generation that fact that the computers with contact up in direct grown In this respect advances in PC hardware and PC hardware in advances this respect In in spurring role important a very played software Game art, like other trends in new media art other trends like Game art, purposes. artistic for technologies used emerging about the technology or dynamics of digital North Africa to southern Andalusia. In another a popular and common practice among some games (Mitchell and Clarke 2003, Stockburger video, Readyplayed (2006) by Ludic Society, player communities. In fact, many games such 2007: 29). on Parkour in the suburbs of French cities, the as Unreal Tournament (Epic Games) or Half Life visual aesthetic provided by pixelated analogue (Valve) are just as or even more famous for their From a viewpoint close to painting, photography material and certain other details such as a modifiable potential than as games. or infographics, we find works such as Miltos status bar on a screen give it the appearance of Manetas’s People Playing Videogames (1997–98). a retro videogame. An example of a project that The aim of these artistic interventions is to Infographics such as Game City, by Totto Renna uses graphic materials extracted from games to transform the original nature of the game, (Fig. 3), and Eva and Franco Mattes’s portraits compose plastic pieces is Brent Gustafson’s AX/ usually from a critical, humorous or ironic of avatars from the virtual world Second Life, BX (2005), generated from 128 different home approach. They are usually preconceived ethical Portraits (2006) likewise draw on the culture of screens of arcade games. and aesthetic parodies. They are conceptually digital games in different ways. subversive acts that entail a twofold intention: The need to question the rules one of criticism and revision, and one of creation Further examples are sculptures such as Brody or regeneration. They can also be regarded as a Condon’s 650 Polygon JohnCarmack (2004), a testimonial defiance of the multinationals that The systemic nature of digital games, the fact three-dimensional representation of computer underpin the videogame industry. they are algorithmic structures governed by scientist John Carmack, one of the founders of unambiguous rules, has clashed from the outset the developer ID Software, and Need for Speed. with artists’ bold, disruptive and provocative Cargo cult (2005), in which Condon replicates a approaches. model of a car extracted from the race simulation series Need for Speed (since 1994) This is possibly why the first creative tactics using cast urethane branches. linked to the language of videogames were modifications. Mods require some knowledge of the rules and computing system of a particular game, and sometimes even an understanding of a wider context such as the fans and the community built around the game. Interventions of this kind are often critical or ironic.

Game mods are reverse engineering: creative manipulations of the software of any videogame to create a different experience. FIG. 4: Screenshots of the mod Retroyou RC Fck the Gravity Code by Joan Leandre (1999). We might think of game mods as a sort of These practices, which come close to reverse engineering. Basically, they entail freely countergaming, evidence differentiated artistic appropriating and modifying the software of and aesthetic attitudes. Some of them exclude any videogame in order to create a different any possibility of involvement in the game, experience (Baigorri 2004). The formal starting forcing the design to return to other media such point of this inverse engineering is code patches as video, animation, etc. Negation of the ludic that alter the graphics, architecture, sound, experience (Galloway 2007) is evident in pieces design or physics of existing computer games on such as Cory Arcangel’s Super Mario Clouds FIG. 3: Game City, by Totto Renna. the market (Doom, Quake, Wolfenstein 3D, Max (2002), where the artist modifies the game to Similarly, we also find audiovisual pieces such as Payne, etc.). the extent that the initial game completely Estrecho Adventure (1996) by Valeriano López: disappears and all that remains is its landscape a video creation with a videogame aesthetic These creative manipulations of the software resembling a film set. InSuper Mario Movie that explores immigration from the coasts of (and sometimes the hardware too) stem from (2005), the same artist alters an 8-bit cartridge of

72 VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS · LARA SÁNCHEZ COTERÓN a popular and common practice among some the firstSuper Mario Bros to create a 15-minute player communities. In fact, many games such story that is projected from an old NES as Unreal Tournament (Epic Games) or Half Life (Nintendo Entertainment System) console and (Valve) are just as or even more famous for their features Mario in a variety of rather outrageous modifiable potential than as games. situations: among others, crying on a cloud, riding on a magic carpet and at a rave party. The aim of these artistic interventions is to transform the original nature of the game, A similar case is Brody Condon’s reinterpretations usually from a critical, humorous or ironic of Northern European medieval religious images approach. They are usually preconceived ethical in which he uses technological development and aesthetic parodies. They are conceptually and the current visual style of games to create subversive acts that entail a twofold intention: animated paintings. DefaultProperties (Fig. 5 one of criticism and revision, and one of creation left) and Resurrection (after Bouts) (Fig. 5 right), or regeneration. They can also be regarded as a although presented by the gallery as a mixture testimonial defiance of the multinationals that of animation and infographics, are in fact underpin the videogame industry. automated videogames. The pieces are animated but not interactive recreations of classical scenes from European painting.

DefaultProperties, for example, is an automated game featuring a tubby Asian man with a dreadful skin disease who moves, apparently engrossed in prayer, in a medieval Northern European landscape; beside him, a man dressed in animal skins wades through a river clutching a flaming sword. Meanwhile, the sky fills with extradimensional movement from which a heavenly being emerges (Condon 2011).

FIG. 4: Screenshots of the mod Retroyou RC Fck the Gravity Code by Joan Leandre (1999).

These practices, which come close to countergaming, evidence differentiated artistic and aesthetic attitudes. Some of them exclude any possibility of involvement in the game, forcing the design to return to other media such as video, animation, etc. Negation of the ludic experience (Galloway 2007) is evident in pieces such as Cory Arcangel’s Super Mario Clouds (2002), where the artist modifies the game to FIG. 5: Left, screenshot of DefaultProperties (2006). Right, screenshot the extent that the initial game completely of Resurrection (after Bouts) (2007). Both pieces are by Brody Condon. disappears and all that remains is its landscape In a similar transmedia vein, we find machinima resembling a film set. InSuper Mario Movie productions such as El tenista (2006) by Felipe (2005), the same artist alters an 8-bit cartridge of G. Gil, of Colectivo ZEMOS 98. Here the artist

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 73 Smart Culture: Impact of the Internet on Artistic Creation 74 progressively kill. the space the viewpointofanythem tomove around features 32intelligentrobots; players canuse of thefirst-person shootinggame Julian Oliver’s characters that are notplayable inthegame. by allowingrelationships between players and original materials andeven triggerdilemmas Other interventions are more respectful ofthe of theactionsonoriginaldesignthusvary. who winsandloses,therepercussions the gameornewplay experiences orredefines which theartistdevisesnewways ofdeveloping We alsofindmodifications ofthegamerulesin the familyhome. The work tellsofchildhoodmemoriesafire in texts astextures ofthearchitecture we navigate. family photographsandfragmentsofconceptual Unreal Tournament 2003 space oftheenginecommercial game original gamebutusesthethree-dimensional [Domestic] other tactics(Galloway 2007). For example,in graphic designornewcharactermodel,among artist addsnewlevel mapsandcreates anew As for graphics,we findmodswhere the artist allows. possible tocarry onplayingintheway of commercial designssothatitisonly games isthecensorship orrepression Another typeof artisticinterventionon rules ormodification ofthegameengine. graphic modifications, modifications ofthegame aesthetic ofdeprivalisfound invariousforms: playing butonlyintheway theartistallows.This designs intheform ofauthorisation tocarryon the censorship orrepression ofcommercial Another typeofartisticintervention ongamesis does notexistbeyond thegraphicallusion. a linearaudiovisualexercise inwhichthegame from atennissimulation videogamebutperforming reflects on contemporary societyusing footage VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS – (2003), Mary Flanagan eliminates the boththelivingonesand thosethey Deathjam (2001) isamodification . Flanagan employs Half Life which

LARA SÁNCHEZ COTERÓN twist tothephysicsalgorithmsofawell-known The Catalan artistJoan Leandre gives anew aspects. characters behave andthelighting,amongother the gameengine,changingitsphysics,how Another typeofmodification directly alters the providers ofthecontent receive noprofits. content andtheeconomy itdrives –inwhich World of Warcraft as massively multiplayer onlinegamessuchas companies suchasFacebook orYouTube, aswell they explore thecompetitiveness ofweb 2.0. of thegamemechanicsthiscommercial series, online communities. Taking asabasisthedesign the group focuses onthereal-time strategies of (1991–2014). Highly criticaloftechnocapitalism, by modifyingthehistoric Strategy Group have produced different projects The artistsbelongingtotheEastwood-Real Time instruments for audiovisual reproduction inreal abstract ornarrative machinimas,orgenerating characters, developing newlevels, creating game art.Modifying agamebyalteringits are oneofthemostspecificways ofproducing These andotherprojects clearlyshowthat mods play at huntingeachotherdown. players towander around thespace rather than when itcomes tohandlingthegameandforces by theotherplayer); thisposesamajordifficulty avatar, whilecontrolling his ownavatar (viewed shooting gameseesthrough theopponent’s Julian Oliver, inwhichtheplayer ofafirst-person unique modis spatial navigation isbarely recognisable. Another of intervention issogreat that thesystemof who hackthevideogame JODI (JoanHeemskerk andDirk Paesmans), space is destroy notonlythe gamebutitsnavigation An exampleofextreme modifications that the gamewe losealllogicalspatial references. somewhat disturbingexperience. Moments into RC Fck theGravity Code car racinggameofthelate 1990s in Ctrl-space 2nd Person Shooter andthecreation ofcollective (1998) bythepairofartists (Fig. 4), creating a Civilization Quake . Thedegree (2006–7) by Retroyou series Smart Culture: Impact of the Internet on Artistic Creation 75

shows ZYX Bounden by Jodi (2012) and (2012) by Jodi ZYX is an application that uses mobile telephone that is an application AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E the telephone to the right ten times or seeking by holding out their arm, connection digital activities and our between the dissonance a new form also creating physical environments, The design by Game of public representation. Photogram of the game FIG. 6: Photogram by XRA. (2015), Dimension a Broken of Memory and the experimental games Artistic creation interests creative starting to share are scene parallels generating and these synergies are to theoreticians not going unnoticed are that of the latest such as those and curators 2015). (Cologne, Games Fest edition of the Not are and conjunction Examples of coexistence the projects Jodi, (2014). Game Oven studio by the Dutch art pioneers in the field of net.art, software of videogames, and artistic modification aspects to experiment with common continue on our daily lives. of technology and its effect ZYX sensors and the camera function to choreograph users to requiring By movements. spectators’ as rotating such a series of gestures perform with videogame development software to create to create software development with videogame case of Auriea is the designs. Such their own the hailing from Samyn: and Michaël Harvey of set up the Tale they art scene, digital 1990s conviction that studio in 2003 with the firm Tales as and significant be as diverse digital games can belong to the Their projects any other medium. to interest of poetic experiments designed realm tastes with unconventional players both regular and non-players. During this period a few artists began working began working artists period a few this During . the 2000s onwards. the 2000s onwards. affordable or free development tools, which development or free affordable the for ground breeding a perfect provided of designer games from subsequent emergence with the emergence of digital distribution of digital distribution with the emergence and and technically accessible platforms This nature of half-closed and market-driven and market-driven of half-closed This nature in which countercultural is an environment coupled flourish. And it is this scene, practices In the 2000s artistic creation and the field the 2000s artistic creation In share experimental games began to of art and net.art, software interests: creative of videogames. artistic modification more commercial side of this digital technology commercial more 2009) (Franklin planned obsolescence and fierce competition are are competition and fierce planned obsolescence the characterise that just some of the features criticism the medium offers by describing the criticism the medium offers industry: less pleasant side of this cultural of high levels and software, hardware proprietary by commercial console games. A few authors games. A few console by commercial for to the potential grounds attention draw Nintendo and Xbox 360, PlayStation 3, Wii by 360, PlayStation and Xbox Nintendo creating difficulty in posed a certain Nintendo) governed in this environment counterpractices sixth- and seventh-generation consoles as the consoles sixth- and seventh-generation by of digital games (Dreamcast main ecosystem by GameCube 2, Xbox, Sega, PlayStation At the start of 2000 the widespread adoption of the widespread the start of 2000 At dating from immediately after that period and period after that immediately from dating only just beginning to see them in a few are we creations. contemporary design that arise from it are not as present as present not it are arise from design that of games in the production as they might be as a result. However, all this work on digital all this work However, as a result. and patterns resources games and the stylistic innovative and speculative of dysfunctional, Technologically-minded authors of mods might authors of mods Technologically-minded to design gone on been expected to have have scratch games of their own from and develop new knowledge of its technology and functions. and functions. of its technology new knowledge time, abstract interactive pieces or site-specific or pieces interactive time, abstract question with a the artist in equips installations Smart Culture: Impact of the Internet on Artistic Creation 76 of former USpresident GeorgeBush’s waron war graffiti.The project wasdevised atthe start Strike the massively multiplayer onlinegame Condon andintendedas a protest actionwithin Joan Leandre, Anne-Marie SchleinerandBrody is theproduct ofcollaboration between artists focus. Anexampleis itself, suchasprojects withamarkedly ethical landscapes for interventions withinthegame Indeed, agreat manyartistshave usedgame helps usreconsider their nature. normative environmentsisunsettlingand transgressive actions inresponse tothese systems of representation. Generating Games giverisetobeliefsthroughtheir nature ofthesenormative environments. and therefore oftenhelpusreconsider the transgressive orritual actionsthat are unsettling interventions ofthiskindtendtogenerate of representation andmechanics;artistic games give risetobeliefsthrough theirsystems multiplayer onlinegames.Like othermedia, actions that artistscarryoutwithinmassively Another significantfieldtobeexplored isthe instrumental gameaction Creative gameactionvs made bygameartistsofthe1990s. design very closetotheextreme modifications experience usingaspatial andnarrative game US that provides adisturbinganddystopic Dimension up withdesignssuchas the fieldofexperimentalgameshas come With alessevidentbutnodirect correlation, following apath ofrings. and twisttheirbodiesaround avirtualsphere end ofthemobileandtheymustbothrotate it game for two players. Eachplayer graspsone Ballet, takes thisideaasabasistodevisedance Oven, incollaboration withtheDutch National VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS (1999) byusingspray paint tocreate anti- (Fig. 6), aproject byXRAofthe Velvet Strike Memory of aBroken (2001), which Counter

LARA SÁNCHEZ COTERÓN where sixmillionresidents andatotalpopulation turned outtobeahellish,totalitarianmetropolis on parametersoffunctionalitythat infact 3000 the cityhecreated insidethegame architecture studentVincent Ocasla in2010to is Magnasanti. Thisisthenamegiven by in agameenvironment withasingleplayer, Another ethicalandpoliticalaction,thistime of eachthesoldierskilledinwar. names, areas ofservice, agesanddates ofdeath as anavatar called developed asarecruitment toolfor theUSarmy, this multiplayer onlinevideogame,whichwas of theUSinvasionIraq. Theauthorentered came outonthethird anniversary ofthestart the videogame Joseph Delappe, islikewise amodification of Counter Strike terrorism andsparked controversy amongregular Some players derive a certain amountof pleasure different tothat imposedbythegamesystem. games toaddress situations from anapproach playing isrelated totheabilityofusersdigital established bythedesigner. Thistypeofact experience from thedesignelementspre- moments whentheplayer conceives anew The actofplaying creatively isrelated tothe the game,sometimeshackingcodes. sometimes spottingtechnicalordesigncracksin plays outsidethelimitsofgamesystem, a subversive, curioustypeofplayer who players. Theseactsofplaying are linked to and diverse amongartistsastheyare among However, attitudes ofthiskindare ascommon character inthegame,manipulated bytheartist. 50 actionvideogamesperformed bythemain a compilation ofacts ofsuicidefrom more than such asBrody Condon’s curious, aestheticoreven gross at firstsight, It isalsointeresting tostress actionsthat are (Arida 2014). of ninemillionlived invery hostileconditions . Ocasla builtahighlyoptimisedcitybased gamers. America’s Army Dead inIraq Dead inIraq Suicide Solution (2002), which andwrote the (2006), by Sim City (2004), (Blendo Games,2012).These games probe the Cavanagh, 2009) and space through timejumps, suchas the basicmechanicsconsists ofcrossing the from openworld, there are designsinwhich to theRapture explored, suchasthenovel-like which astorygraduallyunfolds asthespace is Proteus environments designedtobeexplored, such as We could quoteasexamplesreactive different typesofludicexperiences. game space chieflyasameansofdeveloping products ofthevideogamesindustryanduse the standards andconventions ofmainstream appearance ofalternative games that defythe this typeofpleasure hastriggered the wandering around digitalspaces. In recent years enjoy basicmechanicssuchaswalkingor becoming acommon ecosystem for players who (Rockstar Games,2001). Thisformal qualityis established ingamessuchas was intheearly2000sthat thisfeature became simulators andafew role gamesofthe1980s, it open world videogameswasdefinedinspace independent creators. Althoughtheconcept of notice ofenquiring-mindedplayers or emerging playabilities that are notescapingthe prone tothiskindofcreative actionand videogames provide spaces offreedom that are regard, multiplayer gamesandopenworld in gameswithacomplex structure. In this from subverting ordodgingtheinteractionrules (Ed Key, 2013),or narrative designsin FIG. 7:Photogram from thegameEverybody’s Gone totheRapture (2015), byTheChineseRoom. (The ChineseRoom, 2015).Apart Thirty Flights of Loving Grand Theft Auto III Everybody’s Gone Judith (Terry

Smart Culture: Impact of the Internet on Artistic Creation 77 by the more orthodox sectors orthodox by the more AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E technology and to the objective perspective of perspective technology and to the objective of characteristics only the formal considering their games. This digital trap has accentuated and has led us systemic and algorithmic nature performative not only their more to overlook The importance of incorporating of incorporating The importance into the thought divergent games cultural industry of digital is the attitudes The antithesis of these creative actions 2011): (Sicart act of instrumental play must embedded in designs in which the player the game rules and limit himself to following generate which devised by the creator, structure a type of gaming experience, a conditioned and to the goals, rules is subordinate that play more systems of the game and is unfortunately than might be expected in the cultural common industry of digital games, especially the most kind. conventional seen, in the past designing have As we to designing computing videogames was linked medium and are pejoratively categorised as categorised pejoratively and are medium walking simulators culture. of gamer artists, designers the independent Fortunately, design as a means of who use game and creators and less experimental a more from expression and using their evolving are approach categorical of and systems elements (styles formal of rules, codes progression representation, of paradigms contexts, reception conduct, as basic modes of interaction) victory and defeat, that shaping new experiences building blocks for – games that less prescriptive less limited, are open to players’ and more contingent more are of them. interpretation artists, designers and creators Independent expression use game design as a means of in order from an experimental approach open to players’ to shape new experiences interpretation. possibilities, limitations and conventions of the and conventions limitations possibilities,

(Terry (Terry Judith Everybody’s Gone Everybody’s Grand Theft Auto III Auto Theft Grand Thirty Flights of Loving Loving of Flights Thirty (The Chinese Room, 2015). Apart (The Chinese Room, (2015), by The Chinese Room. (2015), to the Rapture Everybody’s Gone Everybody’s the game from FIG. 7: Photogram (Ed Key, 2013), or narrative designs in 2013), or narrative Key, (Ed (Blendo Games, 2012). These games probe the Games, 2012). These games probe (Blendo space through time jumps, such as through space and 2009) Cavanagh, to the Rapture to the Rapture designs in which are there open world, from the of crossing the basic mechanics consists which a story gradually unfolds as the space is as the space which a story gradually unfolds such as the novel-like explored, We could quote as examples reactive quote as examples reactive could We such as designed to be explored, environments Proteus game space chiefly as a means of developing chiefly as a means of developing game space types of ludic experiences. different appearance of alternative games that defy the games that of alternative appearance of mainstream and conventions standards videogames industry and use the of the products wandering around digital spaces. In recent years years recent In spaces. digital wandering around the has triggered this type of pleasure (Rockstar Games, 2001). This formal quality is This formal Games, 2001). (Rockstar who players for ecosystem a common becoming as walking or basic mechanics such enjoy was in the early 2000s that this feature became became this feature that was in the early 2000s such as established in games independent creators. Although the concept of Although the concept independent creators. space videogames was defined in open world it games of the 1980s, role and a few simulators prone to this kind of creative action and action this kind of creative to prone the not escaping are that emerging playabilities or players of enquiring-minded notice regard, multiplayer games and open world and open world games multiplayer regard, are that of freedom spaces provide videogames from subverting or dodging the interaction rules interaction rules or dodging the subverting from this In structure. with a complex in games Smart Culture: Impact of the Internet on Artistic Creation 78 of alternative gamesstemmingfrom initiatives Modest state fundingisavailable for thecreation and fundedbyvideogame industryprofessionals. month stay inaremote Swedish cabinpromoted game developers Stugan, consisting ofatwo- medium, andtheaccelerator programme for women to become involved in this new emerging Canadian incubator Pixelles, whichencourages industry ofvideogames.Examplesare the the inclusionofothersensibilitiesincultural started upnon-profit initiatives toencourage Countries like Sweden andCanadahave already back diversity ingaming Risk, innovation andbringing R&D&I, from labtomarket. designing digitalgames. to themodes,mannersandprocesses of fields willbesignificant andwill contribute The workof digitalartistsandcreators inall culture industries. evolve, ashasoccurred inthepastother particularities, willhelpthemediummature and industry inapositive way and,through their creations willprogressively contaminate the gaming culture. Albeitfrom thefringes,these are reshaping andtransforming contemporary produced underthesecreative parameterswhich games we are already witnessingdesigns for socialchange.In thefieldofexperimental instruments ofconceptual thoughtoreven tools expression –designsthat are shapedas imaginative, offer anew vehicle for creative which, aswell asentertaining,fun,relaxing and of designingpresent andfuture digitalgames contribute tothemodes,mannersandprocesses in allfieldsofthearts) willbesignificant andwill work ofdigitalartists(and ofcreators ingeneral and reason andspeculation. In thisrespect the the generative, theobjective andthesubjective, logical andcreative reasoning, theanalytical and subcategories, oughttofluctuate between this discipline,like manyotherdesign nature ofgamesasludicartefacts,even though side (Jaakko Stenros 2011), butalsothedisruptive VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS

LARA SÁNCHEZ COTERÓN videogame development studiossuchas the humanitieshasgiven risetosignificant The academicfieldof research inartand Kellee Santiago( games, suchasJonathan Blow ( who have achieved commercial success for their which hasbeensetupbyindependentdesigners a newmeansoffundingfor innovative projects, traditional distributors.AnexampleisIndie Fund, are alternative fundingmodelstothoseofthe from riskyandinnovative creative sources, there In countries where theindustryalready draws Encuentros deDiseño yCultura Digital #EDCD. on creating experimentalgamestaughtbythe or mostofthemasterclasses andfree workshops produced thisyear bytheArsgamesassociation commitment andselflessdevotion, suchasthose with littlefinancialmusclebutagreat dealof of creation opentonewaudiences. games, asamechanismfor fostering modes experiences asopposedtoconventional Promoting andsupportingcreative gaming Chinese Room above othermore conventional practices as and supportingcreative gamingexperiences The way forward isclearandentailspromoting ( given risetoprominent studiossuchasVlambeer powerful Dutch videogameindustrythat has initiatives suchastheDutch GameGarden, a experimental approach togetherwithotherlocal design programmes from anartistic,creative and University oftheArtsUtrecht are runninggame Universities andfineartsfacultiessuchasHKU transferring knowledgetoculture sectors. Research Council underitsschemefor under theaegisofUKArtsandHumanities Portsmouth University andhave beendeveloped research onnarrative designinvideogamesat out asfunctionalprototypes aspartofthe Rapture important projects, Ridiculous Fishing, (Fig. 7) and as spinoffs. Journey 2013, Dear Esther Everybody’s Gonetothe , 2012). Nuclear Throne,

Indeed, itstwo most (2012), started Braid , 2004) and 2015). The Smart Culture: Impact of the Internet on Artistic Creation 79 / / / / / / / / / / / _ AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E http://venuspatrol.com https://killscreen.com http://www.caninomag.es/category/mondo-pixel/ to follow tweeters Specialised @indieorama @AMazeFest @PlayfulArtsFest @altctrlgamejam @ludumdare @IndieCade @RuberEaglenest @BernieDeKoven @zimmermaneric @brandonnn @indiogenes that are accessible online online accessible are that http://gamestudies.org http://www.gamasutra.com/category/design http://www.gdcvault.com http://itch.io http://wip.warpdoor.com http://www.freeindiegam.es http://notgames.colognegamelab.com http://edcd.es https://steamcommunity.com/greenlight Digital resources and/or websites websites and/or resources Digital powerful and mature cultural videogames and mature powerful industry. universities and public and private institutions, institutions, public and private and universities in both design on research putting the emphasis a robust, to build order in and artistic creation diversification of experiences. It likewise calls It likewise experiences. of diversification at bolder projects and fostering backing for a mechanism for fostering modes of creation modes of creation fostering for a mechanism and perceptions new new audiences, open to Smart Culture: Impact of the Internet on Artistic Creation 80 Huizinga, J.(2008). Massachusetts, MITPress. Curating: ArtafterNew Media. Graham, B.andS.Cook (2010). Industrial. Gijón, LaboralCentro deArteyCreación of thecatalogue oftheGameworld exhibition. Galloway, A.R.(2007). ‘Lanodiversión’. Text www.ctheory.net/articles.aspx?id=609 Retrieved on15December 2015from “Hard”and “Soft”Nonexistence’. Bending andSpeedrunning asCounter-Practice: Franklin, S.(2009). ‘On GameArt,Circuit Cambridge, Massachusetts, TheMITPress. Costikyan, G.(2013). portfolios/artwork/53531 on 18November 2015from Condon, B.(2011). ‘DefaultProperties’. Retrieved Bellas ArtesdeBilbao XVII ExposiciónAudiovisual delaFacultad de Baigorri, L.(2004). ‘GameasCritic asArt2.0’. magnasanti-vincent-ocasla/ designandviolence.moma.org/sim-city- Retrieved on30November 2015from Arida, A.(2014). ‘Magnasanti (Vincent Ocasla)’. Bibliography VIDEOGAME DESIGN AND DISRUPTIVE PRAXIS Homo ludens , pp. 61–67. Uncertainty ingames . http://rhizome.org/ . Cambridge, Rethinking . Madrid, Alianza. CTheory. http:// http:// .

LARA SÁNCHEZ COTERÓN to Approximation’ in Stockburger, A.(2007). ‘From Appropriation Computer GamesResearch. Game Research Studies, The International Journal of Computer Sicart, M.(2011). ‘Against Procedurality’. Utrecht. Level Up. Digital GamesResearch Conference, Remixing, Reworking andOtherInterventions. Mitchell, G.andA.Clarke (2003). Cambridge, Massachusetts, MITPress. —(2001). Manovich, L.(1998) ‘Navigable Space’. Concepts, Cultures andCommunications Correcting theDigital Fallacy’. Jaakko Stenros, A.W. (2011). ‘GamesasActivity: Games’. ‘Manifesto: The21stCentury WillBeDefined By Zimmerman, Eric andHeather Chaplin(2013). MIT Press. New Media Reader. Wardrip-Fruin, N.andMontfort (2003). tecnologías. Tribe, M.andR.Jana (2006). Intellect. Clarke andG.Mitchell (eds.). Bristol /Chicago, Kotaku. The Languageof New Media. Madrid, Taschen. , 11.Copenhagen, Center for Cambridge,Massachusetts, Videogames andArt. Arte ynuevas Videogame Studies: Videogame Art:

: Game 11–22. A. The

Smart Culture: Impact of the Internet on Artistic Creation 81

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E (Asociación para el Desarrollo del (Asociación para el Desarrollo ADA ADA CargoCult Entertainment, Ltd. Entertainment, CargoCult (Audiovisual, Videojuegos y Animación). AVA , founder of , founder and joined @Imastranger StoryCodeBCN Química visual Química

http://www.linkedin.com/in/montecarlo He has authored several books (fiction and essay) and regularly contributes to the specialised regularly and and essay) books (fiction several has authored He film and innovation. about storytelling, brand content, he writes digital media, where In 2007 he founded 2007 he founded In member of Founding advisor for Audiovisual) and international and worked as a script doctor and project consultant (fiction and documentary). He has directed He has directed and documentary). (fiction consultant as a script doctor and project and worked as designing exhibitions, games and interactives. series, as well shorts and animated communication studies (URLL) in 2016 with a thesis on narrative structures in audiovisual media. structures a thesis on narrative in 2016 with studies (URLL) communication films he has also written feature-length book writer and video maker, out as a comic Starting He holds a bachelor’s degree in fine arts (University of Barcelona) and an official master’s degree degree and an official master’s of Barcelona) (University arts in fine degree holds a bachelor’s He in advanced his PhD and is due to complete Llull University), in cinema and television (Ramon Montecarlo Montecarlo DIGITAL AGE AGE DIGITAL AUDIOVISUAL IN THE IN THE AUDIOVISUAL & STORYTELLING: & STORYTELLING: DATA, INTERFACES INTERFACES DATA, Smart Culture: Impact of the Internet on Artistic Creation 82 keeping withtheissueat handandalsomuch a functionalpointofview that wasmore in we shouldstartsaying goodbye to) andadopted would have heightenedasenseoflinearitythat a chronological approach (which, incidentally, author decidedtogive tothesubject:heavoided fully relevant, owinglargelytothefocus the It continues toberead even today andisstill significant distinction. that ‘old versus new’isneitherausefulnor the mediathemselves that have changed,so one ofthepointsitclearlystresses isthat itis entailed bythedigitisation ofthemedia.And yet) proposes reflecting indepthonthechanges Manovich’s book(for thosewhohaven’t read it is more, there isnoexpirydate for novelty. this labelmeansthat othermediaare ‘old’; what of ‘new media’, sopresumably for manypeople of New Media. would become an essential work: In 2001 Lev Manovich publishedabookthat transformation 1. Introduction: digital complex. Welcome tothebinaryecosystem! also thestartofanotherthat isricherandmore audiovisual ismarkingtheendofanage,but by definition. Granted, digitisation ofthe readers from believingthat crisesare negative is extensive andvariedenoughtodissuade I hopethat thiscontribution, albeitpartial, industry even today. that isstillprevalent intheSpanish audiovisual characteristic ofastranddystopicthought it illustrates thefear oftechnologicalevolution beginning withthisquotebecauseIbelieve that the Cyberpunk moment(30years ago). Iam the novel that marked theofficialstartof This istheopeninglineof DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE

‘The skyabovetheportwascolor of television, 2 Fifteenyears onthere isstilltalk tuned toadeadchannel.’ Neuromancer The Language William Gibson , 1

explored inhisbooks. implementing andputtingintopractice theideas works, Readers canfindan But thisauthornotonlydealswiththeory. Takes Command. out asecond bookin2013.Its title? thinking andtheconclusions reached, brought Manovich, tremendously consistent withthis ‘Everything isdata’. Everything isdata. whole ecosystem tothefollowing statement: digitisation ofthemediainvolves reducing a The mainideathebookexplores isthat term digitaltransformation. good introduction towhat we mostambiguously hasn’t lostanyofitsfreshness andremains a more fruitful.AsIhave said,Manovich’s book can beillustrated withasimplephotograph: those whowishedtogetthemessage.Thispoint it’s nowhappened!)andshared itwithusallfor for oneunderstoodwhat wasbrewing (because I amquotingManovich becauseIbelieve that he Kennedy’s blog. Evangelist, at anIBMfor Entrepreneurs event.Taken from John Photograph ofaslideshownbySandy Carter, SocialBusiness 4 whichare evidentlytheresult of 5 3

online summary MONTECARLO Software ofhis Smart Culture: Impact of the Internet on Artistic Creation 83 : simulates simulates in any the decline of an . And this is where . And this is where . I shall illustrate this . I shall illustrate changes have been unstoppable changes have 8 can reinterpret it to its liking can reinterpret , but AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E part of its very nature. part of its very is frightening is not get this straight: what Let’s of the media, but the evolution of operating established way PCs come with a programme (software) that that (software) a programme with PCs come this possible. makes language 2. Technology, and storytelling has changed, but this shouldn’t Everything itself is change, and audiovisual frighten us: life of the of innovation, was born precisely of new techniques and inventions application cinema. of the led to the creation that of motion pictures the history at A quick glance shows that and white to black silent to sound, from from photographic film to TV signals and from colour, videotapes … Cinema was the first art which needed technology is machinery to exist and therefore quality. made is a direct needs to be point that A final not media are the foregoing: of the consequence to put it another way, used to be or, they what has already predicted Jenkins the convergence occurred. of television, cinema, radio, the still talk We gave technology that though the even press… in all its has been replaced shape to those media type, digital, which phases by another it just a change of support; not guise. As I said, it’s a full-blown mutation it’s can we with an example familiar to anyone: into converted is, listen to digitised music (that the original of sound (imitating in the form data) of animated in the form it or reproduce melody) simplest the even once; both at graphics, or even hyperrealism that surpasses natural settings in settings surpasses natural that hyperrealism

the Web the Web and 7 it has . It is even is even . It , or slid into an , or slid into It is important to is It the advent of the advent 6 . and its widespread and its widespread . and the technical, and the . Though it should also be . Though it should , but that , but that Internet have died out have data, represented in the form in the form represented data, we are not merely talking about a not merely are we history of technology synthetic images have achieved a level of a level achieved synthetic images have transformed what we used to call ‘reality’. we what transformed films without having can make we Nowadays of a camera anything in front to record audiovisual), coupled with widespread Internet Internet with widespread audiovisual), coupled use, has changed our outlook forever; longer a dichotomy. just (not of the world The digitisation isn’t a medium, it’s much more! much a medium, it’s isn’t is no and on/off Virtual is a part of our lives, entirely realise either, and therefore nor have its nor have and therefore either, realise entirely been envisaged: consequences ultimate space for communication for space people don’t is something else that There emergence of the emergence is nonetheless a that adoption as a non-place greatly diversified. greatly the factor in the equation: is a further There outmoded to talk of screens, as the types of outmoded to talk of screens, become them have reproducing for surface Everything is Everything of images on various interfaces The advent of digital imaging has advent of The process. the whole audiovisual affected the world, coupled digitisation of The has use, Internet with widespread changed reality. remembered that the concept of ‘image in the concept that remembered alive. remains motion’ digital imaging has affected the whole affected digital imaging has audiovisual process of the that realise change in support underpinned it underpinned the least; they can no decline at irreversible technology but part current longer be considered Photochemical imaging Photochemical systems that and economic industrial So, if the revolution has already taken place… place… taken has already revolution So, if the world? the audiovisual of will become What of his Software Software online summary 3 5 which are evidently the result of the result evidently which are 4 Social Business Social Business by Sandy Carter, of a slide shown Photograph John from event. Taken Entrepreneurs an IBM for at Evangelist, blog. Kennedy’s I am quoting Manovich because I believe that he that I believe because I am quoting Manovich (because was brewing what one understood for it with us all for shared now happened!) and it’s This point those who wished to get the message. simple photograph: with a can be illustrated hasn’t lost any of its freshness and remains a and remains any of its freshness lost hasn’t most ambiguously we to what good introduction transformation. term digital is that book explores The main idea the a reducing of the media involves digitisation statement: to the following whole ecosystem is data. Everything data’. is ‘Everything with this consistent tremendously Manovich, brought reached, conclusions thinking and the title? Its book in 2013. out a second Command. Takes this author not only deals with theory. But can find an Readers works, the ideas implementing and putting into practice books. in his explored more fruitful. As I have said, Manovich’s book said, Manovich’s As I have fruitful. more Smart Culture: Impact of the Internet on Artistic Creation 84 any more?). happened withcinema,or don’t we remember that hastobegonethrough. (Thesamething use basedonthestoryline possibilities ofthemediumover a and allkindsoffireworks that exploitthe visual objects that come flyingtowards theviewer stage (the wow effect): priorityisgiven to we’re at theshowingoffandtechnical wonder Admittedly, now withappropriate technicalguarantees. finally become anotheroffering foraudiences, (that failedtoachieve convincing results), has To startoffwith, before witnessed. experiencing amomentofrichpotentialnever on), butfrom apurely formal viewpointwe’re profitable businessmodels (I’ll return tothislater been developed tothepointofbecoming Granted, thesemanynewpaths have notyet filled withfascinating possibilities. opening up period ofourhistorytoaclose,butit’s also The digitisation oftechnologyisbringinga heyday asanindustry. the twentieth century, where theyenjoyed their pictures inthelate nineteenthcentury, orto resemblance totheonethat gave risetomotion The world we live indoesn’t bearmuchofa movement that extendstoallareas oflife. industries have changed:thisisaglobal Not only theworld offilmorthecultural decline of anestablishedwayof operating. is not theevolutionof themediabut its verynature. Therefore whatisfrightening machinery toexistandtechnologyispartof Cinema wasthefirstartwhichneeded head-in-the-sand approach on notseeingtheoverall situation amountsto music, literature… actuallyeverything. Insisting cinema andtelevisioncome intoit,butalso DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE 9 new avenues for exploring as alanguageit’s stillinitsinfancy 3D film , aftermanyattempts , butit’s aphase . reasonable that are a : the experience isunarguablybetterwhenwe use a computer screen, smartphoneortablet,the user privilege ofdoingso framed, it’s more that a different one:it’s notthat videosaren’t as anarrative device. In facttheproblem is has sparked doubtsaboutitseffectiveness unsettling –oflosingtheframeasareference video Another field worth examiningis to beexplored storytelling prowess, there are examples are adisplay oftechnicalrather than site. AsIpointedoutearlier, althoughthefirst been created especiallyfor theprojection (usually buildings) where theaudiovisualhas of projecting imagesontovarioussurfaces A similarcaseis Ruggiero have the power toavoid. Iamreferring, as that hasanyproper substance, andwhichwe So farI’ve detectedonly onepossibleproblem closer togetherandare destinedtomeet. as itisafactthat these two mediaare moving Borges wrote aboutare anaudiovisualreality, just makes professionals reluctant: the again, itissurpriseand now were onlyavailable with videogames.Once that offer In the lasttwo caseswe are dealingwithformats including Youtube which isalready offered bymanyplatforms, A fourth avenue is gaming environment. players tointeractsimultaneouslyinashared playing games MMROG for collective (and interactive) viewing,justas until thenecessary technologyisdeveloped viewing, butitwillonlybeamatter oftime of work headsets designedespeciallyfor thistype . 11 . Thefact–whichmanypeoplefind Althoughwe canviewtheseimageson . 12 soaptlyputsit ( In thiscasetheyare for individual immersive possibilities massively multiplayer onlinerole- ) . 13 10 have madeitpossiblefor various video-mapping, .

14 interactive audiovisual ·

MONTECARLO , whichnow the director haslostthe fear oflosingcontrol , 15 toviewers’ possible new possibilities the technique which up until whichupuntil 360-degree belongs tothe forking paths , Laura that that

Smart Culture: Impact of the Internet on Artistic Creation 85

what is what and the change (intrusive (intrusive 16 (the well-worn well-worn (the ecosystem . The world of The world changing , which was a huge new species have new species have especially the new audience ratings audience . Therefore we must we . Therefore Television still has a large number Television

which have disrupted the cycles. And disrupted the cycles. which have online El Ministerio del Tiempo El Ministerio AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E that things have changed and that ‘more of the of ‘more that changed and things have that the answer. isn’t same’ too, they change just fluctuate: don’t Markets in the knows that and everyone inhabited by audiovisual appeared the no good blaming videogames for no, it’s that, it should be recognised stampede; though not existing to gone from as a business, it’s should and that cinema in turnover, overtaking thought. ( for us food also give to audiovisual videogames is closely related people to consume more. We need to realise to realise need We more. consume people to advertisements nobody wants to see) nobody wants to see) advertisements of the medium conception very a particular message at of the ‘single formula The moment’ characteristic of the mass media). content: same cannot be said about certain of users, but their average age is steadily rising. age is steadily rising. of users, but their average getting older and are audiences other words: In people have because young not being renewed, television. stopped consuming fault’ or people’s young ‘it’s just say can’t we But them and get them attract do something to ‘let’s That ago’. of decades audiences like to behave about this – is simply must be clear – and we not going to happen, not so much because this cinema or television – they consume don’t group do, only systems measurement audience the current TV Spanish example is the successful A recent series season it to a second make hit but nearly didn’t had not been because online viewing figures included in the The case of television clearly shows that failing is both the funding system and it’s a field that lends itself to very interesting very interesting lends itself to a field that and it’s partnerships). actors, a of new presence the Apart from determining factor is people’s habits, consumption generations.

(which (which large- to reality to reality offered by offered . ‘extras’ . Whereas before years years before . Whereas differences seducing and convincing (AR) in all its aspects is both (AR) in all its aspects higher resolution (though the size is progressively progressively is size the (though of home viewing (which video of home viewing (which adding layers of reality adding layers drastic reduction in the commercial life life in the commercial drastic reduction solution doesn’t lie in solution doesn’t Even so, sales are falling year after year, and the after year, falling year so, sales are Even already offered), plus a number of offered), already and or significant); necessary not always are provides Blu-ray means of boosting turnover); DVD offers the offers DVD means of boosting turnover); convenience Theatre viewing boasts the advantage of Theatre viewing format on as a catching are as multiplexes decreasing each of the distribution channels – that is, by each of the distribution channels – that maintaining this distinction. For a time it was attempted to maintain market to maintain market a time it was attempted For the by stressing shares can watch a film at the cinema and go and buy a film can watch out). come after we the DVD takes only a few months, and what used to be and what months, only a few takes we (Today stages now often overlap. different of audiovisual products and other premiere a film’s elapse between could the whole process nowadays windows, release Another consequence of this digital acceleration of this digital acceleration Another consequence is a 3. Audiovisual industry 3. Audiovisual industry and business has amazing narrative possibilities. has amazing narrative a challenge and an irresistible attraction. The attraction. irresistible a challenge and an possibility of senses) with our five know which we itself (that Augmented reality The new fields of technology are 3D of technology are new fields The video 360-degree movies, video mapping, all spark They audiovisual. and interactive among professionals and misgivings fear control. to lose reluctant either: it had already been detected in certain detected in certain been had already either: it in films. that before videogames, and types of lack of empathy, to their ‘seeing others’ pain others’ pain to their ‘seeing lack of empathy, new this is nothing Though it’. feeling without Smart Culture: Impact of the Internet on Artistic Creation 86 better. (Somuchsothat ithasled help offeedback we canadaptthediscourse feels partofthecreative process There isanaddedbenefittothis: to bewell received. costly production withoutknowingifit’s going audiences before makingalarger andmore create smallpieces that canbetestedonfuture it ontothemarket andexploitingit.Now we can to have tobuildawholeproduct before releasing referring totheconcept of that production processes have changedtoo.I’m another ideathat isessentialtounderstanding Here Imust make anasideandintroduce user has. zero cost What ismore, thisconsumption isgenerally but istrueofmostthedigitalpopulation. this isnotan attribute exclusive to young people where, whenandhowwe like We’ve become usedto want tosee. butwe demandwhat we choice onourbehalf), what isbeingoffered tous (others make the cornerstones ofchange.We don’t gettosee once againdigitisation andtheInternet are a societyofsupplytoonedemand thing istorealise that has turnedthesituation around. Theimportant factors and young people’s behaviour are onlyisolated In actualfact, when andhow. demand whatwewanttoseeandwhere, see whatisbeingoffered tous,butwe consumption habits.We don’t getto A determiningfactor ispeople’s changing advertisements, whichtheyregard asanuisance. are theywillingtoputupwiththedelugeof watch themwhentheyare broadcast andnor created for thesmallscreen, justthat theydon’t there are legionsofteenagerswhofollow series DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE . It’s the , orat leastthat istheperception the the emergence ofvideogames sum totalofallthem we’ve gonefrom being consuming content scalability ; and,incidentally, the audience ; withthe marketing . We used , and that word competition withalliance less comfortable) andstart (which incidentallyisbecoming increasingly of thebox –come outofyour comfort zone As theexpression goes,you have tothinkout your ownmarket, your closedecosystem… use shuttingyourself away inyour own world, powerfully is A lastphenomenonthat hasemerged professional profiles involve theemergence of industry isthat allthesetechnologicalchanges rethinking theapproach tocinemaasan Another positive pointtobementionedwhen adjust thecontent before it’s toolate). think before makingtheproduct allows usto sounding outtheaudience tofindoutwhat they production chaintothepre-production phase campaigns tobemoved from theendof than amonitororTV. on thescreen ofasmartphone (frames, composition) designed be tempestuous) andthecreation ofimages episodes long), short chapters Web-native series broadcast online). of Cards their format, notthe distributionchannel.( pointed outthat what identifiesthemassuch is fit intoaschedule consumption A product bornoftheneedfor news, asitpaves theway for newcreation. appearance ofnewformats –whichisalsogood of newconsumption habitshave sparked the The arrivaloftheInternet andtheadoption 4. New formats intersectorial win-winoperations. seasons withavariablenumberof is simplyaconventional TVseriesthat is , a faster-paced story transversality andthefreedom of (between 2and15minutes

is · meet thenewrequisites:

MONTECARLO . web series new technicaland replacing the . It’s nolongerany (which caneven fast ortabletrather to beviewed . , insearch of 17 It shouldbe not having to House : Smart Culture: Impact of the Internet on Artistic Creation 87 , we if the medium , only adapted to movies will hold . will preserve some will preserve are aware of what their their of what aware are that are increasingly increasingly are that . There is thus a developing is thus a developing . There a coherent whole. a coherent ebooks , making sense of it). videogames AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E possible paths of development. possible paths seems logical to think that It their own in the digital audiovisual spectrum to their with respect albeit with variations So… What will happen to pre-existing formats formats will happen to pre-existing So… What inseparably tied to the medium in which are that they they emerged? Well, of their basic characteristics had that other features whereas digital spaces, disappear hitherto distinguished them will simply obsolete or insignificant become because they’ve been and function have or because their role (An obvious case is by a new player. over taken if can be a reporter anyone journalism: nowadays a smartphone and have place in the right they’re hand: just one click and the photo can be at This or any other platform. on Instagram shared journalists, as invalidate does not, however, the still need someone to sort and interpret information ask the right questions and remain we If to the phenomena and unprejudiced attentive world the audiovisual will find that arise, we that pointing to already are ideas that has countless is always ambiguous and full of hybrids. The full of hybrids. ambiguous and is always a is pushing us towards world of the digitisation … in which formats of media, supports, mixture in to the circumstances is adapted the content which it is consumed branch of a resemblance on storytelling and bear focused to films, just as basically, is. Because, true nature end up doing it permits, we is happening: so why And this is what a book, a a single product in not combine to other movie, music, games and hyperlinks various professions stated, As I’ve websites? pooling their talents and artistic disciplines are emerging while new ones are in this respect, need to organise this to the in response into information Once again we’re treading frontier territory that that territory frontier treading we’re again Once Le form. form. or given given to 23 an Internet an Internet storytelling 19 campaigns to campaigns to , The Guardian The have become one of one of become have , a new reincarnation , a new reincarnation a presentation are going in for them in them in going in for are online micro-story 22 broad variety of subjects of subjects variety broad YouTubers combines the concept the concept combines Webdocs NFBC is perhaps 18 mobile films’ . and 21 20 . commonly use them, and institutions use them, and institutions commonly ARTE audiovisual. in these matters. It in these matters. of planning of interactivity with that of digital the future at a surprising look offer possibilities a pioneering specialist Domínguez, by Eva In this respect, the best reference to how the the best reference this respect, In style and has influenced Internet Monde, like a big way. quality and quantity of their products. A few A few quality and quantity of their products. daily newspapers, such as enthusiasm in the field of journalism and enthusiasm in the field of journalism and documentaries. of the on account formats the most interesting of establishing interactive elements embedded elements embedded of establishing interactive with in the image, which has been greeted go viral is the possibility is truly revolutionary what But used and enjoyed by a teenage audience) have have audience) by a teenage used and enjoyed digital advertising caused a few of format: ‘ of format: of short films, now in designed to be Vine (originally like Applications productions. another type have series we with web Coupled these new influencers are progressively turning progressively are these new influencers their over care taking increasing professional, advertisers, though the services of these new of these though the services advertisers, of in demand on account increasingly actors are the same time, the number of views they get. At programmes made by programmes conventional is still flooring phenomenon that A separate mention should be given to mention should be given A separate The arrival of the Internet and the adoption and the the Internet arrival of The habits have spawned new consumption of formats hitherto unseen of the appearance fields. and creative and genres This fruitful field has also begun to yield results results begun to yield field has also This fruitful a offers and currently Smart Culture: Impact of the Internet on Artistic Creation 88 changes that digitisation hasbrought. day-to-day life keeping withtheperception we have ofour presenting it isclearthat themanner ofstructuringand possibilities, strengths andweaknesses, though there isalongway togoinexploringits Transmedia storytellingisstillinitsinfancy: while theywatch theseries. conversation onwhat’s goingoninthestory multiscreen consumers this caseowinglargelytofans,manyofthem on televisionandspreads toothermedia,in product as Strictly speakingwe oughttorefer tothis essays host of Olivares brothers’ serieshasgiven risetoawhole created byself-styled ‘Ministéricos’, So far, inadditiontothesocialmediasites identified asadigitalaudience. engage witha that itispossibletomake novel products that Aired for justoneseason,thisserieshasproved involvement onthesocialmedia especially for itsanalysisofthe provide the Of themanyarticlesdevoted totheseries,Iwill series of thisphenomenonthat theabovementioned I believe there isnobetterorcloserexample Nowadays we speakof co-creation andfunding 5. Transmedia expansion, there isdemand,someonewillhave tomeetit. experience andthat isthebestsign: is anaudience that demandsamovietheatre share theirplace withnewer formats. There original form DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE El Ministerio delTiempo 29 that analysestheTVphenomenon. memes transmediastorytelling these many-sidedtalesistotallyin link toone , 24 critical audience andthat theywillhave to 27 and withtheabovementioned , fan fiction 25 active audiences , whokeep upaTwitter that isagoodexample, 28 andabookof . audience’s –what we have . 30 26 that starts the as long and Here we come tooneofthefieldsthat people necessarily restricted toaudiovisualproducts. marketing campaigns A second transmediaproposal isrelated to perception of life today. sided talesthatare fullyinkeeping withour They are structured andpresented asmany- Transmedia storiesare stillintheirinfancy. showrunner ‘conductor’ whoisasortofmultiplatform they are given coherence bythepresence ofa platforms onwhichtheyare distributed,and the samepace asthelistofformats and spinoffs Wars gripped bythecreators orowners(quoting are find relate totwo very specific profiles. Thefirst For thetimebeing,easiestsuccess storiesto be regarded aspiracy neither hackers norP2Penvironments should We must forget prejudices anddemonising: forms offunding). (usually eachproject combines several ofthese industries tocomplement orreplace them the classiceconomic modelsofthecultural of or Options suchas also tofundingandreturns. devoted toit) extends notjusttocreation but This issue(which deserves awholeessay tobe welcoming newco-creation models. the trickydilemmaofmaintainingcontrol while There isanevidenttensioninthemediatoday: contribution themore itstretches thelimits. though oftenthemore creative their In both cases marketing should keep acareful eye on,namely are talkingaboutthemost,andwhichwe freemium P2P funding franchises isunavoidable). Here, prequels, sequels, 31 and andthecloselylinked brandcontent. . 34 39

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Smart Culture: Impact of the Internet on Artistic Creation 89 46 , and the the power of stories the power I’ve seen things you people wouldn’t believe. believe. people wouldn’t seen things you I’ve Orion. off the shoulder of ships on fire Attack glitter in the dark near the C-beams I watched All those moments will be lost in Gate. Tannhäuser tears… in… rain. Time to die. time, like AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Analogue or digital, everyone remembers this remembers Analogue or digital, everyone one of the most moving moments hymn to life, on telling carry Let’s history. in motion picture lost. are they nor we neither stories, then, so that The time has come to end this survey – which is – which to end this survey has come The time of affairs. state current partial – of the inevitably ‘everything the start of this text, at As stated in order should add that, which we To is data’. it is this information, to see and understand which it shape and meaning – to give necessary is the job of storytellers. as to end with a sentence like I would that as the opening one, a quote emblematic us of reminds carry on telling them: why we reason 6. A final thought 6. A final also , , 44 43 ), which Data 42 This is Big Big engagement to the point of fully formulas, including formulas, 45 platforms are catching on (here we we on (here catching are VOD 41 , creation of a community creation or establishing a brand are or establishing a brand are valuable content. valuable content. storytelling micropayment renown customising mass data analysis and at the other the option and at analysis mass data of personalising it. another of the paradoxes resulting from the from resulting another of the paradoxes have one end we at of the world: digitisation One last note in this connection: last note in this connection: One this is often achieved business, and generates away’ by ‘giving the aim of the project is and, depending on that, is and, depending on that, the aim of the project measurements. choose the appropriate sufficient goals (especially in the case of brand sufficient goals bear in mind what must always We content). are not always sought: often not always are loyalty, audience visibility, We should also realise that financial benefits that realise should also We have the example of have on the to reflect it necessary again makes is bringing. the 2.0. world changing model It’s true that true that It’s want you what pay if we examine the matter sufficiently thoroughly thoroughly sufficiently matter examine the if we and thoughtfully. that the audience automatically ‘doesn’t want to want to ‘doesn’t automatically the audience that see will we of this is true, as because none pay’, Smart Culture: Impact of the Internet on Artistic Creation 90 7. 6. 5. 4. 3. 2. 1. Endnotes

enough, consider videogameswithamore realistic than life itself. If the exampleofPixar isn’t clear virtualrealities asreal asormore real (images of) point I'm tryingtomake isthat we cangenerate the digitalage,andtheywould beright.But the could arguethat ‘cartoons’ already existedbefore Such asPixar, withitssuccesses. Irealise readers format for recording. nowadays digitalhaslargelybecome theusual we embrace itvoluntarily. Whatever thecase, because it’s what we have at hand,othertimes of itsown;sometimeswe adoptitsimply However, every technologyprovides anaesthetic it themostcommon supportintoday’s market. either, butnobodywould dream ofconsidering not filmdiesoutisanecdotal. Super 8isn’t dead of survivalrather thansupremacy. Whether or but we shouldrealise that thissituation isone guaranteeing thecontinuation of35mmformat, of afew renowned Hollywood filmdirectors is down itsfilmmanufacturingplant:thedecision According totheautor, Kodak isnotshutting newsletter&utm_source=iwDaily_newsletter to-cinema-20151214?utm_medium=sailthru_ new-star-wars-movie-is-bringing-celluloid-back- http://www.indiewire.com/article/how-the- Cinema’ Star Wars news wasreleased. O’Falt, Chris.‘How theNew While thisarticlewasbeingwritten,thefollowing disruption-changed-8-industries-forever siliconrepublic.com/companies/2015/11/25/digital- 8 industriesforever Kennedy, John: http://manovich.net York, Bloomsbury Academic, 2013. Manovich, Lev: Cambridge, Mass, MITPress, 2002. Manovich, Lev: Books, 1984. Gibson, William: DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE .

Indiewire, Movie isBringing Celluloid Backto ◄ How digitaldisruptionchanged The Languageof New Media Software Takes Command Neuromancer . (online) 14December 2015. (online)

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9. 8. 16. 15. 14. 13. 12. 11. 10. sustainable inthefuture. and seeifspectacularmoviesofthiskindare really field. Having saidthat, we willalsohave towait cannot compete withtheUSfilmindustryinthis It isevidentthat, for budgetaryreasons, we www.imdb.com/name/nm0000881 type offilmmakinghastobe Michael Bay). pyrotechnics. (Theforemost representative ofthis to thestory, andrely excessively onelaborate start tofinish,withoutpaying toomuch attention of startlingimagesthat shocktheviewer from blockbusters are basedonoffering awholeload went beyond thisstage.Many Hollywood There isinfact acertain typeoffilmthat never and New Media Collide Jenkins, Henry: image) effectively. integrate real imageandCGI (computer generated Theft Auto appearance suchas calidad-prestigio-20150412102312.html tiempo-hace-balance-audiencia-tambien-mide- http://www.europapress.es/tv/noticia-ministerio- prestigio’. ‘La audienciatambiénsemideporlacalidad yel Gil, María: 5854f7036917#.f1i6zat2k una-m%C3%A1quina-de-la-empat%C3%ADa- com/@seirenfilms/para-qu%C3%A9-construir- de laempatía? Ruggiero, Laura: interactive-youtube-videos http://www.incomediary.com/ultimate-guide- multiplayer_online_role-playing_game https://en.wikipedia.org/wiki/Massively_ http://wiki.infinitythegame.com/es/Visor_360 youtube/ degree-interactive-videos-have-arrived-on- http://petapixel.com/2015/03/13/the-first-360- watch?v=Ut79ZutM8cs https://www.youtube.com/ Europa Press. 12April2015.(online)

◄ , orfilmslike El Ministerio delTiempo hace balance: (online.) Convergence Culture: Where Old

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◄ MONTECARLO Assassin’s Creed . NYUPress, 2008. https://medium.

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. Confessions of an . Confessions Dentro del Ministerio Dentro del Ministerio http://henryjenkins. https://www.facebook.com/ ◄

Transmedia 101 Transmedia ◄

. Léeme Editores, 2015. 9788415589310 9788415589310 2015. Editores, . Léeme ◄

https://en.wikipedia.org/wiki/Pay-per-view http://teatroencasabcn.blogspot.com.es/p/blog- page_13.html Jenkins, Henry: Henry: Jenkins, Jenkins. Henry Weblog of the Official Aca-Fan, 2007 (online) 22 March org/2007/03/transmedia_storytelling_101.html https://en.wikipedia.org/wiki/Spin-off_(media) https://en.wikipedia.org/wiki/Fictional_crossover transmedia between is a cross This profile and transmedia architect producer executive https://en.wikipedia.org/wiki/Showrunner https://en.wikipedia.org/wiki/Prosumer https://en.wikipedia.org/wiki/Crowdfunding http://www.bbc.com/news/business-18460302 https://en.wikipedia.org/wiki/Peer-to-peer_ lending https://en.wikipedia.org/wiki/Freemium https://www.facebook.com/groups/ funcionariosdeltiempo Unidos, Ministéricos ministericosunidos https://en.wikipedia.org/wiki/Internet_meme https://en.wikipedia.org/wiki/Fan_fiction (Ed.): Cascajosa, Concepción del Tiempo (TS) to mean a Storytelling Transmedia take We which the same universe, of stories, set in group though the whole will autonomously, can be read than the sum of the parts. The be more always in a huge variety presented various stories are and they of media (both analogue and digital) by highly varied architecture. can be related is the term, the concept Although he did not coin broader a For Jenkins. to Henry usually attributed definition see: Funcionarios del Ministerio del Tiempo, del del Ministerio Funcionarios AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E 40. 41. 31. 32. 35. 36. 37. 38. 39. 27. 28. 29. 30. 33. 34. ◄

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House of Cards of House Stories are Experienced. are Stories http://ildecortes.com/2015/05/ I include the link to the last part ◄ El cine como experiencia El cine como Analizando ‘El Ministerio del Tiempo’: del Tiempo’: Analizando ‘El Ministerio ◄ http://www.raindance.org/10-web-

to be examples of web series for the for series of web to be examples ) identifying conversations related to the related ) identifying conversations ◄

en redes y televisión en redes éxito hashtags series. To cite a few examples: cite a few series. To There are many social media groups (open and (open many social media groups are There well as labels as and profiles, closed), communities ( analizando-el-ministerio-del-tiempo-un-exito-en- redes-y-television/ Cortés, Ilde: Ilde: Cortés, un (online.) 9-5-2015 whole article from start to finish. (The links in the whole article from embedded in the third). parts are first two cinematograficos the reading of the post, though I recommend innovation. 21 November 2015 (online). (online). 2015 21 November innovation. innovacionaudiovisual.com/2015/11/21/el-cine- como-experiencia-y-iii-nuevos-territorios- experienced Montecarlo: SlideShare. 2 December 2013 (online). 2013 (online). 2 December SlideShare. www.slideshare.net/dominguezeva/stories-are- https://www.nfb.ca/interactive Eva: Domínguez, com/watch?v=B9Tx6olI3l8 http://www.arte.tv/sites/en/webdocs/?lang=en The video is a compilation of microvideos for a for of microvideos The video is a compilation the hashtag campaign run by HP on Vine, under (online). #BendtheRules https://en.wikipedia.org/wiki/YouTube#Youtube_ Partners the market. the market. series-you-should-be-watching-in-2015/ some time ago. The following link is intended as following some time ago. The on currently variety of products an example of the above reasons. reasons. above be low- series must web is often thought that It true be to ceased this products; humorous budget, I do not consider I do not consider Black New https://en.wikipedia.org/wiki/Web_series the Wikipedia entry, in is stated to what Contrary

26. 25. 24. 22. 23. 21. 19. 20. 18. 17. Smart Culture: Impact of the Internet on Artistic Creation 92 46. 45. 44. 43. 42. Runner played byRutger Hauer inRidley Scott’s film Last words ofRoy Batty, theNexus 6replicant distribution ofaudiovisualproducts. including programming inthecreation and This isanotherofthepossibilitiesoffered by https://en.wiktionary.org/wiki/customize#English https://en.wikipedia.org/wiki/Big_data marketing https://en.wikipedia.org/wiki/Engagement_ https://en.wikipedia.org/wiki/Video_on_demand DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE (1982).

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MONTECARLO FOCUS: USE OF NEW DIGITAL TECHNOLOGIES AT CULTURAL FESTIVALS

Elisabet Roselló Javier Celaya Focus: Use of New Digital Technologies at Cultural Festivals 94 audience hassplitintogroups offollowers or audience; instead,over thepastdecades For we are nolongerdealingwithasingle,mass circle ofmanyaudiences. changes istantamounttobeingleftoutsidethe technologies. Failure toembrace established exclusively, involve theuseofthesenew practices referred tooften,thoughnot – meaningthat someof theprocesses and We live inahighlytechnologisedsociety spreading ideasorbeingpublic,acreator. facilitating newways ofexploringcommunication, there are methodsfor speedingupprocesses or fact isthat asmanynewtoolsare appearingas regardless ofwhetherornotitisarevolution, the our personalrelations andweekly shop. But leisure activitiesand,toagreater orlesserextent, aspects ofourdailylives, suchastheworkplace, and everyday. Becausetechnologyispartofmany revolution. Today digitalissomethingordinary now worldwide, oreven that itisnolongera It isclaimedthat the digitalrevolution is INTRODUCTION INTRODUCTION cultural events that alsocutacross different We are dealingwithextensive festivals and a singlehashtagorpigeonholedbytaxonomy. art andco-creation that cannotbelabelledwith with thenewmediaanddisciplinesin changes andothersare emerginginconnection discipline orfieldoftheartsare undergoing that were once aimedat promoting aparticular Society ordigitalsociety. Transversality. Festivals phenomenon inwhat we calltheKnowledge Transdisciplinarity isanincreasingly everyday art orcreation on view. be given thesamedegree ofconsideration asthe demanding totake parttosomeextentand audience –anaudience that isfurthermore rather, italldependsonthenature ofthe one rightway tousethefollowing technologies; particular culturalfeatures. Therefore there isno group togetherpeoplewiththesametastes or fragmentation, thoughsomesocialmediacan themes inaprocess that entailsadegree of enthusiasts ofincreasingly specificand concrete Focus: Use of New Digital Technologies at Cultural Festivals 95 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E listing more than 50 domestic and international 50 domestic and international than listing more music of literature, the world examples from as multi-genre arts as well and the performing an idea of how these to give in order festivals applied in their day-to-day technologies are and can be used specific moments running or at or even art events festivals, as practical tools for and experiences online action and to improve with people, the audience. communication the arts transforming are technologies that New or approached… structured are and how festivals optimising the use of the social media using that programmes festival various strategies… with greater turning into mobile applications are providing beacons potential… small, discreet will find all this you information… contextualised edition. in this year’s and more For example, in this Focus we ruled out the ruled out we in this Focus example, For in a separate of analysing websites possibility or website a have all festivals Probably section. in which to present corner or Internet logbook their programme known and make themselves is and blog technology web or action. Although emerging are and new improvements evolving in the next-to-last will examine we (which and everyday it is basically a familiar section), to the referring even Some scholars are concept. moment as ‘post-digital’. current of the a picture our aim is to provide Therefore to be new as far as continue technologies that – sometimes concerned is their implementation still in their infancy largely unknown as they are – but are emerged only recently and have a considerable adopted at being successfully in use. currently and are number of festivals, will describe these new technologies, We the question of what we mean by ‘new’. mean by ‘new’. we of what the question This study sets out to examine some of the in new technologies, but also to pose trends can be easily installed and uninstalled, or are can be easily installed and uninstalled, or are dynamic and flexible. a particular event. They are not large, complex not large, complex They are a particular event. that but practical applications infrastructures of the characteristics that distinguish festivals distinguish festivals of the characteristics that is and permanent cultural spaces fixed from useful for and tools are their infrastructure that inexpensive and can maximise the festival’s the festival’s and can maximise inexpensive one will see that We mission and dissemination. attending activities going on at the same time. on at activities going attending are here Some of the technologies discussed can be useful to more people, or locating friends people, or locating can be useful to more venue the same around scattered who are the Internet of Things can improve processes as processes of Things can improve the Internet receiving concerts, drinks at trivial as queuing for social media to a query that on the responses Returning to practical issues, we will examine we to practical issues, Returning or technologies such as wearables how a few and a festival event based on many of the event and a festival on to discuss. will go technologies we events can share content, strengthen community community strengthen content, share can events it is even their mission. Indeed, fabric and stress of a festival possible to imagine new conceptions changing: it is no longer linear but continuous, longer linear but continuous, changing: it is no these the social media where across reaching offline, as well as to multiscreen and off-screen. off-screen. and well as to multiscreen offline, as also are experiences as temporary Festivals is of ephemeral concept witnessing how the too – the term ‘festival’ is becoming synonymous synonymous is becoming term ‘festival’ too – the than more social experience with a cultural and and can extend to both online and its scope ever, for themselves. As a result of these social and of these social As a result themselves. for and media changes changes – technological fields; they stem from being the epicentre of a being the epicentre stem from fields; they defines everyone that – one type of experience Focus: Use of New Digital Technologies at Cultural Festivals 96 proposals withintheir thematic scope in which storytelling andfestivals that are embracingnew formats suchasweb series,ortransmedia linked asajoint experience), newaudiovisual the audiovisualsector(which are increasingly they emergingtrends inelectronic music and are beingdevoted exclusively tonewmedia,be We are findingthat more andmore festivals also occurring inotherfields. content andtothevery concept offestivals, asis coexist withnewapproaches totheexhibition of a branchordisciplineoftheartscurrently structured around disseminating andpromoting Music, literature, theatre anddance festivals analysis ofsurfaces. from audiovisualexperimentation andthe such asartisticmappingapplications developed arts have seentheemergence ofnew disciplines tools for decades.For example,theperforming been experimentingwithnewmediaand new typesoffestivals, whereas theartshave The pastyears have witnessedanexplosionof 1. 1. NEW TECHNOLOGIES AS CONTENT AS CONTENT NEW TECHNOLOGIES formats todevisenewforms ofexpression. experimentation withtechniques,materials and the same(inter)text. We are alsowitnessing the visualandinteractive canbepartof media are agoodexampleofhowthewritten, pigeonholed inaformal disciplineandthenew becoming increasingly loath tofindthemselves is beingglimpsedinthearts.Creators are with respect tothesamehybridisation that This changeismore thananadaptation genre. creativity thantoshowcase aformal disciplineor to exhibitideas,convey amessageorpromote all three at once andgofurther, aspiringmore that are neithermusic, norliterature norfilmbut synonymous withthecurrent times–festivals fusion andremix are dynamicsthat are almost so tospeak,withhybridisation. Hybridisation, Furthermore, somefestivals are experimenting, process orstaging. new technologyplays arole ofsomekindinthe

Focus: Use of New Digital Technologies at Cultural Festivals 97

FIMG started out transmediale festival transmediale festival in Berlin. This festival, in Berlin. This festival, Geneva Mapping Festival Festival Geneva Mapping AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E cannot fail to mention the art and digital culture for which emerged as a spinoff of the Berlinale called 1988 and was originally festival in film than 20 more over has evolved VideoFilmFest, This festival has sections that are held in fixed fixed held in are has sections that This festival it runs, and also during the time installations these arts converge, where events programmes music music (electronic example featuring for few with art music), also find a but we concerts and cinema. performance dance, of this kind in Spain: is a festival There Festival), Mapping International (Girona and installations as featuring which, as well appeals to a wider interestingly performances, on local schools and with a focus audience, held A conference amateurs. for competitions brings together professionals during the festival the mapping and new from and creators as agents who audiovisual sectors as well (education, using this technology already are heritage, advertising…). the subject of new media and digital art, we On sensorial experience, or to employ more more employ or to experience, sensorial extending the for defining or tools effective words, osmosis (in other partly through narrative new and artists, both more and more because though in this field), operating are accomplished, emerged have festivals that find cases of also we and new disciplines specifically to showcase particular media. The It May. around year every in 2005 and is held many international great brings together a the audiovisual, video from artists and creators audiovisual (an and mapping fields (VJs) jockeying customised in projecting consists technique that mapped or scanned, moving images, previously such as the surface onto a three-dimensional image façade of a heritage building, so that a new dynamic blend to create and surface experience). a specific staging or a different or broader broader or staging or a different a specific the use of new technologies in order to offer to offer the use of new technologies in order Longstanding festivals are increasingly increasingly are festivals Longstanding to and artists committed works welcoming progressively emerging as a reflection of this as a reflection emerging progressively new scene. range of new creative ground broadens and the broadens ground range of new creative are festivals popular, more digital arts become can be showcased and shared and can provide and can provide and shared can be showcased the interaction between opportunities for As the and agents involved. audiences creators, 1.1. New media festivals 1.1. New they where spaces The new media deserve these forms of culture. these forms ultimately have an impact on attendees and an impact on attendees have ultimately understanding of participants and on the current whose structure has been marked by the engines has been marked whose structure festivals Because Society. of change of Digital that and innovation hubs of experimentation are The Focus will begin by taking a look at festivals festivals will begin by taking a look at The Focus based on new media or is whose operation disciplines as well as between structures and structures as between disciplines as well blurred. becoming are types of event excellent means of creation and distribution with means of creation excellent we festivals In some of the undefined scope. the boundaries between will be examining here, creator… New technologies are continuing to continuing are technologies New creator… as being spur many of these changes as well Boundaries are either merging or fading: art either merging or Boundaries are and and alternative popular and creativity, and audience academic, plastic and ephemeral, of participation. that involve greater action (so that they come they come that action (so greater involve that than or new ideas rather with a thought away and a fair or large amount memories) just passive audiences’ new requirements: offering attendees attendees offering new requirements: audiences’ open of exploring experiences comprehensive and spaces than a closed category ideas rather are experiencing, are finding that their own that finding are experiencing, are meeting towards way go some of the can role Meanwhile, festivals, as well as starting to adapt as starting as well festivals, Meanwhile, of creation the fields that in focus to this shift Focus: Use of New Digital Technologies at Cultural Festivals 98 local, national andinternational creators. developers ofvideogamesandotherkinds writers, publishers,filmmakers, poets, journalists, poetry contest). Theseevents bringtogether (including thePoetry Slam Barcelona, anoral audiovisual screenings andpoetryslams consists oflectures anddebates, workshops, The typeofcontent chosenfor thefestival consumption intheinformation society. of thepublishingindustriesandliterary repeatedly ineachofthem), orthedevelopment (using variousmediatoexplainthesamestory various mediatoexplainastory) andcrossmedia storytelling, aswell astransmedia(the useof dimensions, extendingthevery concept of literature from itsoral,printanddigital literature fest’. It isaspace that examines Barcelona whichisdefinedas‘theamplified by theCentre deCultura Contemporània in festival (Barcelona), abiennialevent hosted either. We find, for example, the storytelling have notbeenimmunetochanges visual artsandmusic,butliterature and Speaking ofdigitalartsmightbringtomind as transmediale. and digitalmusicisheldonthesamedates side event focusing onelectronic, experimental (originally for professionals. In addition,the stage performances andotherevents, some installations, filmandaudiovisualscreenings, over theworld are invitedtoexhibitionsand Researchers, artistsandcreators from all share andsecure). post-digital artandculture andkeenness todo, on theideaof forthcoming editioninFebruary 2016willcentre Do It Yourself! or idea.For example,in2001thethemewas edition hasrevolved around aparticular theme To give itgreater momentum,since 2001each culture inallitsdimensions. years intothefestival parexcellence ofdigital 1. NEW TECHNOLOGIES AS CONTENT club transmediale , in2011 conversationpiece Response:ability ) arose in1999 asa (on theso-called Kosmopolis CTM andthe festival

Publishers, aswell asbyTwitter itself. publishers andtheAssociation ofAmerican The festival ishostedbyPenguin RandomHouse social platform’s trend for 140-character stories. participatory five-day event that reflects this space. Today notallfestivals needaspecificphysical in thesameformat. between editionsitrunsanongoingprogramme distinguishes itfrom otherfestivals isthat the changesitisundergoing.However, what relationship anddialoguewithliterature and families, whichare aimedat fostering acloser on schoolsinthemetropolitan area andon The festival alsofeatures programmes focused the story?’ the mostfundamentalunit ofhumanculture— evolve, howwillwe create, share, andexperience following question:‘As technologiescontinue to Storytelling interest inthepastyears. The The factisthat storytelling hasaroused great characters andparody versions. the creation offictitiousaccounts heldbyliterary unexpected ramifications inthestory) andeven anyone cancarryonfrom anypoint,creating (because byallowingatweet tobereposted, people sporadicallyinanon-linearmanner collaborative storieswrittenbetween several poetry, imagesandVines(very shortvideos), take partandinteractwiththemthrough launches andreal-time storytelling. Users can scheduled inactivitiesthat includebook British writersfrom variousgenres ispreviously with ahashtag.Theinvolvement ofUSand Users are notsimplyinvitedtowritesomething #TwitterFiction festival (New York) Festival Future of

1 is basedonthe (since 2012)isa Focus: Use of New Digital Technologies at Cultural Festivals 99 that require the use require that performances performances

to be experienced in full, art that in full, art that to be experienced 2 (South by SouthWest). Held every year year every Held (South by SouthWest). AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E We might again include transmediale in this might again include transmediale We that festivals for example. But for category, many fields, a primary example is embrace SXSW sense. use mapping that productions find theatre We applications, of an app on the basis of large amounts of data creates using a among ourselves generate which we and Data) and channels (Big variety of devices the category (under by machines art generated in of so-called glitch art or art of graphic errors videogames and digital images). in involved technology is also directly But because it is giving rise to new festivals exhibition and possibilities of expression, to the devoted as festivals As well dissemination. merging of arts and technologies, such as the witnessing are we examples mentioned above, designed in are that of festivals the emergence cut and therefore a culturally digital framework various types of media and formats. across materialised into art and objects or projects or projects art and objects into materialised progressively have that or festivals and people, adding the years, over this perspective adopted mutating. intervention, of new layers of this section included festivals The previous fusion by transdisciplinarity, kind, characterised increasingly becoming are and merging, which New to do so). will continue less unusual (and an important role played technologies have acted as catalysts they have that in indirectly, in art and part of this merging of disciplines for (including the critical blurring of the creativity which and creative) artistic boundaries between in such a technologised enables them to operate using the and globalised changing world is that the point Ultimately, languages of today. is also changing as of culture concept the very to the material goes beyond that a category and humanistic anthropological embody a more to create an active international hub of ideas international an active to create in particular Gamepolis Videogames Madrid Games Week, Games Week, Madrid (Electronic Entertainment Expo), in Expo), Entertainment (Electronic E3 in Malaga, which features as well as well which features in Malaga, opposed to just a style or artistic discipline) and opposed to just a style or artistic discipline) at least in the past decade for festivals that have have that festivals least in the past decade for at a theme (as and showcase emerged to explore the traditional distinction between arts and the traditional distinction between a sense it is practically non-existent. In sciences witnessed also amounts to speaking of a trend of an art in which the sciences and emerging of an art in which the sciences so much so that a major role, technologies play are opening up to new media media opening up to new are of hybrid art is tantamount to speaking Speaking 1.2. Multi-genre festivals that that festivals 1.2. Multi-genre is anything these festivals have in common, it in common, have is anything these festivals to approach is undoubtedly their cross-cutting embracing digital. the field of technology to explore new ways of new ways the field of technology to explore if there and therefore, doing, seeing and feeling, offering formal training, and fans. offering goes beyond The notion of digital art and culture the Gamelab Academy, whose lectures bring whose lectures the Gamelab Academy, universities together the videogames industry, debates for enthusiasts, concerts (related to the (related enthusiasts, concerts for debates and tournaments. music of videogame culture) is also There Spain we already have have already we Spain Festival a variety of as exhibitions and presentations a large number of enthusiasts. Apart from the from a large number of enthusiasts. Apart famous exhibition spaces have concentrated more on on more concentrated have exhibition spaces (fairs and a sectorial and financial approach though they also bring together conferences), inevitable to speak of videogames practically as inevitable to speak temporary their history, art. Throughout a native in advertising and marketing. and marketing. in advertising digital arts, it should be the subject of On we face among so many technological and many technological among so face we also of as social changes, but it is media as well industries and in the creative particular interest become a significant topic for creators in recent recent in for creators a significant topic become challenges constant of the on account years Storytelling as a method of creating and as a method of creating Storytelling has medium, stories, in whatever explaining (since 2012) is a (since is based on the 1

Future of Future Festival festival (New York) (New festival #TwitterFiction Storytelling Storytelling to technologies continue question: ‘As following and experience share, create, how will we evolve, the most fundamental unit of human culture— the story?’ Users are not simply invited to write something not simply invited to are Users of US and with a hashtag. The involvement is previously various genres writers from British include book scheduled in activities that can storytelling. Users launches and real-time part and interact with them through take short videos), and Vines (very images poetry, several stories written between collaborative people sporadically in a non-linear manner to be reposted, (because by allowing a tweet any point, creating can carry on from anyone and even in the story) unexpected ramifications held by literary of fictitious accounts the creation versions. characters and parody great storytelling has aroused The fact is that The in the past years. interest on schools in the metropolitan area and on and area in the metropolitan on schools a closer fostering at aimed which are families, and literature dialogue with and relationship what However, it is undergoing. the changes is that other festivals distinguishes it from editions it runs an ongoing programme between in the same format. need a specific physical not all festivals Today space. reflects this that event five-day participatory stories. 140-character for trend social platform’s Random House is hosted by Penguin The festival of American publishers and the Association itself. as by Twitter as well Publishers, The festival also features programmes focused focused programmes also features The festival Focus: Use of New Digital Technologies at Cultural Festivals 100 artistic installations andshows,hardware and for technologicalcreators andstartups, techno- music especially, through anexhibitionspace media, artsthanare tendingtobeappliedin technological innovations inthefieldofnew Conceived asaconference, itshowcases the Day part. the characterandidentityoffestival, at least creation ofSónarD+in2013powerfully marked as aseparate divisionwithin SónarDay, butthe years itfeatured sectionssuchasSonarCinema, it was‘Advanced Music andNew Media Art’. For Technology’, though up until only a few years ago its subtitlechangedto‘Music, Creativity & as well asexpandinginternationally. In 2015 But timeschangeandthefestival hasevolved, Night, heldindifferent locations. of two different parts,Sónar Day andSónar digital musicandmultimediaartsconsisted a space that brought togetherelectronic and Advanced Music andNew Media ArtFestival’, field. It startedoutin 1994 asthe‘International is anexampleofongoingdevelopment inthis Sónar such asmanagingandencouraging festival goers. technological innovations alsoextendstotasks we willseelater on,itsadoptionofthelatest and emergingtechnologies’. What ismore, as convergence oforiginal music,independentfilms conferences andfestivals that ‘offer theunique of audiences. SXSWdefinesitselfasagroup of and attracts theinterest ofabroad spectrum following ofprofessionals innewtechnologies privacy, women intechnology… It hasalarge directors) ondigitalculture andtrends suchas and technologyprofessionals (includingcompany lectures anddebates between creators, thinkers In additiontoexhibitionsandshows,itfeatures explain thelinkbetween thesefieldsorsections. Interdependent could betheword usedto art, almostasifitwere several festivals inone. attention between music,filmandinteractive in Austin,Texas, around March, itdividesits 1. NEW TECHNOLOGIES AS CONTENT festival (Barcelona, around mid-June) ultimately, fulfilaspecificmission: in order toprovide aspecificexperience and, and ‘mutates’ inaccordance withnewfactors field, andinthis respect the festival adapts pledge loyalty toasingledisciplineoracademic broad umbrella ofunbridledcreativity anddonot contemporary artistsnowoperate beneath a creation anddigitalexperimentation? Many between electronic musiclinked toaudiovisual reasons canbesimple:where istheboundary ‘International Festival ofdigitalcreativity’. The focusing onsoundandmusic,isdescribedasan Mutek the Internet ofThings...). of digitalculture itself(privacy, DIY, transmedia, extends torelated areas, includingthefullrange a digitalandemergingmusicfestival that also software workshops, andlectures. In short,itis Festival stated inconnection with several physicalspaces andontheWeb. As mention festivals that take place inoneor On thesubjectofhybrids,we mightalso MUTEK’s programming intendstocreate asonic former] Facebook, taken from theEnglish version ofthe ‘mutation’. [About sectiononboththewebsite and ‘MU’ inMUTEKrefers consciously tothenotionof constant evolution andincessant refinement –the electronic musicanddigitalart.Thisisaworld of space that cansupportinnovation innew isanotherfestival which,despite , we willgraduallyseetheemergence #TwitterFiction Focus: Use of New Digital Technologies at Cultural Festivals 101 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E broadcast), a microphone or audio connection, or audio connection, a microphone broadcast), signal. Internet and continuous and a good tools not so new) some (and These new their and boost new audiences help reach chat as some of them feature participation, dynamism of lending way – an excellent boxes example. sessions, for answer to question and with incompatible And this is not necessarily does admission, as streaming maintaining paid physical experience, not extend the first-hand can be of what an idea it does give though even to be shared seen and allows a cultural event wanted to come by people who and enjoyed and it is some reason, unable to for but were tool in many promotional an effective therefore detail the will examine in greater We respects. and extended online content, use of streaming examples, in the chapter on interesting providing Digitisation. remembered that part of the quality is lost in the quality is lost in part of the that remembered

Google Hangout , or as a specific private , or as a specific private (a Twitter app for capturing capturing app for Twitter (a YouTube Periscope is needed is a good camera (it should be is needed is a good camera (it should an event live using a mobile phone), which a using a mobile phone), live an event to broadcast using already museums are few All that openings, seminars and conferences. on the website, or a mobile and social service and social service or a mobile on the website, such as broadcasting of an event using of an event broadcasting to connected is embedded the broadcast whereby service We thus find, for example, the use and for example, thus find, We is, the – that streaming of live application example to ask questions), digital art shows, example to ask questions), whole host of possibilities. exhibitions and a speakers give papers watched by dozens or by dozens watched papers give speakers who can become of spectators hundreds or messaging, for box chat a through involved events such as webinars (seminars, roundtables roundtables (seminars, such as webinars events one or several where conferences and online of more and more festivals that could be held be held could that festivals and more of more with occurring online, as is already exclusively #TwitterFiction #TwitterFiction , we will gradually see the emergence will gradually see the emergence , we is another festival which, despite which, is another festival space that can support innovation in new can support innovation that space of world music and digital art. This is a electronic – the refinement and incessant evolution constant to the notion of consciously ‘MU’ in MUTEK refers and section on both the website [About ‘mutation’. of the version the English from taken Facebook, former] MUTEK’s programming intends to create a sonic intends to create programming MUTEK’s On the subject of hybrids, we might also the subject of hybrids, we On in one or place take that mention festivals As on the Web. and physical spaces several with in connection stated Festival a digital and emerging music festival that also that festival and emerging music a digital the full range including areas, to related extends transmedia, DIY, itself (privacy, culture of digital of Things...). the Internet Mutek described as an on sound and music, is focusing The of digital creativity’. Festival ‘International is the boundary can be simple: where reasons to audiovisual linked music electronic between Many and digital experimentation? creation a beneath artists now operate contemporary and do not of unbridled creativity umbrella broad discipline or academic to a single pledge loyalty festival adapts respect the field, and in this with new factors in accordance and ‘mutates’ and, specific experience a to provide in order fulfil a specific mission: ultimately, software workshops, and lectures. In short, it is short, In and lectures. workshops, software Focus: Use of New Digital Technologies at Cultural Festivals 102 feelings. to gather people’s impressions, accounts and and duringtheweeks subsequent tothefestival happenings anddates of presentations or talks; on forthcoming activitiesandshare interesting during thefestival itselftoprovide information promotions duringtherun-uptofestival, and packs,onadvertising activitiesand example inconnection withbookingtickets concentrated onpre-festival campaigns,for happening allyear round. Postings are generally from culturalspaces where thingsare constantly means that theyusethesocialmediadifferently that theyrunfor a few specificdays ofthe year) The generallyephemeralnature offestivals (in followed byYouTube andInstagram. media site common, itistheuseofat leastonesocial both national andinternational, have in If there isanythingalargenumberoffestivals, communities 2.1. Socialmediaand 2. 2. NT BEFORE AND DURING THE FESTIVAL THE FESTIVAL NT BEFOREANDDURING – especiallyFacebook andTwitter, tools…). (social media,weblogs withsocialnetworking Web 1.0(forums) andWeb 2.0socialplatforms but soare newanddigitaltechnologies,suchas new economic modelsare partlyresponsible, is dueexclusively tosocioculturalchanges.The process neitherstemsfrom asinglefactor nor various, increasingly segmentedaudiences. This gone from beingalargemassaudience to intensively inthepast decade,thepublichas traditional sense.In recent years, andmore cultural organisations andthepublicin tables are beingturnedonrelations between In this respect, we are alsowitnessinghowthe their followers and contacts aboutthefestival. communicate with theorganisation orinform their two-way communication, asanyone can The goodthingabouttheseplatforms is previously hadfew channelsofcommunication). (through impactsonpassive spectators whohad tools –at leastnotintheold-fashioned sense The socialmediaare notmerely promotional Focus: Use of New Digital Technologies at Cultural Festivals 103 tell us that tell us that Resurrection Fest Resurrection AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E that are posted by followers, even showing them even posted by followers, are that with merchandise in their home environment, to note is interesting It and plenty of humour. customs fans’ spontaneous how they incorporate storyline, such as into the festival and practices way to the Almagro Classical Theatre Festival. Festival. Classical Theatre to the Almagro way can be these digital spaces other words, In even content, curating as tools for regarded and specific audiences, at targeted content collaboration. ideally with followers’ metal and heavy The organisers of the rock music festival one of the most important the social media are digital tools they use, if not the most important active a very one. They expect to achieve on Twitter, the year throughout presence They and Spotify. Instagram YouTube, Facebook, all from of thousands of followers dozens have on all these (but especially Spain) the world over a specific purpose sites, each of which is used for up regularly. and kept to share example, they use Instagram For images of the and promotional informative to the festival but also photos related festival, Facebook allows them to target people by them to target allows Facebook and to they ‘Like’), based on what interests, content third-party users’ and rebroadcast these media. posted on and other cultural festivals a few this respect, In as a means fields now view the social media mission in a similar event’s the of broadening aimed at specific audiences (for example, (for audiences specific aimed at combining combining ... 3 Almagro Classical Theatre Classical Theatre Almagro considers these tools to be essential considers segment communications and advertisements and advertisements segment communications media, they would not do without these sites media, they would should be because of their huge possibilities. It it possible to these tools also make that realised laborious to achieve the coveted engagement or the coveted laborious to achieve these social through of followers involvement audiences aged over 20). 20). aged over audiences it can be Although the organisers admit that the heritage of the Baroque period, including the heritage of the Baroque which and Twitter, Facebook (through its plays most widely used by of the platforms two are furthering the aims and mission of this festival furthering the aims and mission of this festival – namely to disseminate the year throughout For example, the For Festival but also for engaging with its audience, for different approaches and purposes and approaches different are usually our most loyal audience, though the audience, most loyal usually our are close, through can also be improved relationship communication), and active constant community and boost audience loyalty (on the (on loyalty boost audience and community followers most active the understanding that (disseminate, promote and encourage…) by by and encourage…) promote (disseminate, in order other content its own and/or curating a impact; or to strengthen to cause a greater of informing audiences in real time before and before time in real audiences of informing They can also be used to during the festival. the mission of the event and extend explore strategic approaches and different audience audience and different approaches strategic as a means sites can be employed These profiles. the most of them. find different social media, we the use of As for in connection with crowdsourcing, together with together with with crowdsourcing, in connection how to make of new technologies and the role and more information to active participation as as participation to active information and more We co-creators. or even promotors producers, on depth later point in greater will examine this have some kind of control over or role in cultural role or over control some kind of have range from may This involvement production. variety to choose from greater simply having is obsolete. Audiences are now groups of people now groups are Audiences is obsolete. or to some way, in involved to become keen What is more, the model of a passive audience audience the model of a passive is more, What is scheduled whatever along to enjoy who comes Focus: Use of New Digital Technologies at Cultural Festivals 104 values. is importanttopersevere over timeandwith metal musicsector. Withthesedigitaltoolsit with thewholeSpanish andinternational heavy have beenworking onthisfor years, day byday, sensation ofcommunity around theevent and to work with.Theyweave networks, builda tools provide anessential‘two-way channel’ According totheteamoforganisers,these on theirwebsite anddisseminate online. content managerwhichtheyfurthermore embed this respect theyuseYouTube asachanneland uploaded around thetimeof2015edition). In concerts ofpasteditions(the 2014concert was the previous year’s gigs.They alsoshare entire of whentheywilluploadthebestmomentsfrom appreciated concerts andpostthedate andtime they focus onthelongest-awaited andmost manage tocreate plenty ofexpectation, as presales for thenextedition.Theorganisers the previous year’s concerts, aswell aslaunching Fest uploads toYouTube recordings ofsome Furthermore, around November, Resurrection the organisation’s messages. very active inpostingcomments andreposting festivals. Once again,we findthat followers are the festival andasanalbumfor imagesofthe as theydoTwitter andInstagram: todocument they useFacebook invery muchthesameway Taking avery similarapproach totheiraudience, aim toattend tothemallindetail. received withthesame degree offamiliarityand they reply almostimmediately toallcomments forthcoming edition,#RF2016). In addition, (for example#RF2015 or, withaviewtothe of tweets from fansunderpreferential hashtags generate conversation. We findasteadyflow about variousactivitiesandpromotions andto They useTwitter bothtoprovide information emphatic hashtagssuchas#resudisfraz. and dress upincostumes, withrecursive and a few whohave beenattending for several years 2. NT BEFORE AND DURING THE FESTIVAL They useYouTube toshare promotional videos, more subjective angles). more familiarorcuriouspictures (taken from these are postedonInstagram togetherwith high-quality pictures ofpasteditions;some They alsouseFacebook photoalbumstoshow transparent manner, boostingvisitorconfidence. reviews tothepresentation ofbudgetsina ranging from theactivitiesthemselves andpress share newsandnovelties related tothe festival, The organisersuseFacebook andTwitter to evolution andvisibilityofthefestival. presence iscausingasignificantimpactonthe has thousandsoffollowers anditssocialmedia (Facebook, Twitter, Instagram andYouTube), it Although present ononlyfour platforms social mediastrategy over itspastfour editions. Festival The Greco-Latin theatre. that are unprecedented for afestival devoted to achieve avisibilityand contact withtheaudience crucial importance astheyhave enabledthemto they consider andstress that thesetoolsare of boundary isbecoming vaguer). In hindsight, creating networks whoseonlineandoffline people from theculture sector(once again, working andcultivating relations withinfluential The festival’s organisers stress theimportance of social networks. distributing thiscontent onothermediaand to perform at thefestival andsubsequently national andinternational actorswhoare due advantage ofthewell-known andpopular they useittocreate theirowncontent, taking encouraging peopletoattend. In otherwords, few minutestosomeaspectoftheirrole and plays that are duetobeperformed, devoting a featuring someofthemaincharactersin the festival begins,theyprepare asetofvideos have taken partinthefestival. Months before and interviewswithsomeoftheartistswho fragments andsummariesofperformances, Mérida International ClassicalTheatre hasestablishedanddeveloped its know howtomanageit. They combine public media (traditional anddigital).Theorganisers and artistsinvolved create plentyofnoise onthe the cityofGirona), aswell asthelistofworks places andvenues inCatalonia, especiallyaround 2015, theactivitieswere plannedindifferent geographical location (for thelatest editionin Its significant extensioninbothtimeand festivals inSpain. most prolific (running for more thanamonth) the rest ofthesocialmediausedbyone the Focus andwill therefore concentrate more on greater detailinone ofthelastsectionsthis dossiers asinthecaseofthisfestival, etc.)in digitising related documentation (catalogues, We willanalyseIssuu asatoolfor sharingand Twitter, Flickr, YouTube, Issuu andInstagram. Temporada Alta The theatre andperforming artsfestival functioning sustainable. ticket purchase process that makes thefestival’s buying tickets withaway offacilitating the to findfurtherinformation andthinkabout provide peoplewhogoonthesocialmedia rather, theyplay animportantrole inthat they the socialmediaare notusefulindirect sales; it hasbeenproven inmanyothersectorsthat that theyselldirectly viathesocialmedia,as ticketing more accessible andefficient. Itisnot online ticket saleschannelsaspossibletomake They alsoconsider itessentialtohave asmany mainlyusesFacebook, Focus: Use of New Digital Technologies at Cultural Festivals 105 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E or reposts of images from other accounts, accounts, other of images from or reposts original post). of the acknowledging the source They then stop using this visual social medium been have American edition (there after the Latin poster images, advance ticket sales, and the ticket poster images, advance conference. press action is further stepped near, draws As the date and the up by announcing the programme of the part in the first days taking companies the During which begins in October. festival, which on the activities, only information festival this For is shared. in number, considerable are about the number careful very they are reason choosing than four), more of daily posts (no in the afternoon, and midday times – at strategic and check their when people stop working to receptive more and are personal accounts and culture. on leisure information material they share on Instagram Furthermore, of the shows images promotional ranging from to photographs of the to be performed yet or of some of the guest companies, formation regrams through memories (even audiences’ own identity and established reputation in the in reputation and established own identity arts. performing the and repost they harness Twitter On on this platform, noise generated considerable and reminders information interspersing it with This information works. about forthcoming and opinions comments positive ranges from the mentions, articles to all left by followers have that reviews press and local and national endless for a vehicle is therefore It been shared. its strengthening for and impacts on followers of a high standard. image as a leading festival is less intense by on Facebook Activity with the other social media, As comparison. on is focused the year activity throughout or artists featured sharing news of the works intense more becomes It editions. in previous when the organisers launch the August, around relations with press relations and the festival’s festival’s and the relations press with relations mainly uses Facebook, mainly uses Facebook, know how to manage it. They combine public know how to manage it. They combine and artists involved create plenty of noise on the create and artists involved and digital). The organisers media (traditional 2015, the activities were planned in different planned in different 2015, the activities were especially around in Catalonia, and venues places as the list of works as well the city of Girona), Its significant extension in both time and Its edition in the latest (for geographical location festivals in Spain. festivals Focus and will therefore concentrate more on on more concentrate and will therefore Focus social media used by one of the of the the rest than a month) for more (running most prolific digitising related documentation (catalogues, (catalogues, documentation digitising related etc.) in dossiers as in the case of this festival, detail in one of the last sections of this greater Twitter, Flickr, YouTube, Issuu and Instagram. and Instagram. Issuu YouTube, Flickr, Twitter, sharing and as a tool for will analyse Issuu We The theatre and performing arts festival arts festival and performing The theatre Alta Temporada ticket purchase process that makes the festival’s the festival’s makes that process purchase ticket functioning sustainable. provide people who go on the social media people who go on the social provide and think about to find further information the of facilitating with a way buying tickets it has been proven in many other sectors that sectors that in many other proven it has been sales; in direct not useful are the social media they in that an important role they play rather, ticketing more accessible and efficient. It is not It is and efficient. accessible more ticketing media, as via the social they sell directly that They also consider it essential to have as many to have it essential consider They also make as possible to sales channels online ticket Focus: Use of New Digital Technologies at Cultural Festivals 106 think better) andare recorded specially ina A-level exams(basicallytohelpthemwriteand designed tohelpstudents prepare for their Festival account). Thesethree-minute videosare ‘Hay Levels’ (inparalleltotheofficial Hay accounts anduploadfrom theYouTube account they generate torepost itontheirsocialmedia Special mentionshouldbemadeofthecontent varied content onthelatter. and Facebook, withabiggerpresence andmore all aspectsofwriting.Theyare onbothTwitter furthering itsmissiontocelebrate andpromote also, from timetotime,bythird parties,thereby repost content generated at allthefestivals and is toshare information, promote theevents and The mainpurposeofthesesocialmediaaccounts main language). are managedindependentlyinthehostcountry’s has itsownFacebook andTwitter profiles which year (itisinteresting tonotethat each edition editions heldinseveral countries throughout the festivals intheliteraryworld, withvarious HAY Festival gauge festival goers’degree ofinvolvement. festival’s presence onthesocialmediaandalso products. Thishelpsmake anoise,bolsterthe various prizes suchastickets orsetsofsponsors’ Depending onthecontest, winnerswere given hashtags (#OaSiTA, #ReviuTA…). them onthat socialmediasiteunderaseriesof take photographswithamobileonlyandshare masks. Anyone wishingtotake parthadto Another wasfor children wearing theatre photographs related tothefestival ingeneral. the startofaperformance. Anotherwasfor goers were encouraged totake aselfiebefore For example,for oneofthecompetitions festival that otherfestivals are alsostartingtoadopt. five simultaneous contests on Instagram –aploy In 2015,toencourage participation, theyhosted when theyconcentrate onthenewedition. three sofar) untilthebeginningofSeptember, 2. NT BEFORE AND DURING THE FESTIVAL is oneofthemostimpactful media theyare on.Every shared videogenerates organisers repost themontheothertwo social However, given thetopicsdealtwith, to theseexaminations. thinkers whoexplainaparticularsubjectrelated studio byleadingwriters,artists,researchers and under thenameofKosmopolis, and onTwitter it videos oflectures and activitiesheldregularly (CCCB). Thisenablesittoshare content suchas Centre deCultura Contemporània deBarcelona festival) at itsoperational headquarters,the activities (once again,theconcept ofamplified various editionsitstagesahostofrelated Although thefestival isbiennial,between the Pinterest, Vimeo andFlickr. and Twitter profiles and content gallerieson and two-way communication. It hasFacebook to thesocialmediaasvehicles for dissemination spoken, digitalandprintedword amplified literature ‘ new technologies(itdefinesitselfa festival of literature, storytelling andnewmedia, is strongly focused onbringingtogether Festival Kosmopolis specially for digitalformat short videowithsomeoftheirguests on theirofficialchannel,andthe occasional interviews andlectures recorded at festivals as canbeseeninFacebook. Theyalsoshare a goodlevel ofconversation –for example, in manifestations ofthe , which,asstated earlier, . 4 5 ), iscommitted

recorded studio by leading writers, artists, researchers and reposts content related to other activities carried or presentations given on it, sometimes thinkers who explain a particular subject related out at the institution, as well as third-party accompanying them with images. They use to these examinations. activities from time to time on related issues Facebook more extensively for this purpose, (literature and storytelling, specific genres…). always accompanying these excerpts with images, as in recent years greater importance However, as the festival date approaches, the has been attached to the visual aspect for organisers set in motion a protocol to intensify communicating and reaching audiences better and give impetus to their social media activity on this social media site. (which is begun nearly half a year beforehand), providing staggered information on the schedule, It is interesting to note how they give impetus names of guests, themes, articles and own to Facebook throughout the year, as well as content on the festival’s website and links to sharing some of the content generated during related third-party content, making greater noise the festival on it, such as the abovementioned and sparking increasing comments. videos. But the quotations from works belonging to the genre or from historical figures seem to During the festival they give priority to managing be their own and could well be taken from a content on what is going on in real time at mystery or suspense novel. the roundtables and conferences held on its However, given the topics dealt with, the activities sporadically, seeking to encourage Whereas they post short messages on Twitter organisers repost them on the other two social people already present to take a look at the more frequently, given their short-lived nature, media they are on. Every shared video generates upcoming activities. Finally, when the festival occasionally accompanied by images, once again a good level of conversation – for example, is over, they continue with the ‘post’ phase in they do so more extensively on Facebook and as can be seen in Facebook. They also share which they basically gather together everything accompanied by a related image, always duly interviews and lectures recorded at festivals that has taken place and the content generated, credited, or even a soundtrack that somebody on their official channel, and the occasional as well as posting accounts of the activities on already posted on YouTube. Their approach is short video with some of their guests recorded their own website. therefore more orientated to curating content specially for digital format.4 that inspires and entertains their followers, with This is an interesting case in that the website whom they remain in continuous contact Festival Kosmopolis, which, as stated earlier, evidently becomes a ‘social’ tool, as it is placed at throughout the year. is strongly focused on bringing together the disposal of the entire digital communication literature, storytelling and new media, and strategy implemented through the digital new technologies (it defines itself a festival of platforms on which the festival has profiles. amplified literature in‘ manifestations of the spoken, digital and printed word5), is committed Getafe Negro, the Madrid detective novel to the social media as vehicles for dissemination festival, uses only Facebook, Twitter and YouTube. and two-way communication. It has Facebook Like many other festivals, it steps up action and Twitter profiles and content galleries on on the first two around the time of the event, Pinterest, Vimeo and Flickr. starting two weeks before and sharing activities, but also providing a brief account of the activities Although the festival is biennial, between the on at the time. On YouTube, in contrast, it various editions it stages a host of related shares videos of the entire roundtables and activities (once again, the concept of amplified presentations, as well as launching a cover design festival) at its operational headquarters, the to link this content to its brand and give it a more The fantasy, horror and science-fiction literature Centre de Cultura Contemporània de Barcelona coherent and integrated appearance. festival Celsius 232 (a reference to R. Bradbury’s (CCCB). This enables it to share content such as Fahrenheit 451) is an example of an approach videos of lectures and activities held regularly On Twitter, for example, the organisers to the social media centred on all the fandom under the name of Kosmopolis, and on Twitter it quote a few excerpts from the roundtables of Spanish (and partly international) fantasy

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 107 Focus: Use of New Digital Technologies at Cultural Festivals 108 people since thefirstedition ofthe festival. but theyhave alsobeenincontact with these knowledge oftheirpreferences andtastes, genre), thefestival’s organisershave first-hand In thecaseofsecond audience (fans ofthe involved andwhichare basedinthecity. on thesocialmediaactivitiesinwhichitis bookshops, thefestival alsohelpsdisseminate of thecity, orjoiningforces withagentssuchas programme throughout theyear onvariousparts part ofthecity’s identity. Apartfrom focusing the the event isheldeachJuly, embrace thefestival as lies inthefactthat thecitizens ofGijón, where In the caseoffirstaudience (local),itsinterest as partofawhole. and typesofcontent ituses,notseparately but genre. Thesocialmediaare oneofmanytools two audiences: locals,andenthusiastsofthe how itoperates ingeneral,andistargetedat Its communication strategy iscloselylinked to compared tootherslistedhere). of afestival witharelatively smallbudget (it shouldbeaddedthat itisalsoagoodexample impetus tothecommunity before eachedition with respect tocommunicating andgiving Twitter, whichare sufficienttomeetitsneeds This festival onlyhasprofiles on Facebook and together theabovementioned pieces. the dynamicsisanotherkey tosuccess infitting well connected withotherfans). Understanding to begreat fansofthesegenres andare usually the fantasy, horror andscience-fiction fields tend communities (many professionals andartistsin blurred for sometimeinscience-fiction and professional (publisher, etc.)have been The boundariesbetween fan,writerorcreator to create andconsolidate culturalfabric. one ofthemanyinstrumentsorganisersuse audience, but only works of Gijón, inthesensethat thefestival not and science-fiction togetherwiththecitizens 2. NT BEFORE AND DURING THE FESTIVAL for them with them , astheyare essentiallyits . Thesocialmediaare organising dinnerswithafew authors,informally an initiative taken bysomeoftheattendees of own’. By thistheyare referring, for example,to connection withthefestival asiftheywere our important –to‘capitalise onactivitiesheldin us that theydonottry–andbelieve thisisvery can buyoneofthebookspresented). Theytell asks ifanillustrator iscoming orwhere they other localevents (for example,whensomeone necessary redirecting themtobookshopsor They always answer allfollowers’ queries, if event’s team. for attendees, whichisvery importanttothis experience muchmore valuableandlong-lasting local andaudience networks makes the straightforward way. Theyfindthat improving involvement inthem,avery familiarand and knowhowtogenerate debate orstimulate related tothefestival (publishers, authors…) They supportinitiatives withsomeoftheagents who return year after year. expectations amongtheunconditional followers one oftheactivitiesthat arouse thehighest film screenings, prizes and Zombie Walk, the timeoffestival inrelation toactivities, festivals, communication isintensifiedaround and presentations. Once again,aswithother approaching, aswell asduringpress conferences has beengenerated or whenthefestival is the otherthree are usedonlywhencontent two throughout thewholeyear, whereas and Foursquare accounts. It usesthefirst It hasFacebook, Twitter, Instagram, YouTube also hasaninteresting socialmediastrategy. Catalonia The eclectic viewofthesetools. actions are basedonthisdeeperandmore or between onandoffline.Alltheirsocialmedia do notdistinguishbetween onandoff-screen, attend. In takingcare ofthecommunity, they to itsoriginalorganisers,theenthusiastswho acknowledge that theinitiative belongssolely the initiative through thesocialmedia,but known asthe‘Celsius dinners’. Theysupport International Fantastic FilmFestival of (popularly knownasSitges Festival) Focus: Use of New Digital Technologies at Cultural Festivals 109 is a film festival specialised in festival specialised is a film AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E Dailymotion for separate purposes. The former purposes. The former separate for Dailymotion to the festival sharing videos related is used for and clips, the trailer of each in general (trailers of some of and footage edition of the festival, while the activities such as openings or prizes), film genres and screenings of this kind in the screenings and film genres to all is to reply cinemas. Their philosophy city’s and to repost received queries and comments and mentions by comments the most grateful culture other agents of the audiovisual and sectors, among others. only, during the festival They use Instagram a by posting beforehand, weeks beginning two with the forthcoming images in connection few 2014 they also launched an activity edition. In the for with tickets – a draw prizes featuring films – in of the prizewinning special screening in a taken post a picture could which attendees using a specific of the festival particular corner all the photos posted by allow hashtag (to which is less social, is Flickr, users to be found). used to handle the official photographs of each on the Internet. edition to be shared and They use the video channels YouTube profile. In a sense, it is evident that social media social evident that In a sense, it is profile. but are many processes facilitate technologies weaving of process the whole for no substitute fabric. the cultural L’Alternativa are those that especially genres, specific very mainstream in cinemas or at not easily found The festival hidden visible’. the it ‘makes festivals: and media sites – Facebook is on various social and Dailymotion, YouTube Google+, Twitter, blog. – and also has a and Flickr Instagram The media the organisers use continuously and Twitter. Facebook are year the throughout see and during the festival around The days they share the most action, as it is then that and presentations about screenings, information they also of the year but during the rest prizes, to alternative and news related post information Facebook, for example, where they have a high they have example, where for Facebook, through the degree of interaction they achieve in they achieve of interaction the degree through They have gained visibility on the digital They have some of the abovementioned through platforms and with other organisations collaborations fantasy film sector (including fans) have been have fantasy film sector (including fans) and dynamics. vital to achieving their objectives Apart from online networks, in recent years years in recent online networks, Apart from with the local relations to cultivate their efforts and with the of the town of Sitges community team of three people devoted specifically to this specifically to people devoted team of three task. the festival, which is when interaction of this the festival, a this time they have kind intensifies. Around extremely important to them to reply to all the important to them to reply extremely which they receive, questions and comments especially during the run-up to answers, require The organisers furthermore tell us that it is tell us that The organisers furthermore year they thus supply content of interest to fans of interest they thus supply content year help disseminate and likewise of these genres films of this kind. and publishers) and even other minor regional regional other minor and even and publishers) the festivals. Throughout film and fantasy horror collaborated in some way, or with media and film or in some way, collaborated film academy, institutions such as the Catalan society of authors, composers the SGAE (Spanish in conjunction with other organisations in with other organisations in conjunction as such and Catalonia, area the Barcelona books on which they have launches of related During the year they also stage activities the year During fantasy and horror film world have taken part taken world have film fantasy and horror practically the cover they in its 48 editions that whole of the genre. Even so, so many significant agents from the significant agents from so, so many Even or if any of the main people (actors, directors, directors, people (actors, or if any of the main all news, but or related win prizes, producers…) itself. with the festival in connection and follow-ups throughout the year of films of films the year throughout and follow-ups example, editions – for previous at presented theatres, in major premiered when they are promotions and competitions (such as (such and competitions promotions on) later will be examined which Phonetastic, The organisers’ Twitter and Facebook strategy strategy and Facebook Twitter The organisers’ activities, on current information is to post Focus: Use of New Digital Technologies at Cultural Festivals 110 For example, them totheirfavourite playlists. events andallowother userstofollow andadd music related tothegroups whoperform at their accounts tocreate aprofile and compile listsof festivals. Theorganisersusethefestival’s Spotify Deezer engage withaudiences is platforms mostwidelyusedtocommunicate and Going backtomusicfestivals, oneofthe appropriately. must bedesignedvery strategically and parents andlegalguardians) thecommunication they mustbebrought andenrolled bytheir (although theactivitiesare aimedat children, and articles.Astheaudience issospecial impact ontraditionalmedia,suchaschronicles review someofthecontent that hashadan organisers present thevariousactivitiesor Using avery familiarandfriendlytone,the Facebook, for example). aged under14are notallowed toregister on on parents andtutorsthanonchildren (minors with Facebook andTwitter thefocus ismore to sectorprofessionals, asisonlylogical,while YouTube andLinkedIn. Thelatter isgeared more divided between Facebook, Twitter, Google+, The festival’s presence onthesocialmediais another ofthemostimportantfactors. participation ofthisvery specialaudience is what issometimescalledmedia‘literacy’. The children agedover four, inorder toachieve on promoting thequalityofvisualculture in of filmandthenewmedia,is centred to familiariseyoungsters withthelanguage the autumnholidays intheNetherlands. It aims children andtakes place inAmsterdam during audiovisual world (includingnewmedia) for CineKid Festival professionals. roundtables andpapersgiven inthesectionfor on Dailymotion theyonlyshare videosofthe 2. NT BEFORE AND DURING THE FESTIVAL . Theformer isfairlypopularwithSpanish Primavera SoundFestival isanevent focused onthe Spotify , followed by began meanwhile. website theycanviewandplay thetracks refined website, sothat whenusersbrowse the embedded, astheorganisershave doneontheir Deezer) isthat itallowsaplaylist tobe about thisplatform (though thisalsoappliesto and poststhempermanently. Thegoodthing venues suchasNOSPrimavera Sound(Portugal), PrimaveraPro) anditsseparate editionsinother festival (Primavera Sound,showcases of compiled several for eachsectionofyear’s only oneplaylist, butover theyears ithas using Spotify in2011.During thefirst year ithad so); therefore, compiling aplaylist speedsupthis already boughttickets orare thinking ofdoing those theyalready know (whether theyhave to thosetheyare notfamiliarwithandeven first things followers doissearch for andlisten performers have beenannounced oneofthe festival’s content, asafterthenamesof communication withthegroups, that isthe is more popularinFrance, for example): in Spain andothercountries, whereas Deezer (the mostwidelyusedonlinemusicplatform Several thingscanbeachieved through Spotify Spain. the bestandisareference pointinthisgenre for this playlist iscommonly recommended among section underthe one year. What ismore, ifyou gotothe and makes itavailable long inadvance, nearly music andalbumsoftheartistsduetotake part extensive playlist for eacheditionfeaturing the In contrast, Resurrection Fest Explore menu,you willseethat compiles onlyone Metal using Spotify in 2011. During the first year it had process by facilitating the search and creating The festival focuses on both music and the arts only one playlist, but over the years it has a more enjoyable festival experience. Around and is entirely dependent on its community7 to compiled several for each section of each year’s the time of the festival, these playlists motivate curate the content more effectively (for example, festival (Primavera Sound, showcases of future attendees even more. And it is not a good many artists and creators belong to PrimaveraPro) and its separate editions in other unusual for a festival’s followers to compile their the community, but there is also an extensive venues such as NOS Primavera Sound (Portugal), own playlist, as with Afropunk.6 forum like those of ten years ago where related and posts them permanently. The good thing information is shared), to recruit volunteers who about this platform (though this also applies to Returning to the main issue, one of the benefits help make the event possible and reduce costs Deezer) is that it allows a playlist to be we are seeing with social media platforms (with efforts shared among more than 4,000 embedded, as the organisers have done on their is how they are used to generate or rather volunteers in various posts and with various refined website, so that when users browse the give momentum to a community made up of tasks) and to grow as a cultural statement so website they can view and play the tracks different types of followers and fans of a brand as to enhance the festival experience, among meanwhile. – for example, a festival – who can range from other reasons. Afropunk is an entity that is made people interested in its theme and the content it up of the community, the festival itself and the shares on social media sites to faithful attendees content it shares in the form of very carefully who never miss an edition. written weekly newsletters.

We can also identify different degrees of The community also votes on the groups that involvement and what they yield in return. For perform, who are presented as candidates by building a community entails more than just members of the online community. This social sharing interesting links and waiting for people way of working begins on the social media sites to respond or share them. It involves joining but continues in the forum8 and in face-to-face forces in public relations (however minimal) on format, by creating networks and cultural fabric and off-screen – as witnessed in a few cases such with young creators too. as the Celsius 232 festival – and ensuring that In contrast, Resurrection Fest compiles only one attendees have a good experience during, before extensive playlist for each edition featuring the and after the festival in order to shape them into music and albums of the artists due to take part a cohesive network and cultural agent that is and makes it available long in advance, nearly part of the festival’s value. one year. What is more, if you go to the Metal section under the Explore menu, you will see that The concept of a community proper as opposed this playlist is commonly recommended among to a 2.0 audience is well illustrated by the case of the best and is a reference point in this genre for Afropunk Fest, whose participants are grouped Spain. together in a community who meet at the festival. It started out in 2003 as a project for a Several things can be achieved through Spotify documentary on Afro-American underground Its presence on conventional social media (the most widely used online music platform culture. More than a documentary on music, sites (Twitter, Instagram and Facebook) is in Spain and other countries, whereas Deezer it raised issues and debates on being black, geared more to disseminating African and is more popular in France, for example): so-called interracial relations, black power… In Afro-American art, creativity and culture – even communication with the groups, that is the 2005, after sparking an online movement and down to the clothing worn by festival goers, festival’s content, as after the names of the congregation based around these ideas, it came which plays an important role in this cultural performers have been announced one of the into its own as a festival that reflected the activism. These social media are also used to first things followers do is search for and listen energy and ideas that had been brewing since announce the festival schedules and promotions to those they are not familiar with and even then and has evolved into a rich community. and, naturally, for advance sales of tickets. The those they already know (whether they have What we describe here could also be addressed involvement of this community is an outstanding already bought tickets or are thinking of doing later in the section on crowdsourcing. case that deserves to be examined in greater so); therefore, compiling a playlist speeds up this

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 111 Focus: Use of New Digital Technologies at Cultural Festivals 112 websites indigitalformat (usually pdffiles) events chosetoposttheirprogrammes on their A few years agosomefestivals andcultural the size ofapocket bookwith several pages. programmes, printedpublications usually This usedtobedonethrough paper so that attendance ofactivitiesisoptimised. that theycancustomise theirownagendaand simultaneously indifferent rooms or venues, so it iscomplex orfeatures activitiesheld informed oftheschedule,especiallyif It isvery importanttokeep festival goers 2.2. Ownapps communication channels! have somuchmore tooffer thanold-fashioned of committing toaudiences. Thesocialmedia experiment withnewforms ofcommunicating, relative permanence ofcontent), butalsoto and instantresponse andasynchrony or simultaneousness, acombination ofsynchrony their socialnature (two-way communication, with thefestival, toactinconsonance with social platforms in amannerthat iscoherent The mostimportantthingistousethese communicating onthescalerequired bysociety. have embraced thesetoolsasmajorportalsfor users andthegreat majorityoffestivals, which of maturation intheeveryday practice ofboth In thisregard, what we are observingisaprocess relations intoday’s world. for structuringcomplex anddelicate human as socialmediasitesare tools–platforms goals. There isnosingularorperfect formula, on theparticularfestival’s mission,identityand visibility. Thestrategy andtacticsuseddepend therefore entailsmuchmore thanachieving Establishing apresence onthesocialmedia and create culturalfabric. digital toolstoachieve newparticipation levels detail inorder to studythepossibilityofusing 2. NT BEFORE AND DURING THE FESTIVAL Developing anappallowsalmostunbounded Now everything canbeincludedinanapp. downloading them). the event provides QRcodes orlinksfor downloading themduringtheevent (sometimes these pdfsdirectly ontheirphonesoreven lion’s share ofsociety, usersstartedreading smartphones andtheirrapidadoptionbythe print thepdffile, following theemergence of whereas previously peoplewould downloadand an obviousexplanation for thisdevelopment: and afew otherinteresting features. There is include thefullprogramme, related information been developing mobileapplications (apps) that But inrecent years more andmore festivals have costs andenvironmental impact). in advance, andtosave onprinting(financial difficulty findingthefull programme several days as well, sothat visitorswould nothave any For example,ifsomeonedownloads a festival’s connected totheuser’s socialmedia accounts. Another recurring aspect isthat anappcan be would beiftheydiscovered thisfor themselves. positive experience isnotmarred asmuchit informed before orduringthefestival andtheir characteristics oftheapp) sothat visitorsare in real time(italldependsonthetechnical and informally, theappcanbeupdated almost modified, orifanotherarisesspontaneously management: ifanactivityiscalledoffor Apps have anotheradvantagefor thefestival’s festival apps. to ticket salesisanothercommon feature of is includedintheprogramme. Andrapidaccess artists…) ifamechanismbasedonusers’choices recommendations (other activities,other of amusicfestival), andtoreceive related fully tothefestival) orbystyle(inthecase because theyintendtodevote that day are mostinterested in), bydate (for example, filter activitiesbyartist (to findthosethey benefits: itcanbedesignedtoallowusers creativity andalso bringsorganisersseveral It hasfive sections: different graphicsand memory loadcapabilities). an importantfeature, asevery smartphonehas It isasimple appthat isquicktoload(this is the city’s council. based ontheAgenda Cáceres appdeveloped by in collaboration with theConsorcio Gran Teatro, has focused strongly ondeveloping itsownapp not having anindependentwebsite ofitsown, The ordinary Internet browsing). mobile Internet platforms ingeneral(including computers) in2014,parallelwiththeuseof of desktopInternet (on desktopandlaptop (social media, services…) surpassedtheuse information andvarious interactioninterfaces total timespentonmobileappsaschannelsfor furthermore growing. The useofnative mobileapplications is website. among thelinksdisplayed onthefestival’s with theAndroid operating system) andvisible from GooglePlay for otherdevices (equipped iTunes (for iOS, that is,Applesmartphones) and apps tobeavailable from boththeAppStore- And lastly, anincreasingly essentialaspectisfor this kind. can directly allowtheapptodiscover matches of any oftheirfriendsandcontacts are going) or social mediaprofiles (for example,tofindoutif what theyare goingtodoat thefestival ontheir app inpreparation for attending, they canshare Cáceres ClassicalTheatre Festival Ahora According toComScore (providing real-time , despite 9 , Focus: Use of New Digital Technologies at Cultural Festivals 113

Películas Favoritos Proyecciones Proyecciones (locations) (locations) Ubicaciones function where users can function where . (referring to the various to (referring Localizaciones Noticias , which facilitates visitors’ experiences. visitors’ experiences. , which facilitates also has its own app. Like other Like also has its own app. Categorías (initially displaying the days the festival the festival days the displaying (initially International Fantastic Film Festival of Film Festival Fantastic International AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E There is also a There also posted on which are find news and updates, of the course throughout website the festival’s the festival. one, as it should also be borne in mind that mind that one, as it should also be borne in ends festival people stop using the app after the on mobiles). up memory space apps take (and on information The app provides which is distinguished from (screenings), found in another section, which can be (films), and on the various place. other activities take these and where on, it is easy is clicked one of the three When one to another when browsing. to go from such as exhibitions on side events Information section, in a separate can also be found paralelas Actividades of to note the possibility is interesting It another of the through tickets purchasing the screen through as functions, as well app’s Users can tag specific activities. displaying and then use the function activities as favourites agenda Mi users of what is on and forthcoming activities), activities), on and forthcoming is what users of Agenda want to they can choose what users runs so that the whole festival than displaying rather explore once), at such as Ambientación sections of the festival, section), de Calle or the official about the various information (providing when place; takes the action where locations the events they display a user clicks on them as during the festival, those venues scheduled for and up to Google Maps) as linking well using a small can mark as favourites (users most button the activities they find heart-shaped not to lose sight of them) so as interesting The Catalonia each edition (the an app for it releases festivals, same the than updating rather first was in 2014) content while the festival is running, informing informing is running, while the festival content , 9 , despite (providing real-time real-time (providing According to ComScore to According Ahora Cáceres Classical Theatre Festival Classical Theatre Cáceres It has five sections: has five It It is a simple app that is quick to load (this is is quick to load (this is a simple app that It smartphone has as every an important feature, graphics and memory load capabilities). different the city’s council. the city’s in collaboration with the Consorcio Gran Teatro, Teatro, Gran with the Consorcio in collaboration by app developed Cáceres based on the Agenda The of its own, an independent website not having its own app on developing strongly has focused ordinary Internet browsing). browsing). Internet ordinary of desktop Internet (on desktop and laptop (on of desktop Internet with the use of in 2014, in parallel computers) in general (including platforms mobile Internet total time spent on mobile apps as channels for channels for total time spent on mobile apps as and various interaction interfaces information use surpassed the media, services…) (social The use of native mobile applications is mobile applications The use of native growing. furthermore among the links displayed on the festival’s on the festival’s displayed among the links website. from Google Play for other devices (equipped (equipped other devices for Google Play from and visible system) operating with the Android And lastly, an increasingly essential aspect is for for essential aspect is an increasingly And lastly, both the App Store- from apps to be available and smartphones) is, Apple that iOS, (for iTunes can directly allow the app to discover matches of matches to discover allow the app can directly this kind. social media profiles (for example, to find out if example, to (for profiles social media or going) are friends and contacts any of their app in preparation for attending, they can share can share they attending, for app in preparation on their the festival going to do at they are what The Grec Festival of Barcelona, a performing The app of Festival Cruïlla has a similar arts event, has also had an app since the past structure to the previous ones (the function is 2015 edition. The app has a very striking visual basic but important: to keep attendees informed design featuring close-ups of prominent shows. simply and instantly), and is notable for the use The dropdown menu includes the Programa of Deezer, an online radio service that integrates (Programme) divided into the festival’s various it smoothly into other apps, for which the sections (Music, Circus, MiniGrec…), a display of festival has compiled a playlist. Users can listen the Calendario (Calendar) that also shows side to it as if they were using any other online radio activities held outside the festival throughout app (like Spotify or SoundCloud). the year (it includes a filter to separate the activities of a particular section of the festival), It is also interesting to explore the possibility information on the various spaces, Favoritos of connecting the app to the digital wallets of (Favourites) tagged by the user (as we have seen payment wristbands – a type of wearable that in other apps), general Información (Information) will be examined in further detail in due course. of interest, information on purchasing Entradas The app can be used to access the money in the (Tickets) (though they can buy them instantly by wallet for expenses during the festival. It also clicking on a performance in the calendar and includes a news feed featuring updates posted being redirected to the festival’s website for to the social media where Cruïlla has an account: online ticket sales). Twitter, Facebook and Instagram.

The homepage of the Sónar app features a feed of up-to-date news on all its festivals, including the insignia of Barcelona, where users can select the festival they want to browse by city. Once inside one of the cities, the structure is similar to the previous apps. This app is notable for the use of background publicity posters and images which do not hinder browsing, as the icons are clearly visible and distinct. It is also interesting to note that this app uses the Deezer service to display an online radio station as a lower screen bar, which plays samples of music performed by the artists included in the festival programme.

Mention should also be made of the app developed by the San Sebastían International Film Festival. Funded by Movistar (one of the official sponsors), so the organisers tell us, after an animation conveying the image of the edition, the initial screen displays the latest news about the festival and a fixed horizontal menu in the left-hand margin that redirects users to the Portada (Cover or homepage), more related news (by clicking on Actualidad), Películas (Films) whose first screen shows the different sections of the festival, the Programa (Programme), the Movistar highlights section and Más (More),

114 2. NT BEFORE AND DURING THE FESTIVAL which features new submenus on a new screen recommendations for the festival based on the providing access to profile and favourites, tastes they indicate on the social media site, by videos and images (trailers, press conferences…) means of a specific programme. and other information of interest. It is easy to browse. Finally, the app includes sections that are directly linked to real-time feed or posts on the social Like other festival apps, it allows users to tag media the festival uses (that is, Twitter, Facebook films as ‘favourites’. When users click on each a and Instagram), which can be especially useful submenu is displayed beneath the main image during the festival as they provide additional with a synopsis, information on the director, information and communication channels that technical details, screenings and promotional users can access if necessary without having to images. It can be synchronised with website exit the app. registration data for both professionals and ordinary public. The app of SXSW (South by Southwest) festival, which is discussed in other sections, is designed The app developed by the Nuits Sonores festival as a tool that is more than just a constantly has an elegant menu in the same style and updated festival programme. It is perhaps one colours as the website. There are a total of 13 of the most complete examples examined here, sections, some of which provide information though it takes up a considerable amount of about the programme, others on the curatorship memory. of related content. Users can browse the sessions (separate from concert nights) and The app can be linked to the ticket once it has filter them by days, times and specific venues, been checked at the festival and can also be and also view an extensive list of artists in synchronised with the new social network the alphabetical order. festival launched during the past edition. The social network has already been discussed in the When an artist is clicked on, it is possible to previous section, but the interesting point is that view more information about them including it is designed to be functional during the festival a mini biography, the day and time they are when synchronised with the app. performing, the section and the price of the show (and a button for buying a ticket through Digitick), as well as listen to some of their tracks. But, as mentioned earlier, the app is chiefly notable for the curatorship of content, which is partly automated. Once again, the organisation collaborates with Deezer. The app also features a music quiz, using the Deezer service, which presents four songs by festival artists and asks the user to choose the correct artist – in other words, a simple example of gamification designed to encourage festival fans through the app. When the festival begins, a ‘Join the In the Recommandations (Recommendations) Conversation’ option is displayed. Among section, if users decide to link their app to their other possibilities, it can notify users about Facebook account (thereby granting the app people with similar interests in order to create access to their data), they can generate music networking dynamics. What is more, it allows

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 115 Focus: Use of New Digital Technologies at Cultural Festivals 116 download asecond app, and recommendations related to SXSWcan or anyone elsewishingtoenjoy themusic the appdoesnotincludemusic.Visitors a largemusicsectionorinternalfestival), should beremembered that SXSWfeatures Unlike thoseofother musicfestivals (it technology indetailfurtheron. everything goeson.We willdiscussthisnew information –throughout thespaces where beacons –smallsensorsthat emitlocalised if theyhave Bluetooth enabled,asthere are festival visitorscanreceive instantnotifications Lastly, itshouldbepointedoutthat duringthe everything canbefound there. centre. Everything issynchronised withitsothat the appprovides visitorswithanoperations Networking/SXSocial to that particulareditionofthefestival ( and The menuisbasicallydividedbetween find theminthe allows userstotagtheir‘favourite’ activities and the festival. Asinotherappsexaminedabove, it displays ascreen that spansvarioussectionsof single sectionoftheappmenu(Lineup), which other apps,theprogramme information isina of viewusersandtheirexperience. Unlike Indeed, thisappisdesignedfrom thepoint interests, talkandmeet. new functionasaspace where peoplecanshare festival. It alsoprovides thefestival itselfwitha extra layers tovisitors’experience duringthe to launchsurveys orvotes instantly. It thusadds between attendees andthefestival isitsability Another ofitsoptionsfor fostering interaction programme. having togoasocialmediasiteoremail such asbysendinginternalmessageswithout them tointeractwithotherusersoftheseapps, 2. NT BEFORE AND DURING THE FESTIVAL My favorites followed byeverything related My

favorites and SXSWfm News &Info section. . ). In short, My profile Lineup ,

The homepage,whichisalsothemenu,very lending coherence tothemall. festival’s website andsocialmediaprofiles, UX) asmostdo:itusesthesameimage browsing andvisibility, onuserexperience or websites focused onfacilitating content popular ingraphicdesignfor interfaces and kind ofminimalisticflat design (that iscurrently dynamic, inthat itdoesnotsportthesame Tomorrowland The appdesignedfor theBelgianmusicfestival mentioned. curatorship are dealtwithinthesecond app as apromotional tool;promotion andcontent is ‘enmeshed’ withtheticket andwebsite than during thewholefestival that dependsonand tool for ensuringasmooth,fulfillingexperience designed themainappmore asavisitor-centred This isaninteresting point,becauseSXSWhas specify whichofthetwo weeks you willbethere notifications duringthe festival. You canalso you receive location-based messagesand as Bluetooth andgeolocation (GPS) sothat permission toactivate certain services such essential totheuserexperience: itasksfor It beginswith aconfiguration process that is install it,itdoesnottake you to thehomepage. Festival) isanotherinteresting case.When you (Coachella Festival Valley Music andArts Finally, theappdesignedfor live (live streaming) usingtheNowLive service. Tomorroworld In contrast, Tomorrowland’s USapp, sharing favourites, etc.). the appexperience more socialiftheywish(by and syncwiththeirFacebook accounts andmake as well asonline festival ( favourites andviewbasicinformation aboutthe browse designed asinteractive programmes: userscan simple andhasthesamestructure asapps Artists Practical or , is designed to broadcast the shows , isdesignedtobroadcast theshows issimplebutattractive and Radio ) andthecampsite( Stages . Theycanalsoconnect , tagthosetheyprefer as Coachella Festival Dreamville ),

Focus: Use of New Digital Technologies at Cultural Festivals 117 , for for My Account My Eat and Drink Eat , and Shuttle for checking the status of the status checking for for leisure, hygiene or hygiene or leisure, for News & Social, News Fun & Essentials Fun AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E tell us, they are aware that not all attendees not all attendees that aware tell us, they are (including but the results download the app, and visitor experience it enhances the fact that it make and reviews) comments positive receives worthwhile. included in a printed programme. included in a printed programme. it is necessary however, an app, develop To designers and hiring a budget for to have clear idea of its intended and a very developers to and the content objectives use, the desired designed from be emphasised. And it should be will information (What viewpoint the visitor’s will they want to information they need? What obstacles might they encounter What access? to with respect and during the festival before they be overcome? and how could information Will they go alone or with someone else? What with, away they come could other experiences such as meeting people with similar tastes, and help them do so?). how can we does not help people find app that heavy A slow, will discourage the most important information it. As the organisers of acquiring visitors from Film Festival the San Sebastián International the payment wristband, wristband, the payment and merchandise, the account. configuring has Festival Coachella this app, Apart from which can only be Explorer, Coachella another, headsets (Google virtual reality used with Google will DIY). We are which interestingly Cardboard, on on in the section later examine this system Other technologies. a host of possibilities, As can be seen, apps offer even visitors’ experiences to improving all geared than They go further the festival. just before They enable visitors to programmes. festival discover manage and organise their experience, activities and add information complementary up too taken have probably would that layers been not have or simply could much space Wristband Activation Wristband plenty for everything related to related everything for It also lets you see what your your see what also lets you It for locating places instantly, instantly, places locating for 10 Lineup . Map ) featured in the app and even tag in the app and even ) featured the schedule, the most important feature is that the app is is that the most important feature on the the eight options around structured menu: dropdown In view of all these possibilities and options, In of leisure options of leisure to do and view going and friends are contacts social media sites. on the festival’s updates The app has even more possibilities, all centred possibilities, all centred more The app has even of a the experience on enriching and facilitating are a lot goes on and there where festival that connect the various Coachella spaces. the various Coachella connect that tags to a map (where the festival marks a few marks a few the festival tags to a map (where includes even It be of interest). could that places and the timetables of the shuttles information Coachooser and add or attractions, stalls food their favourite (such as the Tomorrowland app for eating), here here eating), app for as the Tomorrowland (such artists, add goers can tag their favourite festival agenda (the a particular gig to their personal Unlike other apps that redirect you to an you redirect other apps that Unlike additional information for external website power and are related to data monitoring (which (which monitoring to data related and are power chapter). will also discuss in another we and allowing users to enable these options and allowing users to enable these as default), position by in opt-out are (which quite a lot of battery these functions consume Another positive feature is that the application the application is that feature Another positive of the service begins by explaining the benefits this technology in due course) in relation to the in relation due course) this technology in location. visitor’s Bluetooth is used to receive ‘relevant’ ‘relevant’ is used to receive Bluetooth will examine (we beacons from notifications also attending), including the option of being including the option of also attending), the festival. when they leave informed are increasingly adopting), synchronise with your with your synchronise adopting), increasingly are you wish, and if profiles and Twitter Facebook contacts who are (social media friends configure and the payment wristband (a wearable that will that wearable (a wristband payment and the festivals that a trend in due course, be discussed so as to receive relevant notifications, connect notifications, relevant receive so as to register) need to therefore (you account to your Not all the major events that use apps are Niños), which then redirected to its website. related to music or film. Since the previous 2015 What is interesting is the storytelling possibilities edition, the Guadalajara International Book Fair Augmented Reality offers festivals, which (FIL, Mexico) has focused on designing apps to deserve to be explored as a tool for providing provide information and broaden the experience information. of visitors of all kinds. It has a specific app that shows the whole schedule instantly, with map There are currently also DIY options on the geolocation, and another very interesting one Internet. One of them is the Spanish-based called FIL Realidad Aumentada (FIL Augmented Mobincube, which allows very simple designs to Reality). be created (limited to particular needs or geared to more sophisticated ideas) for apps in both iOS (Apple mobiles and devices) and Android and WindowsPhone. It has a free option, which requires acceptance of third-party advertising, and other low-priced options without advertising.

2.3. Crowdsourcing, crowdfunding and participation

We belong to an age in which the terms audience and consumer are changing, just as the boundaries between artist and creation, or between disciplines, are shifting. The role played by technologies, if not exclusive, is at least one of catalyst, insofar as some of these changes are taking place either side of the screen, and debates have been going on for years.

While the social media allow practically anyone with Internet access to talk, give opinions and reviews, or to request information directly from an organisation or artist, it is also interesting to note that at the same time the costs of creating, producing, publishing, sharing and disseminating are decreasing.

This is giving rise to what some experts call prosumers: consumers no longer just consume but also produce, and in turn consume what other ‘prosumers’ create and share (content, To offer visitors a fun experience (gamification), reviews and critiques, works...). The dichotomy during the fair materials were given out in of consumer versus producer is being shattered various areas, such as postcards, printed and various aspects are emerging, because advertisements and leaflets with codes that nowadays it is easier to be a creator, even if could be viewed with the app together with largely an amateur level. content on the children’s section of the fair (FIL

118 2. NT BEFORE AND DURING THE FESTIVAL In turn, the new channels for displaying content Today its use can be said to have become (for example YouTube or Vimeo for audiovisual) normalised, at least in the sense that when we have brought about a shift in the idea of mass speak of crowdfunding many people have a basic culture towards not one or two mass audiences idea of what it means. For example, according but very diverse audiences, or at least – and to to Verkami,11 the average number of projects be more precise – they have given it visibility. funded this way in Spain is two for every 100,000 Today it is easier for people to choose what inhabitants, and in 2014 alone more than 120,000 content to view, when, and how fast. We are a backers registered for 967 crowdfunded projects bit like curators at a basic level, at an everyday (not including those that did not succeed). And pace. As a result, what we used to think of as this is just one platform with a chiefly national passive audiences – spectators who sit and (Spanish) focus. watch passively – have gradually ceased to exist. Audiences are active, eager to take part and have Therefore, we will examine an example in which a little more control over the content, or at least crowdfunding has been used differently, as the capacity to decide and adapt. fortunately the list of successfully funded festivals is almost endless, such as the first This gives rise to a debate on the role of cultural edition of BccN Barcelona Creative Commons agents, among many other topics. Curatorship Festival,12 some editions of the Cine Migratorio can explore new avenues, but that might well be Film Festival13 of Santander and XOXO: A the subject for another book (though we have Festival of Indie Art and Tech,14 for which more already seen how curating and crowdsourcing than 175,000 dollars were raised by 735 funders can be combined in the case of Afropunk Fest). for the fourth edition. What is interesting is how a few festivals are gradually opening up to a variety of experiences in which the support and participation of an audience or community is essential or at least an interesting tool for allowing them to get involved and commit (the highly-prized engagement in marketing, which can aspire to be more than metrics).

One of the most widely used methods is probably crowdfunding, which we explored in connection with museums in last year’s Annual Report (2015). The difference is that in the field of festivals there are a great many cases – especially festivals that are starting out, There is no secret to crowdfunding, yet it has as it is seldom used by well-established festivals. many in that there is no single formula for Crowdfunding is a process of raising funds guaranteeing the success of any project. It is very by enlisting the support of a large number of important to have a previously existing network people. Although it can be done ‘manually’ (by of potential collaborators and followers and passing round a collection bucket), platforms possible assistants to help give it momentum such as Kickstarter, Indiegogo, Verkami and during the first days of fundraising, especially the Goteo have streamlined and given impetus to first ten, which are the most critical. this alternative for raising the necessary funds for a project.

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 119 Focus: Use of New Digital Technologies at Cultural Festivals 120 by thejoint,collective organisation ofmany It isanoutoftheordinary festival. It isshaped means. performed in2015)andisfundedthrough other of theScottish city(more than3,000showswere which theperforming artstake over thewhole a different use.This festival isahugeevent in Festival Fringe We willnowtake alookat thecaseof make possible theevent andinvolve users. advance isnotfor users’convenience butto that thepurposeofmakingtickets available in therefore differs from advance ticket salesin to encourage followers tobecome involved. It process, whichmustbetransparent, inorder an event. Thisneedstobemadeclearinthe of tickets inorder tofundandmake possible method that involves sellingaminimumnumber also beused.We take crowdticketing tomeana platforms, though the festival’s ownwebsite can Crowdticketing isnormallyconducted viathese This issometimescalled of tickets andmerchandise, packsorVIPpasses. is usuallyapproached asacampaignfor presales in thecaseoffestivals, acrowdfunding campaign if notpartoftheproject. For example,especially perks backers receive andare usuallyrelated to Rewards are animportantfeature. Theyare the resources are initiallyrequired. basically alotoftimeandcreativity, andfew news isthat allthat needstobeinvested is strategy andthedesignofrewards. Thegood they give money), thecommunication andPR convince themorgaintheirconfidence sothat and/or creator orteamoforganisersandto people whohave never heard about the project factor –that is,theneedtomake itknownto communicated isanexponentiallyimportant of theproposal, itspresentation (howitis the project), theattractiveness orsignificance people helpdisseminate and,ofcourse, fund woven (who isconnected towhoandhowthese Important factorsincludehowthenetworks are 2. NT BEFORE AND DURING THE FESTIVAL , where crowdfunding isputto crowdticketing Edinburgh . 15 coordination side. simply dealswiththemanagementand people whotake part,whereas theorganisation grows withthehundreds andthousandsof festivals asitisorganisedandstructured and participate. It thushasadifferent focus toother take theinitiative andraisefundstobeable are juststartingout.It istheartistswhomust it provides opportunitiesespeciallytothosethat participation ofthecompanies ofperformers, as its receptiveness toproposals for showsandthe many agents.However, theinteresting feature is shows withthesimultaneousinvolvement of possible toexperimentwith avarietyoflevels them totake parttosome degree. It is be madethrough funding ifouraimisfor But notalloftheaudience’s decisionscan choose what content theywanttosee. way) andofallowingtheaudience asbackers to (though itisnot,andnever shouldbe,theonly indirect way ofpartiallygaugingpeople’s interest out crowdfunding pershow, andthat thisisan It mighttherefore besaidthat thefestival carries want themtoachieve theirgoal. see togetherwiththecompany’s followers who fund theexpensesofcompanies theywish to Crowdfunder.co.uk for artistswishingtotake partinthefestival, space onacrowdfunding platform exclusively true ofsuchacolossal event) are granteda (all budgetsare limited,andthisisespecially Companies andartistsinterested inparticipating . 16 In otherwords, audiences Focus: Use of New Digital Technologies at Cultural Festivals 121 for the 2015 for the artist with 18 For 2014 For Arnalds, and It is both a platform and a platform is both a It 17 Ólafur does.

by which time the festival had fully by which time the festival 19 , AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E during another month until the one with the is chosen. most votes performed who accordingly the most votes, was Grec, at edition If an artist secures a sufficient critical mass of an artist secures If will analyse the feasibility the platform votes, and minimum budget required) resources (the of including this artist in the line-up and will until it to various venues put the proposal it is a genuine this respect In is successful. is in which the curating process crowdsourcing and subjected to, a crowd. by, performed the one of the concerts for to Grec, Returning to the same organisers subjected the process all its concerts: for proposes phases Cooncert options, this phase ends after people propose on then voted are a month and the proposals Cooncert possibility of is based on the that promotor to see a in getting to fans interested say giving a can Anyone their city. in artist perform band or a concert an artist to give for submit a proposal example, when the singer is in their city (for their city is not included), and starting a tour but it. They for see it can also vote other people who the person who submits the will see it because if it on the social media, and also shares proposal a search. they perform It is interesting to learn a bit more about what about what more to learn a bit is interesting It performing arts performing Grec has been San Sebastián choose your concert.’ concert.’ choose your experimented with the possibility of allowing to choose some of the bands in the attendees Grec, make The message was: ‘You line-up. In its past two editions the its past two In platform, together with the Cooncert festival, supporting favourites. More than 70,000 votes than 70,000 votes More supporting favourites. edition. that for registered were who registers (free of charge, naturally) can of charge, naturally) (free who registers sharing the also buttons for are part. There take for options on the social media and accordingly over the world for the 2015 edition. During the During the 2015 edition. for the world over on; anyone voted phase, the designs are second During the initial phase, any individual or agency the initial phase, During a design. The organisers tell us that can propose all from proposals some 1,700 they received by creating a website specifically for this purpose. specifically a website by creating experimenting with audience participation in participation experimenting with audience the for a particular task: choosing the poster online, This is done exclusively edition. upcoming In the past four years the years the past four In Film Festival International community), thereby enhancing the social and thereby community), cultural impact of the event. cultural event in which the boundaries between between in which the boundaries cultural event more are audience and target organisation a practically becomes audience (the blurred it more to their demands and, ultimately, if demands and, ultimately, to their it more a common chosen, generate is such a focus audience relations and involvement, allow data data allow involvement, and relations audience to want in order they to be gleaned on what by tailoring the project to improve attempt Indeed, crowdsourcing and participation can and participation crowdsourcing Indeed, to impetus give that as processes be viewed case at hand (outsourcing), generally distributed generally distributed hand (outsourcing), case at of participants. crowd among the whole belonging to the organisation and not necessarily not necessarily and to the organisation belonging such as coming small tasks, over experts take in the minor collaborations up with ideas, and Crowdsourcing is taken to mean a cluster to mean is taken Crowdsourcing not generally in which a ‘crowd’ of practices of participation and tools, also depending and tools, also of participation to the festival. and approach on our goals In other words, audiences audiences other words, In 16 . But not all of the audience’s decisions can not all of the audience’s But funding if our aim is for be made through is It to some degree. part them to take possible to experiment with a variety of levels Companies and artists interested in participating in participating and artists interested Companies limited, and this is especially budgets are (all a granted are event) true of such a colossal exclusively platform on a crowdfunding space part in the festival, artists wishing to take for Crowdfunder.co.uk they wish to fund the expenses of the companies who followers see together with the company’s their goal. want them to achieve carries the festival be said that might therefore It this is an and that per show, out crowdfunding interest people’s of partially gauging way indirect should be, the only not, and never it is (though to as backers and of allowing the audience way) see. they want to content choose what many agents. However, the interesting feature is feature interesting the However, many agents. the shows and for to proposals its receptiveness as of performers, the companies of participation that especially to those opportunities it provides is the artists who must just starting out. It are and raise funds to be able to the initiative take focus to other thus has a different It participate. and and structured as it is organised festivals and thousands of with the hundreds grows the organisation part, whereas people who take the management and simply deals with side. coordination shows with the simultaneous involvement of involvement the simultaneous shows with Focus: Use of New Digital Technologies at Cultural Festivals 122 proposes two phasesofparticipation: one festival, whichhelditssixth editionin2015, (Transports Metropolitans deBarcelona). This Subtravelling Festival voting istheanimated shortfilm festival Another prominent examplethat involves of theresults. and selectingworks. And thefestival isconfident participation ontwo levels: for bothsubmitting is highlyaccessible, thecompetition isopento the mediumonwhichcompetition isbased Oscars ifappropriate. So,bearinginmindthat Catalan film festival, even subsequently for the this sectionfor otherofficialsectionsofthe consider enteringtheshortfilmssubmitted to What isinteresting isthat theorganisation may by aninternational panel). one ofthetwo prizes (the otherwinnerischosen as auser). Thefilmwiththemost votes receives on thewebsite (once again,itisfree toregister favourite shortfilmprovided theyare registered that anyone whowishestocanvote for their The voting process isalsoparticipatory in and lastnolongerthan15minutes. fiction); bein English orhave English subtitles; martial arts,mysteryandsuspenseorscience- belong tothefantasygenre (fantasy, horror, device withacamera(smartphone, tablet); requisites. Filmsmust:beshotusingamobile part provided theycomply withanumberof Film Festival The competition iscalled front andrear). smartphones withnotonebuttwo cameras, with cameras(nowadays nearlyallofushave geared tothepossibilitiesofmobiledevices participatory competition that wasalso Festival ofCatalonia In 2013the and Norwegian AneBrun. to give concerts: Argentine Lisandro Aristimuño embraced theinitiative, two artistswere chosen 2. NT BEFORE AND DURING THE FESTIVAL International Fantastic Film . 20 Anyone interested cantake startedupaninteresting promoted byTMB Phonetastic Mobile include animated films. are previously shortlistedbyapanelandeven shorts) section,whichfeatures about20that Microcortos Internacionales (in the sections ofthefestival: thecandidate shorts weeks, peoplevote onthefilmsintwo During thesecond phase,whichlaststwo to becreative withaudiovisuallanguage. that thecompetition encourages thisagegroup young people–aninteresting factwhichshows participation form. Alotoftheparticipantsare YouTube andshare theURLwhenfillingin the applicants mustpreviously posttheirvideoson The technicalrequisites for takingpartare that case ofPhonetastic, usingmobiledevices only. a maximumofthree minutesand,asinthe network (underground andbuses) ashortlasting can filmfreely onBarcelona’s publictransport lasting nearlyamonth,duringwhichanyone know howtobegin), theorganiserscreated a page syndrome (writer’s block,whenyou don’t Moreover, toencourage peopletobeat blank label) #TwitterFiction. well asbegun,underthe hashtag(interactive continued indifferent versions byanyuser, as not onlyretweeted andread, butcould be live writtenstories.Some ofthesestorieswere to take partwith conversations and,especially, earlier, thisfestival invitedafew famouswriters ubiquitous andredistributable. Ascommented a profile onthissocialnetworking site,andare well asshort,theycanbeissuedbyanyone with basis ofthecommunicative nature oftweets: as #TwitterFiction Festival be interchangeable, thealready mentioned In the sensethat audience andcreator can ceremony. screens, except for theclosingandaward festival therefore takes place onlineandon trains andinsomeofitsbuses.Thewhole inside thecarriagesofcity’s underground These shortsare alsoprojected onthescreens Rueda enTMB section) andthoseinthe isdesignedonthe (International micro- small tool for generating a random sentence or 2.4. Online content (digitisation) tweet from popular terms used on the network and use of streaming to help collective creation get off to a start.21 In other words, the festival is designed on the basis Digitisation processes are being fully embraced of more than with everyone’s participation. It is by many cultural organisations and institutions, spread through retweets (tweets or messages though the needs of each specific sector and that are shared and reposted on the same site) case are different and therefore so are the types and above all by generating new related content. of digitisation employed. The 2015 AC/E Annual Report discussed content digitisation as an Another approach to a festival is that of increasingly necessary process in museums in Porchfest (which started out in the New York order to bring these institutions’ content closer area and later spread to Oakhurst, a suburb of to local and global audiences and broaden its the city of Atlanta, in the US). It is an original cultural and social impact. idea that is owned and operated by the local community: a music festival without stages in Digitisation is equally important to festivals, but the traditional sense, as musicians perform in in a different way. Because, as we have seen the porches of the typical homes in the area. since the beginning of the report, festivals are According to one of the organisers, the aim is based not only on showcasing content (dance, to bring the community together22 rather than music, ideas…) but also on creating experiences attract loads of people from other places. (sensory, intellectual…) and providing a meeting place. Their ephemeral and seasonal nature (they To achieve this, the website23 has various buttons run for a very short period during a particular with links to different forms to be filled out by time of year/month) requires a different residents who want to offer their porch as a approach to digitisation. stage, music groups interested in performing, or volunteers willing to help out. And as is to be We thus find that some visual arts festivals such expected, anyone can attend free of charge. Last as Artfutura, a digital art and creativity festival, year’s edition (2015, which lasted a day) featured have been publishing and sharing their as many as 130 different performances. catalogues24 in English and Spanish openly and freely (philosophy of open culture) for a Therefore, there are many ways of enriching considerable number of years. a festival and of helping and encouraging the audience to take part as opposed to inhibiting and concealing it. There are many social and cultural benefits (the cost could also be assessed, but as we have seen these tools are generally free or low cost). In view of the abovementioned shift towards a concept of an audience that resembles a community, and of the festival as a meeting place for exchanging and showcasing ideas, it could be in our interests to implement an appropriate strategy.

This festival shares its catalogue through Issuu,25 which functions as a platform for viewing,

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 123 Focus: Use of New Digital Technologies at Cultural Festivals 124 Festival We have already mentionedthe neither digitisednorfreely shared. However, thecatalogues of pre-2013 editionsare in whichithascollaborated, suchas of projects organisedbythefestival itselfor publications arisingfrom more recent editions pdfs, afew papersandotherscholarly The festival alsoshares, infreely downloadable well asexhibitions,making themmore open. brought outbyfestivals andmajorartevents as to give anewtwisttothistypeofpublications edition. Theideaof has practicallybeenacatalogue since the2013 transmediale/magazine, 2009), andpublications (in lectures androundtables ofpasteditions(up to images (in past editions(up to1988), freely accessible the festival’s website gathers information on Basically, the cultural heritagetoanyuser. database providing information onEuropean of contemporary artintheEuropeana online European project wastoboostthepresence by theEuropean Union). Theaimofthis Art) project runby part ofthe editions. Indeed, between 2011and2013itwas digitising itscontent, especiallythat ofearlier The sight oftheauthorship. elegant interactive display andwithoutlosing digital documentontheirwebsite withavery success isthat itallowsanyone toembedthe distinctive feature that explainsthisplatform’s documents onthosechannels). Another Twitter, Google+andotheraccounts toshare networking shortcut,linkingupwithFacebook, socialised manner(italsofunctionsasasocial collections tobecreated from aprofile) and electronic booksonlineinacurated (itenables downloading andsharingdocuments 2. NT BEFORE AND DURING THE FESTIVAL transmediale anditsmulti-screen asopposedto photos DCA transmediale/archive (Digitising Contemporary ) andvideofootage ofevents, festival isalsointerested in Europeana transmediale/magazine shared onIssuu, which publications (co-funded Subtravelling 26 sectionof Grexit ) suchas is . it justruleus?’ the sectionasked ‘Does technologyrule,ordoes relations withtechnology. For example,lastyear that dealparticularlywithsocialandcultural a programme offeature-length andshortfilms lives online’. Thissectionofthefilm festival has programme ‘for acontemporary audience that one that setsouttoprovide athought-provoking The dissemination channel. expand, andalsoasanewproduction material or digital platforms asanewspace intowhichto beginning oftheFocus, are exploringtheuseof Festivals andculturalevents, aswe saw at the its onlinesection. interesting caseisthe and onlineonitswebsite), butaneven more the TMBBarcelona publictransportnetwork in-person nature (ittakes place onscreens on charge, afterthefestival ends. Videosare selected cancontinue tobeviewed, free of Unlike intheTribeca Online section,thework under suchabroad umbrella. content...). Thisiswhytheyplace theselection (short films, web series,part of abroader online not necessary fallintoawell-defined category for exclusively onlinedigitalformats that do draw attention toandcelebrate creative work competition onlineprogramme designed to N.O.W. in 2014theorganisersalsolaunched In conjunction withtheTribeca Online Festival, current changes. the festival’s approach aimedat responding to to besubsequentlydisseminated butaspartof the event. Content isthusdigitisednotinorder Best Online Awards ceremony takes place after users canvote for their favourite shorts the festival ends.While thesectionisrunning, therefore free). Theshortsare withdrawn after the festival byregistered users(access is This sectioncanonlybeviewed onlineduring Tribeca Online Festival (New Online Work), aparallelnon- Tribeca FilmFestival describes itselfas Tribeca 27 andthe and Focus: Use of New Digital Technologies at Cultural Festivals 125 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E so that online attendees can watch them in can watch online attendees so that should (films festival the during format streaming in but viewed not be downloaded to a computer video). as a YouTube the same way , an online audiovisual This initiative was was This initiative 30 Filmin . quality pay-per-view audiovisual quality pay-per-view on iTunes in audio format or as in audio format on iTunes The festival also posts and shares also posts and shares The festival Netflix, VUDU, Xbox (Microsoft), (Microsoft), Xbox VUDU, Netflix, 29 . 28 , s Atlántida Film Fest. Atlántida are available throughout the online festival the online festival throughout available are using IP-based geoblocking. using IP-based various times, films at of being screened Instead Latin American works that are rarely accessible accessible rarely are that American works Latin to Spain on other channels. Viewing is restricted July, a host of films are shown which explore new shown which explore a host of films are July, addition, to the audiovisual arts. In approaches and an opportunity to see Spanish it provides The festival programme is divided into three is divided into three programme The festival During shorts). Atlas and sections (Official, and June one month, between approximately content from Spain from content content platform that for a few years now has years a few for that platform content the distribution and direct been consolidating exhibition of only: launched in 2011 by An important example that should not be An important example that online place takes festival that omitted is a film other types of events on its YouTube channel, its YouTube on other types of events residents. to US only available though they are exclusively exclusively podcast and trailers, public interviews with directors directors and actors during the festival in the during the festival and actors directors on the films. to comment York city of New now available and are recorded These talks were For example, in the case of iTunes and Apple, and Apple, example, in the case of iTunes For they scheduled a series of talks between and Google (Google Play and YouTube), among and YouTube), Play and Google (Google others. have operated and collaborated with iTunes, with iTunes, collaborated and operated have Amazon several years with various formats for streaming streaming for with various formats years several as with well festival as for the the films entered The organisers small side events. promoting beneath the selected piece. piece. the selected beneath for has been experimenting festival Tribeca they are embedded on the N.O.W. website, website, the N.O.W. embedded on they are is displayed same creator by the other work embedded on the website from their creators’ their creators’ from on the website embedded once their websites; or from Vimeo accounts Focus: Use of New Digital Technologies at Cultural Festivals 126 computer asitison a TV’, meaningthat the that ‘it’s notthe sametoviewafilmonthe the latest edition.Theorganiserscommented adaptation toabroader spectrumofdevices in experience ofviewingfilmshasimproved is Another aspectinwhichtheybelieve that the participation. dynamics aimedat fostering usersynergiesand to interact–that is,it is importanttocreate attendees donothave aphysicalspace inwhich organisers, as,unlike at traditionalfestivals, spectators’ experience. Thisisimportanttothe participation are very popularandimprove According tothefestival, thesetwo typesof Twitter profiles. can subsequentlyshare ontheirFacebook or as topostcritiquesandcomments that they subsequently awarded audience prize, aswell allows spectators tovote for thewinnerof And, aswe seeinotherfestival sections,it the critiquespublishedinwrittenmedia. specifications offilms,as wellassummaries of directors’ biographiesandtechnical On thewebsite spectators canfindsynopses, the festival’s maxims. Clarity, speedandagoodstructure are oneof for userstobrowse andfindinformation on. kinds ofscreens (even for smartTVs) that iseasy having aresponsive website adaptabletoall mechanisms andattach great importance to The organisersare familiarwithonlineexhibition Filmin platform isbased. of theSónarfestival inBarcelona, where the were scheduledtocoincide withtheDay section In the2015editiononlytwo off-screen actions the country. greatest capacityfor distributionandscope in makes itoneofthefilm festivals withthe wish, asiftheyhadrented it.Its onlinenature it inthenext72hours,asmanytimesthey the filmtheywanttosee,canonlyaccess The organiserstellusthat once theuserselects 2. NT BEFORE AND DURING THE FESTIVAL to notethat, roughly speaking,manyofthe users paid for more than 500viewings(itisinteresting experimented withtheonline section,162users audiences. During thisedition,inwhichthey succeeded inhelpingcreators reach new According tothefestival, thisservice has the festival andtheservice provider (Festhome). equally between theownersoffilm rights, small according tothewebsite, were divided The proceeds from pay-per-view, whichare very the festival andfor afurthertendays. Festhome channel throughout theduration of of 12were selected –were available onthe The shortsinthecompetition section–atotal channel, Indiehome TV. can watch filmsontheplatform’s ownstreaming or inexchange for viewingadvertisements, users This meansthat for asmallmonthlysubscription, content broadcast directly over theInternet. with thenewmethodsofdistributingcultural platform isanonlinefilmdistributorthat works viewers for asmallprice. The making themavailable temporarilytopaying also experimentedwithbroadcasting filmsand The readapting themtodifferent screens. viewing, perceiving andenjoying filmsoreven of it seemsessentialtoembrace thesenewways of content ontheInternet, even common for peopletoconsume audiovisual At thepresent time,whenitisincreasingly of thecontent. screen format actuallyalterspeople’s perception under the the firsttimein2015,withsatisfactory results, As stated, Huesca festival enlisteditsservices for countries allover the world work withthem. to thisplatform, nearly 1,300festivals from 89 and channeldesignservices included.According but canalsohostthemonline,withweb analysis Festhome offers festivals intermediaryservices Huesca International FilmFestival FestivalHuesca enCasa Festhome pay-as-you-view programme has 32

, . 31 33

viewed at least half of the short films submitted Another interesting, less technical aspect of the to the competition). concept of live streaming is why festivals go in for it. Each festival can have its specific reasons A very useful tool for promoting an event and related to its strategies and mission, but the making content available to audiences unable to most usual ones are: to make the festival known attend in person is live streaming, or broadcasting (promotional), as attending in person can never live online. There are many affordable ways of take the place of broadcasting and does not pose developing this type of communication, ranging a risk to ticket sales (we will see that some music from the Google Hangouts live streaming service festivals take this approach); or to broaden the to paid services that can broadcast with greater festival’s mission and allow content to be freely definition and video quality. disseminated, especially lectures and roundtables…

A fact that needs to be borne in mind is that in These experiences have already caught on in a any live broadcast part of the image and sound considerable number of cultural environments, quality is always lost, even with the best and especially for debates which are, by nature, most stable Internet connection (which is also open. But now, as we shall see, festivals are also important, whenever possible). This is partly latching onto its virtues. because the broadcasting process can reduce quality, and also because the receptors’ (viewers’) The SXSW festival has been streaming its connection may not be ideal. Therefore, it is conferences, roundtables and gigs live since advisable to provide the highest possible quality 2009. For this purpose it has a specific page on so that the audience on the other side of the its website (SXSW Live)34 where the original screen receives it as clearly as possible. videos are embedded along with interviews with directors, artists and creators conducted outside Ways of broadcasting range from a webcam to the festival since March 2015. It also offers a professional camera connected to a computer, year-round programming of online content though it is recommendable to always use HD (SXSW On). Content is also shared on the cameras and avoid webcams and those of low festival’s YouTube channel. Some videos are quality in general. Above all, avoid using cameras viewed thousands of times, especially film installed in laptops, tablets or mobile phones. premieres.

Sound is also a particular concern when streaming any event, be it a concert or a conference. Many cameras have on-board microphones, but these often record a poor quality of sound or are simply too far from the camera to record it well. Therefore, the best solution is to connect an external microphone to the audio port (or install a few if you want to broadcast a live show) or use pre-recorded audio (for example, for a dance or performance).

What is more, while broadcasting live you can also record at the same time for subsequent Another festival that makes use of live streaming documentation. Many services, from Google is transmediale, which takes the same approach Hangout to Periscope, allow this, though the of subsequently sharing footage on its own resolution may turn out slightly lower. YouTube channel as part of its content strategy.35

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 127 It only broadcasts papers, presentations of also be applied to other formats. For example, artistic or creative projects, roundtables and a the Tomorrowworld festival (the spinoff of few very specific performances. Tomorrowland in the US) streams37 the main concerts from its own website,38 as well as It is no secret nowadays that live streaming is from the specific appTomorrowworld Live39 something that many Internet users have come designed by LiveMedia, which supports live to expect and value. If we note, for example, streaming technology (NowLive). The website how many people disseminate streaming while version is not mobile technology-friendly (it is the event is running, encouraged by the themes not responsive), and the organisers therefore and guests, for example on Twitter (with and recommend this app for mobile devices. without the hashtag #transmediale36), and even the reactions they post, we can gain an idea of Although the NowLive service makes it possible how it can be an excellent dissemination tool for to broadcast pay-per-view videos live, the many tasks. festival makes a selection of certain concerts that are free to view during a time slot (for Without the social media it is meaningless. example, in the 2015 edition it was from 7pm to That is why some streaming platforms include 1am, US East-coast time: that is, when people a live chat window beside the video frame. In are usually at home). So they do not broadcast this case transmediale is aware that streaming all concerts. is one of its strong points not only with respect to communication but also in creating value and This means that at a festival where some sparking debates (or for that particular moment concerts are held simultaneously, a selection in the round of questions). The community needs to be made within this time slot, and that manager is attentive during live streaming and for some of these concerts only a fragment is can also answer users’ technical queries instantly. offered (in some cases the last quarter of an hour, in others half an hour…) totally free of In other words, through this combination of live charge, though this is no substitute for attending streaming and social media, people enjoying the the festival in person. content at home or at work can create more noise than a campaign. But the important point Lastly, a very interesting tool that is an exception is that streaming can also be viewed as a way of to the rule of not using low-performing taking ideas further. cameras is the live streaming service Periscope. Periscope is an application for mobile devices that is connected directly to Twitter (the current owner of this streaming service) and offers two additional interesting functions, among others: a chat box (which can be blocked if wished), which is ideal for proposing questions and even chatting to other users instantly, and the fact it is linked to Twitter.

This has various implications: the design of Periscope is familiar to users of the platform with the blue bird, in that users have a profile that can also be followed in the same way by Streaming is therefore most commonly used to clicking on a button, and they are informed spread ideas through conferences, but it can through a mobile message stating that the

128 2. NT BEFORE AND DURING THE FESTIVAL Focus: Use of New Digital Technologies at Cultural Festivals 129 (IoT) is one of the latest is one of the latest (IoT) are very small transmitters very are 40 beacons Internet of Things Internet AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E In contrast, contrast, In news specific information, designed to provide in is occurring or warnings on something that entering their range. to mobile devices the area They do so by detecting Bluetooth-enabled In general, these objects are designed with the general, these objects are In such as the latest technology, built-in necessary and washing of smart refrigerators generation also are there But machines or electricity metres. least – or at objects connective of making ways sensors. them into supports for of transforming in today’s found The most popular cases are or smart cities as they are sensorised, high-tech example, some of these most widely known. For use sensors to detect as Barcelona) cities (such waste are rubbish and recyclable when skips for and analysed is gathered full. This information and passed on to the refuse centre a data at them faster and to make services collection efficient. more boundaries and time limits, and for spreading the spreading and for and time limits, boundaries is freer. that as something culture notion of 2.5. Beacons The both in digital age of the current revolutions technology in general. and in communications which different in to a new horizon refers IoT to the Internet connected are types of objects various purposes and uses. for mission and objectives beyond geographical geographical beyond objectives mission and San , which for disseminating and extending a festival’s and extending a festival’s disseminating for depending on needs, for a very low budget. a very depending on needs, for thus seen mechanisms have this section we In by followers. It can therefore provide a range provide can therefore It by followers. other purposes, and promotional of options for very interesting, as it has significant potential interesting, very and little infrastructure very despite requiring widely accepted and is becoming resources few presentations and press conferences. conferences. and press presentations they find this app The organisers tell us that The organisers used this service to broadcast, to broadcast, The organisers used this service photocalls, carpet arrivals, example, red for but one festival stands out particularly: the stands out particularly: but one festival Film Festival Sebastián International 2015 edition. the most recent used it to promote the most with this tool are museums and the most with this tool are in Paris, Dapper galleries, such as the Musée begun employing this new tool. this new begun employing experimenting are The cultural institutions that broadcast conferences, debates, presentations, presentations, debates, conferences, broadcast has force police the Spanish Even concerts… who broadcast gatherings with friends at their with friends at gatherings who broadcast by and is also being used example) homes, for of all kinds to and institutions organisations Although it is a young platform (it has only platform Although it is a young on it is catching about a year), for been around (people fast among households and individuals the map and disappears when they stop. the map and disappears when they interesting function for allowing people to find allowing people to find function for interesting users and profiles platform When the user. a pointer appears by the city on live, broadcast The search engine in the form of a map is an in the form engine The search streaming link (which, interestingly, can be seen interestingly, link (which, streaming though it can only be reposted format, in web app). using the mobile linked account providing information: ‘LIVE on information: providing account linked to share allows spectators likewise It #Periscope’. the with media site a tweet on the same social At the same time, it also sends a tweet to the a tweet time, it also sends the same At profile they are following is broadcasting live live is broadcasting following they are profile (just tweet). is a new there as when Focus: Use of New Digital Technologies at Cultural Festivals 130 Beacons deployed instrategic areas, suchas among thefirsttousethis technologyin2014 advertising andcreativity incommunication) was Lions International Festival to make themost ofthisnewfeature. As pointedout,festivals are graduallylearning designed tobeminimal. enabled) causesextraconsumption, even ifitis as Bluetooth communication (even having it for example,tominimisebattery consumption, It isaninteresting feature asitallowstheuser, Festival app. Thiscanbedisabledat anytime. relation tobeacons, aswiththeCoachella for updating andconfiguring it,includingin a seriesofcommands appearsonthescreen above, we saw how, whentheappisfirst used, When analysingsomeoftheappsexamined informed about more importantthanever, andkeeping them notifications. Taking care ofpeople’s privacy is that theappisusedtoobtaindata orsend same protocol, whichincludesinforming users is disabledbydefault.Apple means ofayes-no orin-out(on-off) buttonthat receive transmissionsfrom beacons, usuallyby installs theappmustgrantpermissionfor itto ‘opt-in’ mode.Thismeansthat anyone who communication withbeacons are designedin In addition,applications that allow someone. gather data that could beusedtoidentify within therange,butinprincipletheydonot of the interactions withmobiledevices (as inthecase at themost,theycanmeasure thenumberof Beacons donotstore orgather data onmobiles; send information. detects thebeacon andgives itpermissionto it isthesmartphoneinstalledwithappthat previously installedinthedevice. In otherwords, is determinedbyanappthat needstohave been area onaspecificwavelength. Thiswavelength smartphones andothermobiledevices inthe 2. NT BEFORE AND DURING THE FESTIVAL Estimote ) andhowlongtheyremain beacons ispartofthiscare (the festival of iBeacons have the Cannes . 41 . 42

for example,andbyenablinganotheroption receive alistofpeopleattending theevent, the all thepeoplelocated inanarea. Anyone with And lastly, theapp’s software could connect the userspentmore timewalkingaround it tagged anarea asafavourite ifitdetectedthat notifications. In addition,theappautomatically with theappwere located, intheform of area where userscarryingsmartphonesinstalled sudden changes,andonevents happeninginthe real-time information ontheschedule,any First ofall,theyallowed thefestival toprovide them isrequired. a mobileapplication for communicating with in order for beacons tocarryouttheirfunctions, through theapps.Because,asstated previously, performed three functionsat thefestival meeting pointsornearthescreening theatres, real time,ifpreferred) and,accordingly, festival improve thefestival managementinstantly(or in first year new technology The company inchargeofimplementingthis time ofyear. the importance ofstaying hydrated at suchahot where thenearest drinkingfountains were and concert or, for example,smallreminders of they provided information abouttheupcoming festival grounds andareas. By meansoftheapp, and especiallyat entrances andexitstothe where theywould notattract muchattention, 100 allover thefestival, inbushesorcorners also in2014.Theorganisersinstalledmore than Bonnaroo Music Festival professionals). about afestival withastrong focus onsector between attendees (though we are talking of changesandtoboostinteractioncontact time. Beacons were thususedtoinform people contacts attending thesameevent at thesame LinkedIn account, itcould detectany shared called Around Me Enhanced Icebreaker . 44 One oftheusesgiven tobeacons to , previously linked totheuser’s shared data gathered onthat optionenabledwould beganusingbeacons . 43 performances, delays, etc.)toeveryone within transmit relevant information (on upcoming concert zones), theorganisers were ableto installing beacons byarea (for example,inthe two editions been usingthis Returning to for example. do notneedtocollect personaldata oremails, most relevant information, andthat organisers can control what theyreceive, limitingittothe notifications ofthiskind.Thismeansthat users and provided theyhadchosentoreceive only aboutevents inthearea theywere in occurring; instead,theyinformed them notifications onalltheevents that were installed ontheirdevices messagesand having tosendallattendees withtheapp One oftheimmediate advantageswasnot festival goers’experience. better strategies for future editionsandimprove information theyhope tobeableimplement (around 20%thefirst year). By collecting this travelled andhowmanyusedthebeacons option had installedtheapp, theaverage distance users the appsreceived, thenumberofattendees who They alsoanalysedtheamountofnotifications attendees for festivals that attract a first year wastoexperimentwiththisnewtool as theconcert areas orVIPzone. Theaimthis specific areas that neededtobemonitored, such goers’ experience, wastocount thepeoplein . 45 (once again,since 2014). Coachella Festival, new technologyfor thepast large numberof ithas 46 By By Focus: Use of New Digital Technologies at Cultural Festivals 131 places where where places

47 . 48 . content for TV viewing such as for content festival, as pointed out in connection as pointed out in connection festival, SXSW AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E the festivals mentioned above: they provide they provide mentioned above: the festivals goers who enable the option of festival with with these devices communicating about the and notifications information changes in them or events scheduled events, slightly more gamified experiences by providing by providing experiences gamified slightly more such as surprise gigs to be discovered ‘secrets’ or unreleased backstage interviews The has also been a pioneer in the use with its app, one of it used year 2014. That since of beacons so employed the largest numbers of beacons (it is a very than 1,000 in all areas far – more and in terms of both attendees large festival small and types: some very – and two grounds) high a need that areas in hang to easy and simple people more where density of emitters (spaces and a larger example), for tend to congregate, to come likely areas type in airtight casing for or in large, open spaces. with water into contact them in to deploy They also prefer their visibility is low of similar to that is very use of beacons SXSW’s app. festivals at by beacons performed This function is basic but quite user experience to improve the this particular festival at useful. However, allowing the slightly further, organisers went its of life ‘a by the app to have map displayed own’. time and, with no users in real geolocated It was going them of what GPS, informed need for on the map or of which areas on in other places moment. particular that at crowded most were example, for for useful, is very This feature aspects such as portable toilets, managing key faster needs have people with urgent so that as it can help the festival and also for access, overcrowding. avoid to create endeavoured the festival is more, What their range who had enabled this option of the this option who had enabled their range By 46 it has large number of large number new technology for the past new technology for Coachella Festival, Coachella (once again, since 2014). again, since (once 45 . performances, delays, etc.) to everyone within etc.) to everyone delays, performances, concert zones), the organisers were able to the organisers were zones), concert upcoming (on information transmit relevant been using this editions two example, in the (for by area installing beacons Returning to Returning most relevant information, and that organisers and that information, most relevant or emails, personal data do not need to collect example. for and provided they had chosen to receive they had chosen to receive and provided users of this kind. This means that notifications limiting it to the they receive, what can control occurring; instead, they informed them instead, they informed occurring; in they were in the area only about events having to send all attendees with the app to send all attendees having messages and installed on their devices were that events on all the notifications One of the immediate advantages was not of the immediate One information they hope to be able to implement information editions and improve future for better strategies goers’ experience. festival had installed the app, the average distance users distance the average had installed the app, option and how many used the beacons travelled this collecting By year). the first 20% (around They also analysed the amount of notifications notifications They also analysed the amount of who the number of attendees the apps received, for festivals that attract a attract that festivals for attendees as the concert areas or VIP zone. The aim this The aim this VIP zone. or areas as the concert with this new tool to experiment year was first goers’ experience, was to count the people in the people count was to goers’ experience, such be monitored, needed to that areas specific Focus: Use of New Digital Technologies at Cultural Festivals 132 the pioneeringfestivals in Lastly, can functioncorrectly, inharmony. factor that ensures that theappand beacons design are alsothedevelopers oftheapp–akey of thetechnicalstrategy andbeacon placement The interesting pointhere isthat thedevelopers take partinany surveys orvotes. for discussion(digital, through theapp) orto allows theusertoaccess asmallreal-time forum enabling thefunctioncommented onabove, to an activityisgoingon,theyreceive arequest example. audience at presentations orroundtables There isalsoanoptionfor type ofgeolocation doesnotrely at allonGPS. them toeachotherthrough anotification. This in thesameroom orarea andcanhelpintroduce other userswithsimilartasteswhoare located of beacons andappcanputpeopleintouch with with theirprofessional profile, the combination as specifyingtheirinterests andtastestogether with beacons andthe If usershave enabledBluetooth, communication tastes. them intocontact withnewpeoplesimilar that canarisespontaneously, andcanhelpbring Join theConversation 2. NT BEFORE AND DURING THE FESTIVAL Tribeca FilmFestival 49 When someoneentersanarea where Networking . Thisoption,aswell as the installation of interacting withthe isanotherof optionaswell , for so new) istheirlargesize, especiallyinterms earlier, there are notmanycasesasbeacons are beacons sofarhave incommon (as stated What thefestivals that have madeuseof screenings. and reactivated afteritended,between film automatically deactivated whenscreening began invasive. Thebeacons inthetheatres were of notifications issuedbybeacons wasnot films, theorganisersensured that thestrategy one ofwhosemainactivitiesisscreening Given thenature oftheTribeca film festival, person moved outoftheirrange. generated bybeacons disappeared whenthe were located. Thesegeolocated notifications where festival goerswhohadenabledtheoption about upcoming activitiesintheparticulararea merely usedtoprovide real-time information beacons regardless ofthefestival’s size. to beusedinvery different typesof contexts are relatively easytoinstallcould allowthem progressively decreasing, andthefactthey congregate. Indeed, theirprice, whichis in areas where actorsandpeopletendto comparatively smallerfestivals, for example These beacons cannodoubtbeappliedto the festival goer. and significantmanagementtasks centred on decisions andcarryoutautomated, geolocated that enabletheorganisation tomake instant cases beacons canbesources ofinformation management isanabsolutenecessity. In these often take place simultaneously, real-time of peopleandawholehostactivitiesthat When dealingwithsuchvery largenumbers and lectures offered by Tribeca festival. activities) attended thescreenings, presentations including theuserswhoenjoyed onlytheonline Festival and more than138,000(evidently not 2015, nearly200,000peopleattended Coachella SXSW hadintheregion of75,000visitorsin of attendees, whonumbermore than50,000. . 50 Theirappwassimpler, inthat itwas 2.6. Wearables and The wristbands that are catching on in Spain payment wristbands are the payment type, in accordance with the concept of ‘cashless’. They are based on the idea Wearables are a technology which, although of creating a means of speeding up the payment based on a simple concept, is undoubtedly here processes that can be required at a festival, to stay for quite some time at least and will especially the music type, for example for broaden or bring new possibilities of performing purchasing merchandise, drinks and cold snacks. certain tasks. This technological concept is part of a trend Wearables are basically devices that users actually known as Virtual or Digital Wallet.51 It involves wear as opposed to having to hold them (as with electronic or digital processes and systems that mobiles). They mostly take the form of ‘analogue make it possible for all kinds of products to be wearables’ such as wristwatches or decorative paid for online. They can range from payment wristbands, glasses, clothing… They can have platforms such as PayPal to the use of mobiles many types of functions, some highly specific. for payment using contactless technologies or NFC (Near Field Communication, the category Perhaps those that are most familiar today are RFID comes under). the so-called smartwatches, which can perform many functions or, at the least, connect to the This payment and transaction method requires user’s smartphone (they can send SMS, allow three elements, which are listed below to help you to see and answer calls, view the time, readers understand the wristbands cited here as view inbox notifications…). Others perform examples: a designed system or electronic or more specific and exclusive functions such as digital infrastructure, a programme or software, measuring and quantifying our physical exercise and specific devices (in this case the wristbands). or heartbeat and heartrate. One of the first festivals to go in for this system was the Low Festival (Benidorm indie music) in In the field of festivals, wearables are proving 2014, for which it was awarded a FEST prize in to be useful tools for improving attendees’ the Most technological festival category in 2014 experience and for managing various aspects at and again in 2015.52 particularly critical times, such as selling drinks during a crowded concert or validating tickets. In other words, wearables are gaining ground at festivals, where they facilitate processes rather than create new sensory experiences or provide information.

The prevalent technological system at many music festivals is RFID (Radio Frequency Identification) wristbands. RFID technology usually consists of small devices used to store and read data (normally an identity) through The online payment system PayPal was the first wireless transmission. Many everyday objects to test it at a real event and chose this festival,53 already incorporate this technology, such as but exclusively for the VIP zones (involving some bank cards or electronic ID cards (the golden 3,500 people in all). In the experiment festival chip). It is commonly employed in warehouses goers with access to these areas did not need to for inventory management, for example, but has carry credit cards or cash (in other words, there very many other applications. was no need for them to take a wallet/purse

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 133 Focus: Use of New Digital Technologies at Cultural Festivals 134 ticket. a smartRFIDwristbandin exchange for their On arrivingat thefestival, visitors were given website, withtheoption ofdoingsoviaPayPal. Money could beloadeddirectly from the Facebook photographsandupdates of ticket touse inallareas, aswell as given toallfestival goers regardless oftheirtype the classicfabricorplasticwristband)andwas authorise access tothewholefestival (insteadof of VIPattendees, thewristbandwasusedto tool for improving andfacilitating theexperience For the2015 edition,following itssuccess asa system with thewristband, festival goerswhotookpartintheexperiment for vendors). In asurvey conducted onthefirst shops (also speedingupthepayment process people queuingtopay inbarsormerchandise aspects, andthemanagementofcrowds of improved users’experience, includingsecurity information onwhether thisfirsttrialactually During thiseditiontheorganisershopedtoglean account orcard this purpose automatically loadedtotheinitialamount(for the user’s cashfell tofive euros, thebandwas system isthepossibilityoftoppingup:when Another interesting functionofthePayPal a real wallet be chargedtothewristbandaccount asifitwere PlayPass (byPaypal), and with aRFIDreader andspecificsoftware called swipe theirwristbandover aterminalequipped for ameal,for example,alltheyhadtodowas 50, 100euros...). Every timetheywished topay them withthedesired amount(for example,20, them totheirPayPal accounts and‘pre-load’ People wearing thesewristbandshad toconnect consumed). along andgetitouttopay for every drinkthey 2. NT BEFORE AND DURING THE FESTIVAL 57

to othermore traditionalmethods. 54 . 55 PayPal mustbelinked toabank ). 56 85% saidtheypreferred this the transactionwould . 58 to share unlike intheprevious example,thewearer could checktheirbalance. To topuptheband, refreshments andmerchandise were sold,users At thesepointsandat thepointswhere euros uptoamaximumof300euros. cash ordirectly from acard –inmultiplesoffive wristband free ofchargeandloadit–eitherwith where festival-goers could request theirRFID For thispurposetheysetupSonarCashlesspoints spaces ortothefestival payments, nottogainaccess tothevarious the festival cards) usingthewristband.At this editionof be in‘cashless’ mode recent 2015edition (Barcelona). Theorganisersdecidedthat for the for payments. One ofthemis adopted wristbandsofthiskind,especially Since 2015more Spanish-based festivals have experience ingeneral. importance bothonstageandfor the festival and understandingitslogic isofparamount this festival, theapproach totechnology takes place without theirknowledge). For such data asprivate, especiallyifmonitoring or leaving thefestival (festival goerscould regard details) andnordoesitmonitorpeopleentering allow thepersontobeidentified,includingbank not record anypersonalinformation (that might festival website that thisRFIDsystem to notethat theorganisers personal data, itisinteresting andvery positive and howcompanies andgovernments useour importance (even worry about) our privacy In today’s world, where we attach increasing following three days. half anhourbefore itended,oronlineduringthe it before leaving thefestival for thelasttimeor unspent moneyback,usersneededtorequest bank account andcard payment. To gettheir software wasusedasapayment bridgebetween partly duetothefactthat neitherPayPal norits money intothebandwallet.Thisdifference is had togooneofthesepointsloadmore the wristbandwasusedsolelyfor all in-festival payments would 59 (that is,withoutcashor itself clearly state onthe . 60 Sónar Festival 61 does Cruïlla Summer Festival (Barcelona) also Facebook status automatically, incorporating the incorporated this new technology with a few place they were at, or upload photos. particular features at the 2015 edition.62 Whereas the 2014 edition of the Low Festival was a Another Spanish festival that has gone in for testing ground for PayPal’s payment wristbands, the cashless system is BIME.64 This event chose the 2015 edition of Cruïlla was regarded as to adopt fast payment wristbands for its most an opportunity to test how the system fared festive side – that is, for the latest 2015 edition when extended to access control, which they of BIME Live. The experience involved a total of call the ‘Full Cashless’ experience. It should be more than 22,500 people who attended the Live remembered that this edition of Cruïlla took section, which lasted three days. place only days before the second edition of the Low Festival, whose organisers also decided to Also in alliance with the digital payment extend the usage of RFID wristband technology. platform PayPal, wristbands were used to enable festival goers to enjoy a cashless and cardless On this occasion, festival goers had to sign up experience. All they had to do was register to Cruïlla’s web platform or app previously (both on the website or app and link their ticket to were linked and synchronised automatically). the wristband (or in situ, at the ticket desks). They then had to link their ticket to their Getting unused cash back is an important part account using the code number displayed on of ensuring a good final experience. In this it and fill in a form available on the website or case, as in that of other festivals that had relied app. They could then pre-load money from their on the PayPal service, if the money had been account, via PayPal (a promotion) or from a loaded from the website or app, it was returned credit card of their own.63 automatically within 15 days. If the user had loaded it at the festival ticket desk, they had to After arriving at the festival, all they needed to fill in a form. do was go to the ticket desks, where they could exchange their ticket for a textile wristband A festival that has been toying with this fitted with an RFID chip, after associating it technology outside Spain is the Bonnaroo Music with their ticket and accounts, and scan it at the Festival. They have been testing RFID entrance barriers by tapping their wrist against technology on wristbands since 201165 at least, as the scanner at the side. Like many others that substitutes for passes or textile wristbands for use the same system, this wristband could be controlling access to spaces and areas of the deactivated if it was lost or stolen, and was concert. therefore a safer method for festival goers as it made their experience more comfortable.

Another particular feature of this technology is that, in addition to enabling payment and fast access to the festival areas, it offered a new social function through Facebook. If users accessed the web zone of their account, they could activate the wristband’s Facebook Connect option, allowing them to use the data connection terminals located in various areas (large panels with a sensor area which the wristband could be swiped over) to update their

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 135 Focus: Use of New Digital Technologies at Cultural Festivals 136 attend). Witheverything connected andwith remembered that more than80,000people and startenjoying theexperience (itshouldbe is validate thewristband inamatter ofseconds On arrivingat thefestival, all theyneedtodo website ortheapp. their ownregistration information) through the link thewristbandcode andtheticket code to log ontothesiteandprovide information (to their wristbandsbeforehand festival, identification processes at thestartof What ismore, tospeed uptheaccess and visitor’s identityandactions. the technologicaldevices are basedaround the This callsfor acomprehensive designinwhichall cashless payments andbeconnected totheapp. evolved intoawristbandthat could beusedfor potential usesat festivals. At thelatest editionit development ofthistypetechnologyandits Bonnaroo therefore allowsustotrace the swiping theirbandover thesensor. with theirinbuiltcameras,andshare themby Photo Stations, whichautomatically tookphotos moment, theycould gouptooneoftheLive instead, theyfanciedsharingaphotoofthe indicating thearea orconcert theywere at. If, automatic messageinusers’personalaccounts set upsolelyfor thepurposeofgenerating an Facebook profile wristband readers, whichread thefrequency of every various typesofposts designers To implementthisfunction,thefestival’s example. of theircontacts were alsoat thefestival where, inorder indicating whichconcert theywere at and automatically update theirsocialmediaby of encouraging andallowingfestival goersto Facebook wasaddedfor theexpress purpose In 2012thefunctionofconnecting bandsto 2. NT BEFORE AND DURING THE FESTIVAL the organisation sendsfuture attendees 66 devised a linked toaspecificandpersonal to helpthemfindoutifany . 68 Live ClickStations were shortcut consisting of 67 equippedwithRFID 69 andasksthemto , for

wristbands alsoincorporated anewoption A particularfeature in2014wasthat the manual andtipsfor enjoying thefestival an attractive box complete withaninstruction wristbands tofestival goersweeks inadvance in networking features. Theyalsomailedthe system, inthefestival’s app, andaddingsocial Bonnaroo, incorporating themintothecashless they were usingthemfor thesamepurposesas the access control version in2012,andby2015 Bonnaroo. Theorganisersbeganemploying have beenusedinavery similarmannerto At everything runsmore smoothly. the variousprocesses intoasingleone inside thefestival, pay, etc.In short, share theirlocation andgeolocate themselves festival grounds, peoplecanusetheirmobilesto the additionalaidofbeacons installedinthe each otherasfriendshad toholdtheir To dosothetwo people whowishedtoadd festival toaddeachotherasFacebook friends allowing festivals, andasmallheart-shaped button cashless payments, aswe have seenat other areas. In 2014itaddedtwo newfunctions: gaining access tothegrounds andtothevarious RFID-enabled wristbandsin2013 The Belgianfestival with itsRFIDhasauniquecode). partially associated withtheticket (each band scalpers, asevery wristbandthat issent purchasing tickets from unknownthird parties/ warned oftheproblems that may becausedby Here, as at otherfestivals, future visitorsare performed at theconcert theyhadattended. Spotify provided themwithaplaylist ofthesongs synched tothefestival andthefollowing day with theirSpotify account theyhadpreviously the entrance totheseareas), theyconnected new concert stage(using oneofthedevices at with Spotify. Every timeuserschecked inat a Coachella Festival festival goerswhometduringthe Tomorrowland , RFID-enabledwristbands 70 72 solelyfor introduced it unifies , sothat . 71 . 73 in theUS–suchasMysteryland, whichwas the few more namestothe list,especiallyfestivals of festival goers’experience. We could adda potential andabilitytoimprove certain aspects chiefly by young peopleisspreading, given its enabled wristbands) at musicfestivals attended The useofthiswearable technology(RFID- sports asimilardesign. the wristbandissenttogetherwithinstructions is shapedlike a logoinrelief. Thebox inwhich and thedevice in which theRFIDisembedded similar tothoseofhand-craftedfashionbracelets the wristbandsare madeofleather ormaterials before thefestival that are they even incorporate itintothewristbands designed toprovide anenhanced experience; own distinctive storyline,anaestheticthat is the elaborate imagerytheydevelop astheir and itsAmericanspinoffstake very seriously It shouldbestressed that Tomorrowland festivals. bands linked totheappasincasesofother further changeswere introduced norwere the automatically beprocessed. In 2015,however, no were scannedtheFacebook friendrequest would at thesametime.Thenexttimetheirbracelets wristbands togetherandpress theirheartbutton delivered toattendees’ homesweeks . 74 Instead offabricorplastic, Focus: Use of New Digital Technologies at Cultural Festivals 137 – or in Paris. Governor’s Ball Governor’s Weather Winter Weather and the and the 75 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E of very different types (pop, heavy metal…). In metal…). heavy (pop, types different of very festivals, used at still rarely they are contrast, functions interesting perform though they could been used more So far they have in the future. festivals. at the aesthetic experience to enhance factories, or in less substantial form, as Internet as Internet factories, or in less substantial form, is one kind of technology bots…), but if there years recent in attention attracting been has that unmanned aerial termed Technically it is drones. or remote they can be computer (UAVs), vehicles or autonomous, equipped with controlled artificial intelligence or even computers onboard technology. designed version the most commercial Drones, been notable in recent civil usage, have for efficient more drop, their sudden price for years design and manufacturing methods, improved and free with hardware come (they software also received and new uses. They have software) and DIY culture. maker significant impetus from used to take most commonly are Civil drones aerial images or to transport small objects. They concerts music at been used to record have Lollapalooza example for Europe, looks set technology type of wearable This new processes. and unify basic festival over to take it wristbands make seen, these have As we validating rapidly tools for possible to unify of drinks and the payment speeding up access, sharing and social networking merchandise, point of the view of the the activities. From also and management, these tools organisation times many crucial points (payment facilitate as and handling of queues, entrances/exists), time in real data much more as providing well festival with protecting in a manner compatible goers’ rights to privacy and information. Drones 2.7. some time now (in for been around have Robots first in the country to adopt the cashless system, adopt the cashless country to first in the Instead of fabric or plastic, Instead 74 . delivered to attendees’ homes weeks homes weeks to attendees’ delivered in the US – such as Mysteryland, which was the in the US – such as Mysteryland, of festival goers’ experience. We could add a could We goers’ experience. of festival names to the list, especially festivals more few enabled wristbands) at music festivals attended attended music festivals at enabled wristbands) its given young people is spreading, chiefly by aspects certain potential and ability to improve The use of this wearable technology (RFID- The use of this wearable is shaped like a logo in relief. The box in which The box a logo in relief. is shaped like the wristband is sent together with instructions sports a similar design. the wristbands are made of leather or materials or materials made of leather the wristbands are similar to those of hand-crafted fashion bracelets in which the RFID is embedded and the device that are are that the festival before own distinctive storyline, an aesthetic that is an aesthetic that storyline, own distinctive experience; an enhanced designed to provide it into the wristbands incorporate they even and its American spinoffs take very seriously very seriously and its American spinoffs take as their develop imagery they the elaborate It should be stressed that Tomorrowland Tomorrowland that should be stressed It further changes were introduced nor were the nor were introduced were further changes of other to the app as in the cases bands linked festivals. were scanned the Facebook friend request would would friend request the Facebook scanned were no 2015, however, In processed. be automatically wristbands together and press their heart button their heart press together and wristbands their bracelets The next time the same time. at Focus: Use of New Digital Technologies at Cultural Festivals 138 the airinasmallparachute. a drone usingGPS.The beerwasdropped from which would bebrought towhere theywere by the festival could useanapptoorder abeer, Beer Drone Oppikoppi 2013 editionoftheSouthAfrican musicfestival place invery largeopenspaces. For example, the trigger newpracticalideasfor festivals that take This isavery strikingexample,butitcould app. remote teamwhoreceived requests through the guide themtoameetingpointcontrolled bya app withthesamename(not thefestival app) to separated from their friends,theycould getthe with interactive LEDscreens. If peoplegot floating spheres (a designinspired bydirigibles) It basicallyconsisted ofdrones intheform of well have beenanintegralpartofthefestival. campaign called Festival festivals, at thepasteditionof To testanotherpossibleusefor drones at Facebook pageasfond memories. – andshare themwithattendees onits – photosare usuallyshotfrom belowthestage is todocumentthefestival from adifferent angle aerial images Viveiro, Galicia) hasbeenusingadrone totake The heavy musicfestival 2. NT BEFORE AND DURING THE FESTIVAL thePepsi Company ranapublicity . experimentedwiththe 78 Asitsnamesuggests,anyone inside since its2013edition The Friend Finder Resurrection Fest , whichmight . 76 Wireless Oppikoppi Thepurpose (in 77

their mostcommon use:for filmingsport. five minutes) invariouscategories, including technology inshort-film format (no longerthan to allaudiovisualcreations usingdrone York CityDrone FilmFestival mention shouldundoubtedlybemadeof However, onthesubjectofdrones andfestivals, fitted totheseaerial vehicles. like GoPros, whichare thetypemostcommonly cameras andeven high-qualitylow-cost cameras notably takingphotographswithlightweight cost isfallinghave variouspotentialuses– As stated, thesenascent technologieswhose festival grounds. no problem withusingtheairspace above the of festival goersandtoensure that there is security criteriainorder toprotect thesafety advisable toexaminecurrent legislation and When considering theiradoption,itistherefore (people’s physicalintegrity, privacy…). in order toprotect securityinvariousaspects AESA) security (Agencia Estatal deSeguridadAérea, to risingsaleshasledthestate agencyfor air and theirincreasingly widespread useowing space. In Spain, theemergence ofthesedevices in questionontechnologyofthiskindandair study thelegislation ofthecountry andarea putting lostfriendsintouch) itisnecessary to (recording andobserving,takingphotographs, Nevertheless, whenputtingdrones toanyuse to regulate theiruse andcharacteristics , whichisdevoted New 79

Focus: Use of New Digital Technologies at Cultural Festivals 139

on 84 . towards towards the percentage the percentage 83 statistics for 2014, 2014, for statistics , 80 with a difference of more than more of with a difference 82 , there are now more than three three than more now are there 81 according to INE according by the beginning of 2015 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E depending on how near or far the device is from is from depending on how near or far the device emit the signals, the spectrum the antennae that it will sent in 2G technology, quality (if they are the least, as slow as at be 56 kilobytes per second technology, with modems, or 4G Internet 1990s Internet almost exclusively. almost exclusively. Internet it foremost, This implies many things. First and where future and immediate points to a present to rise will continue access mobile Internet must be and digital spaces websites Therefore, adapted accordingly. entails many different access Internet Mobile smaller than those of a screens – formats screen but also others that laptop or those in our office, – TVs such as those of so-called Smart larger, are It in the same environment. all of which coexist speeds various Internet are there that means also and qualities. modified, constantly which are computers with desktop Internet Whereas optic cable fibre by a secure connected are or less a more or a stable Wi-Fi system, at access speed, with mobile Internet constant or diminishes speed increases the connection that are more complex or involve a large amount a large amount or involve complex more are that of information. Currently, 16 and 74 aged between 76% of the population year and that fairly regularly, used the Internet such as devices (through access mobile Internet points higher two was smartphones or tablets) computers). (desktop access Internet than fixed Worldwide the nearly 50% of that billion users, meaning some kind of Internet have population world’s to ComScore, According connection. was also reflected the end of 2013 this trend a global scale Internet access. fixed mobile and 10% between And services of people who use only mobile Internet who use desktop of those had surpassed that designers and developers, especially for projects projects for especially and developers, designers in a websites interactive websites created by teams of web by teams of web created websites interactive in contact. There are simple websites designed simple websites are There in contact. such as Wordpress.com platforms using free and and highly sophisticated templates and free activities, times and guests, mission (what it activities, times and guests, mission (what or sponsors, and how to get collaborators is), We may take website to mean a space, however however to mean a space, website take may We about all the essential information basic, where and location, – dates can be found a festival informed of the upcoming edition and its edition of the upcoming informed activities. them to develop as effective as possible as effective them to develop audiences mechanisms to keep communication Nowadays nearly all festivals have a website. a website. have nearly all festivals Nowadays requires Their temporary or seasonal nature creative and communicative possibilities we possibilities we and communicative creative today. enjoy constantly changing. Those flat, static websites static Those flat, changing. constantly last decade or the beginning of the of the 1990s of technical, the hundreds a far cry from are other contacts…). If we examine the world of examine the world we If other contacts…). it is that depth, it is evident in greater the Web of websites in search of information, to read the to read of information, in search of websites and or download files, purchases news, to make links with with friends, share to socialise (chat In a more sociocultural sense, web technology is technology sociocultural sense, web a more In revolutionary. something familiar and no longer dozens the vast majority of us browse day, Every used in its most basic forms. and codes, hardware and network cables, the network and hardware and codes, than a more for – has been around Internet) importantly: it is widely More of decades. couple technology? Web technology – or rather all the – or rather technology Web technology? (software involved most essential technologies what is meant by ‘new technologies’, we had in had in we technologies’, meant by ‘new is what cultural managers can provide mind those that a new websites Are with opportunities. We will not be commenting on will not be commenting We section in this edition of the Annual separate asked we When simple reason. a very for Report (reflection), Big Data and VR Data Big (reflection), 2.8. Other technologies: technologies: 2.8. Other codes QR websites, responsive

79 New New , which is devoted , which is devoted to regulate their use and characteristics to regulate of festival goers and to ensure that there is there that goers and to ensure of festival the above with using the airspace no problem grounds. festival Nevertheless, when putting drones to any use when putting drones Nevertheless, taking photographs, and observing, (recording to it is necessary putting lost friends in touch) and area country of the study the legislation kind and air in question on technology of this of these devices the emergence Spain, In space. use owing widespread and their increasingly air agency for to rising sales has led the state de Seguridad Aérea, Estatal security (Agencia AESA) security in various aspects to protect in order privacy…). physical integrity, (people’s their adoption, it is therefore considering When and legislation advisable to examine current the safety to protect security criteria in order cost is falling have various potential uses – various potential falling have is cost with lightweight photographs notably taking cameras high-quality low-cost and even cameras commonly the type most which are GoPros, like vehicles. fitted to these aerial and festivals, subject of drones on the However, be made of mention should undoubtedly Festival Film City Drone York using drone creations to all audiovisual (no longer than format technology in short-film including categories, in various minutes) five filming sport. use: for their most common As stated, these nascent technologies whose technologies nascent these As stated, Focus: Use of New Digital Technologies at Cultural Festivals 140 in colours that are notoverly strikingbutare is Flat Design (basedon flat, highlylegiblefigures One ofthemostcommon stylesinrecent years devoted tovisualart,performances andmusic. as withthewebsite of cultural disruptionsofnewmediaandvirtuality, – orthere isawishtofocus strongly onthe it –asisthecasewithafew newmediafestivals subordinate totheircontent unlessitisapartof the user’s pointof viewandthisdesignmustbe To sumup, websites needtobedesignedfrom Experience/UX studies). experience (this alsoexplainstherisein User designed from thepointofview ofuser reading) ofthemostessentialinformation browsing (not onlyintermsofspeed,butalso be organisedanddesignedtofacilitate fast clearly onscreens ofallsizes. Websites must circumstances callfor asitethat canbeviewed compared totenyears ago,asthesenew Website designmustbeapproached differently they are almostillegible). in size inaccordance withthescale(otherwise enlarged onsmallscreens insteadofdecreasing and format, meaning that buttonsandmenusare can respond andadaptrapidlytoanyscreen size is switchingtoaresponsive type:awebsite that One ofthetrends andrequisites for anywebsite one ofthemostimportant. Sebastián International FilmFestival to theirwebsite from mobiles,suchas their analyticaltoolsthisincreased access festivals we spoke tohave detectedthrough browsing onmobiledevices. Many ofthe increase intheuseofappsbutalsowebsite then gohome.We are therefore witnessingan working inoneplace, travel onpublictransport, throughout theday aswe mightspendhours It isassimplerealising that connectivity varies and typeofmobilephone. for downloadinginformation) ortheuser’s deal with speedsasfast100megabytespersecond 2. NT BEFORE AND DURING THE FESTIVAL Today’s Art , 85 afestival , tocite San transmediale example thewebsites of the trends we seeinTumblr communities), for reflecting underground Internet culture (such as information butdisplay different styles,even have agoodarchitecture andwell-distributed continue torespect adaptivitytoscreens and screens). However, we alsofindsitesthat appealing andlookgoodonmanytypesof appear amongthesearch results for something For example,ifaliteraryfestival wished to mobile friendly. in arelated search) towebsites that were not stop givingahighranking(among thefirst hits By penalisewe meanthat Googledecidedto penalising websites that are notresponsive leading search andindexingengine, What ismore, since 2015,Google,the . 87

MIRA Festival has been 86 or . 88

Focus: Use of New Digital Technologies at Cultural Festivals 141

as they do not as they 90 Almagro Classical Theatre Theatre Classical Almagro includes a code on its printed includes a code San Sebastián International Film Festival San Sebastián International Nocte Graus International Performing Performing International Graus Nocte AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E arts, have been using this technology for a few a few been using this technology for arts, have This is where manner. natural in a very years – in the been most successful have QR codes enhanced – and have ticketing of event context to decades earlier. compared visitor experience for further information. This approach is also This approach further information. for chosen by the Festival. The including on print material, includes a QR code each film has its where the film catalogue, and to the credits redirects that own code information. complementary use a QR code sales services online ticket Many be it the print or digital to identify each ticket, this respect In app. or the service (PDF) version been adopted by a large number have QR codes and verifying controlling as tools for of festivals activities. The to paid and restricted access quickly using a QR can be performed process or a mobile installed specific device (a reader scanning software). ticket with QR code literary or visual whether musical, festivals, Many it is very easy to generate codes thanks to the thanks codes generate easy to it is very are that programmes of open code existence available readily even and free or on the computer installing anything require is feature Another positive special knowledge. can ‘hold’ many types of information, they that or even website address, such as a specific or images. such as videos audiovisual content printed choose to combine festivals Many anyone so that with QR codes programmes example, an (for further information wishing for has only to scan credits) biography or film artist’s where to a website redirected and be the code This avoids this information. they can access too long and wordy. making the programme The Arts Festival website users to the redirects that programme They offer significant advantages. For example, For example, significant advantages. They offer , and Wordpress their use appears This is attributed to the fact that that to the fact This is attributed have become another somewhat another somewhat become have 89 . potential in the educational field. potential in the educational For example, as we saw in the previous edition in the previous saw example, as we For enhance they can greatly of the Annual Report, amazing visitors and have festival for content This does not mean to say that QR codes have have codes QR that This does not mean to say no use. or have favour fallen from completely and environments, and have done so unevenly, done so unevenly, and have and environments, not often needed during a typical week. they are Some people are used to finding them and have used to finding them and have Some people are have but as these codes installed the software, on in various sectors so far been slow to catch find and download an app that does this. find and download an app that most smartphones or mobiles with cameras do these reads that with a programme not come to an initial effort and users need to make codes to have hit a ceiling, or at least come to a least come or at hit a ceiling, to have standstill Let us now take a look at a different technology. technology. a different a look at us now take Let QR codes field in that controversial these aspects. responsive templates available from platforms platforms from available templates responsive such as the aforementioned some of improving tools such as plugins for There are low-cost solutions for those who solutions for low-cost are There such as the agency, a professional cannot afford though design and originality do not necessarily not necessarily though design and originality do with good content. to be incompatible have unfortunately, the more users give up and search search up and users give the more unfortunately, should Content on other sites). information for but vice-versa, to design not be subordinate that it takes up as little space as possible and up as little space it takes that load, to takes longer a website loads fast (the is essential in an age in which Internet access is access age in which Internet is essential in an is adapting and so and everyday, so widespread to ensure new screens for and optimising it friendly. simple, however a website, having sum up, To giving it a much lower ranking than other literary other literary ranking than a much lower giving it mobile already are that country in the websites as logical as ‘Spanish literature’ and had a static, had a static, and literature’ as ‘Spanish as logical penalise it by would Google website, antiquated

88 . or 86 has been has been MIRA Festival

87 . in a related search) to websites that were not not were that to websites search) in a related mobile friendly. wished to example, if a literary festival For something for results appear among the search What is more, since 2015, Google, the 2015, Google, the since is more, What and indexing engine, leading search not responsive are that penalising websites Google decided to mean that penalise we By the first hits stop giving a high ranking (among screens). However, we also find sites that find sites that also we However, screens). and to screens adaptivity to respect continue well-distributed and a good architecture have styles, even different display but information (such as Internet culture underground reflecting for communities), see in Tumblr we the trends of example the websites transmediale appealing and look good on many types of on many types of and look good appealing Focus: Use of New Digital Technologies at Cultural Festivals 142 divides itsnewsletterrecipients intotwo main their audience. In contrast, to Facebook andTwitter tocommunicate with so theystoppedusingthemandturnedmainly they were notgettingsuchagoodresponse, kind for years, butafteratimetheynoticed that told usthat theyused to sendoutemailsofthis For example,theorganisersof audience, andontheirdesignthetoneused. better orworse depending onthetypeof opposite istrue.But newslettersmay work widespread anduseful.Othersholdthat the that the Some expertsindigitalcommunication this kindtomake themrelevant andappealing. The factisthat ittakes skilltoword messagesof well asmore special,specific content. forthcoming dates, activitiesandpromotions, as containing information –inthiscaseabout or influencers inaparticularfield…)messages this purpose,interest groups suchasjournalists years whohave suppliedtheiremailaddress for people (followers orattendees from previous This consists insendingspecificgroups of Mailchimp complex orspecificonesare paid for), suchas freemium tools(basicservices are free, more emailing amount ofdebate astoitsusefulnessismass Another onlinetoolthat istriggeringacertain requiring very few resources. for managementandvisitorsalike, aswell as contexts andcanbeanefficientfastsolution In short,QRcodes are very usefulinmany possibilities that QRcannot. place theattendee isat, inthisrespect offering provide up-to-date information relevant tothe up theticket validation process, andbeacons can at largefestivals withmanyattendees andspeed wristbands fittedwithRFIDchips work very well to bereplaced byothertechnology. For example, functions QRcodes could perform are beginning Nevertheless, aswe have seen,someofthe 2. NT BEFORE AND DURING THE FESTIVAL newsletter intheform of , ortheSpanish version, format newsletters 92 Kosmopolis isbecoming more OFFF Festival Acumbamail with 91 festival reckon

. spreading contemporary Afro-American culture. further itsmissionofgivingimpetustoand concern ofthenewsletter, whichisusedto the festival appearsalmosttobeasecondary commented onbythecommunity. Promoting played orare duetoplay at thefestival) oris organisers (and isrelated toartistswhohave American musicthat hasbeenselectedbythe written content onartandAfrican andAfro- attractively designednewsletterwithcarefully Every week people whoare interested well informed. and thisworks for communicating andkeeping different objectives and approaches to relations, of culture withwhomtheyare incontact –with publications, andinfluentialagentsinthefield providing anemailaddress for receiving these groups –everyone whohasfilledina form and stored to hitthe300-exabytemark for data generated are stillrising.It isreckoned that attaining record levels ofdata storage,andthey online aswell asoffline ingeneral. We are of data generated byhumansandreproduced The term two oftheminordigital revolutions ofthis decade. advanced web analytics,as togethertheymake up of Things,we shouldalso mentionBig Data and If we have discussed beacons andtheInternet Big Data –trillionsandof megabytes. Afropunk Fest refers tothehugeamount festival issuesavery we are about 93 groups – everyone who has filled in a form But the term also refers to an explosion of At its past 2013 edition, Sónar Festival used providing an email address for receiving these software for organised storage, managing large real-time analytics for a different purpose – publications, and influential agents in the field databases and sophisticated analysis, including awareness raising – to emphasise the constant of culture with whom they are in contact – with viewing cross-data to detect new knowledge tracking to which we can be subjected, different objectives and approaches to relations, with respect to managing the fields that the especially how relatively easy it is to analyse and this works for communicating and keeping organisation covers. influxes of people and the areas through which people who are interested well informed. they circulate by extracting information from the On a practical level, organisations can come MAC address of festival goers’ mobile devices Every week Afropunk Fest festival issues a very across a lot of information in their day-to-day by means of sensors stationed in the areas of attractively designed newsletter with carefully running (it all depends on the type of activities Sónar +D.94 written content on art and African and Afro- they engage in and their size). For example, many American music that has been selected by the festivals with a website use web analytics tools This practice, if taken to an extreme, could organisers (and is related to artists who have to measure variables such as how many users stretch the ethical limits of privacy, as a MAC played or are due to play at the festival) or is visit their digital spaces, which content receives address is a unique identifier of each device commented on by the community. Promoting the most visits and how long for, what they (mobiles, computers). If we realise that nowadays the festival appears almost to be a secondary click on from the homepage… Basically, these every smartphone is associated with its user concern of the newsletter, which is used to tools reveal information that can be very useful from the outset through apps and a data plan, further its mission of giving impetus to and for measuring development. The best known is it is easy to see how the MAC address can be spreading contemporary Afro-American culture. Google Analytics, which has been used for years something that allows a person to be identified. by many organisations as part of their monthly or quarterly management analysis routine. This project, called ‘Sé lo que hiciste en el último Sónar’ (I know what you did at the last For example, in 2015 the International Fantastic Sónar) and run in collaboration with Barcelona Film Festival of Catalonia began to use new SuperComputing Center (BSC-CNS),95 was tracking tools from the ticket purchase stage publicly announced on the festival’s website days onwards. This has enabled the organisers to earlier as a collaborative experiment. The press produce more relevant newsletters targeted at release stated that BSC would ensure the specific segments of followers depending on anonymity of the data before feeding it into any their interests. database. The organisers also supplied a public website96 where anyone could view the data ‘in However, this is not necessarily Big Data – it motion’ throughout the areas – that is, the influx would only fall into this category if there were of people moving through the spaces. It was very many different variables along with very thus transparent and available to anyone. many visits (not thousands but dozens or hundreds of thousands daily). It is therefore If we have discussed beacons and the Internet more usual for Big Data to be generated only by of Things, we should also mention Big Data and high-profile festivals, for example. advanced web analytics, as together they make up two of the minor digital revolutions of this decade. Analytics tools can be interesting at many levels, regardless of whether they produce or store a The term Big Data refers to the huge amount large or small amount of data. As we saw with of data generated by humans and reproduced Bonnaroo and its app, the festival was able to online as well as offline in general. We are use a programme to view in real time where the attaining record levels of data storage, and they largest concentrations of people were located In this case we are dealing with use of Big are still rising. It is reckoned that we are about in order to respond in time to overcrowding, Data by the festival itself to disclose one of to hit the 300-exabyte mark for data generated making use of their system of beacons combined the impacts of new technologies on society and stored – trillions and trillions of megabytes.93 with apps.

AC/E DIGITAL CULTURE ANNUAL REPORT 2016 143 Focus: Use of New Digital Technologies at Cultural Festivals 144 glasses (yes, theyreally are madeofcardboard!). Furthermore, we nowhave especially tothevideogamesmarket. sensation ofvirtualreality that isgeared by Facebook Kickstarter. was fundedusingacrowdfunding campaignon Its first version madethenewsasprototype Oculus Rift products tailored tothem.One exampleis the have inturnstimulated thedevelopment ofnew – istheappearance oflow-cost glasseswhich explaining itsforay intothecommercial domain Another factor–perhapsthemostimportantin improvement and further development. fewer resources, thoughthere isstillroom for three-dimensional filmedexperience) with recording (essential for generating afull have emergedfor simultaneous360-degree improved andsoftware, camerasandmethods Nowadays itscapacityandgameengineshave applications are intheworld ofvideogames. a plausiblerealistic environment. Its bestknown the extentofcreating animpression ofreality or environment, andinafew casessensations, to using specialgloves orspecialeffects inthe of sightandhearingsometimesalsotouch manipulated andcaptures at leastthesensations that isdigitally(computer) generated or By virtualreality we meanagraphic environment installations. technical investments inartisticorexperimental science-fiction orbrought tomind colossal few years agospeakingofVRsoundedlike is broaden oraccess newoptionsat afestival Finally, oneoftheapplications we canuseto few considerations inthefollowing section. cultural trend orafashion.We willexpandona with privacyisnotsimplyagrowing socialand conferences andactivitiesofSónar+D. Concern in linewithwhat italsodisclosesthrough the Virtual Reality 2. NT BEFORE AND DURING THE FESTIVAL headsetwithbuilt-in headphones. I . n 2014thecompany waspurchased 97 It creates afairlyaccessible (VRfor short). Only a Cardboard VR

it isnecessary todownloadandinstallanapp inspired byold-fashioned stereoscopes. To doso, reality viewer (limited tosightandhearing) The ideaistoconvert amobileintovirtual there are alsovery cheapDIYkits. getting themade-to-measure convex lenses.But cardboard. Perhaps themostcostly partis can make theirownoutofapiece ofrecycled websites andmanyothers,sothat anyone something tobevery grateful for) onGoogle available for nocost (the Open philosophy, In addition,thedesignofframesisfreely smartphone. plastic, metalandothermaterials –whichholda there are slightlymore sophisticated versions in of frames–generallymadecardboard, though development, stillinitsinfancy). launched in2015 The bestknownare Google’s, whichwere the organisersexperimented withshowing an appfor Cardboard, testing theground: Die as at Paul McCartney’s concert ' with intheperforming andaudiovisualarts,such This technologyhasalready beenexperimented three-dimensional experience. viewer, userscanenjoy boththeviewanda providing aslightlydifferent view. Withthe screen isdividedintotwo witheachside interfaces andotherleisure experiences), whose are currently videogames,proprietary virtual designed for thispurposeonyour mobile(there ’. 99

But onefestival inparticularhasbegun (and are therefore avery recent Coachella Festival Coachella Explorer Live andLet 98 Theyconsist . Using , 100

Focus: Use of New Digital Technologies at Cultural Festivals 145 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E various new technologies which, despite not which, despite technologies various new at or impactful represented being significantly case of in the (or, so new they are as festivals established and well very are which websites, should be in themselves), not so new everyday, to improve their potential for into account taken The and offline experience. goers’ online festival that contexts a few section provides following might find useful. readers We have ended this section by taking a look at taking a look at this section by ended have We information. purposes such as rebroadcasting performances performances rebroadcasting purposes such as broadening for experiences or augmented reality Although this app appears incomplete and only appears incomplete Although this app fun experience, aesthetic and a different offers different be used for it could in the future experience. The organisers liked it so much that it so much that liked The organisers experience. part of the festival. they included it as being developed unofficially by two developers two developers unofficially by being developed different festival fans a to offer of VRation the spaces of the latest edition of the festival the festival edition of of the latest the spaces out This app started digital aesthetic. a from

100 , . Using . Using They consist They consist 98 Live and Let and Let Live Coachella Explorer Coachella Coachella Festival Coachella (and are therefore a very recent recent a very therefore are (and But one festival in particular has begun one festival But

99 ’. as at Paul McCartney’s concert ' concert McCartney’s Paul as at Die testing the ground: Cardboard, an app for the organisers experimented with showing designed for this purpose on your mobile (there mobile (there purpose on your this designed for virtual videogames, proprietary currently are whose experiences), and other leisure interfaces with each side into two is divided screen With the view. different a slightly providing view and a both the users can enjoy viewer, experience. three-dimensional been experimented This technology has already and audiovisual arts, such with in the performing launched in 2015 launched in its infancy). still development, though of cardboard, – generally made of frames in versions sophisticated slightly more are there hold a – which other materials plastic, metal and smartphone. of the frames is freely addition, the design In philosophy, Open (the no cost for available on Google for) grateful very something to be anyone and many others, so that websites of recycled their own out of a piece can make part is the most costly Perhaps cardboard. lenses. But convex getting the made-to-measure cheap DIY kits. also very are there a mobile into a virtual The idea is to convert (limited to sight and hearing) viewer reality do so, To stereoscopes. by old-fashioned inspired to download and install an app it is necessary The best known are Google’s, which were were which Google’s, known are The best Focus: Use of New Digital Technologies at Cultural Festivals 146 that have become established inrecent years forms related totheconcept ofdigital, practices also refers totheneweconomic andcultural in attitudes towards thesetechnologies,butit designate anumberofchangesinparadigmand or notitisthemostfittingterm,usedto of somethingcompletely different. Whether is over andthat we are witnessingthestart does notnecessarily meanthat thedigitalage there istalkoftheconcept ofpost-digital. This In someacademicandartisticenvironments above all,wisely. together more strategically, pragmatically and, new technologiesandcanhelpusfitthepieces comments ontheparadigmswhichgovern At thispointitisappropriate tomake afew improving ourrelationship withthem. few aspectsofvisitors’experience andways of world –specifictechnologies for enhancinga at festivals, bothinSpain andallover the technologies that are startingtobeused So farwe have examinedsomeofthenew 3. 3. A POST-DIGITAL AND CONTEXTUALISED APPROACH APPROACH CONTEXTUALISED A POST-DIGITAL AND classified underthebroader concept of ‘digital’. host ofmethodsandaculture that canbe embraced asordinary andeveryday awhole assimilated thesetechnologies buthave But over thepastdecadewe have notonly fear. certain senseofwonder, oracertain amountof and every newsocialnetwork triggered in usa In generalevery newplatform, every newdevice technologies seemedlike science-fiction tous. would begoverned bythese(at thetime) new which somanyprocesses andcommunications like somethingoutofthefuture. Afuture in very newandthedigitalsocietysounded modem Internet connection, digitalseemed the population hadat leastonePCwithanoisy 20 and15years ago,whenthelargemajorityof we perceive thesenewtechnologies.Between One ofthesechangesiscloselyrelated tohow kinds. Information Societyandorganisations ofall and affect boththepeoplewholive intoday’s Focus: Use of New Digital Technologies at Cultural Festivals 147 requires that users that requires the Spanish data protection protection data the Spanish when a website is tracking them when a website

103 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E using cookies, in the form of a message that message that of a in the form using cookies, part of the screen pops up in the upper or lower They need to is accessed. when the website been they have click on the message to confirm if they want it to disappear. informed page, what they click on, their browsing history their browsing they click on, page, what on verging and the use of data tracking) (user to a person’s linked can be directly the sort that pattern be it a unique and unmistakeable identity, is associatedor fingerprint, or because this data identify the person can with other details that geolocation…). email addresses, (names, with The privacy ethic and acting in accordance privacy act data such as the Spanish legislation is not counterparts and its European (LOPD) should be borne in mind; something that merely the process now demanding that some users are of what users be informed or that be transparent what them and for from will be collected data decide whether they can even purposes, so that or not to supply it. in 2014 As a result, which a law agency compiled be informed contacts. contacts. and at 1990s late users, born in the The youngest decade, do not bother of the last the beginning more which are on these social media registering of to some in comparison and static populated they ones with other game rules that the newer (messages such as Snapchat go on to interact, very seconds, after five eliminated are that or videoblogging or messaging visual…), Tumblr, WhatsApp. like services by was marked years A turning point in recent though it was not the case (2013), the Snowden Since a major debate. triggered only one to have is witnessed how the population have then we of of the importance aware increasingly becoming and of some of in the new digital economy, data especially is gathered, which data in the contexts a such as when they visit on their online activity, those of the friends and colleagues who are our are who colleagues the friends and those of

101 . used Others continue to go on the site very to go on the site very Others continue 102 . to focus what we shared more on our tastes and more shared we what to focus links, news, events, etc., but we learned from learned from etc., but we links, news, events, of news, articles, recipes overload the resulting but also ‘less is more’ and photos not only that that we could share everything we came across came across we everything share could we that shared accordingly and we with our contacts We have also decided to cut down on these also decided to cut down on have We to discover first it was exciting at habits more: visual social media like Instagram) or for sharing or for Instagram) visual social media like again, thoughts, opinions or knowledge (once Tumblr). blogs like often, however. We are learning to use more learning to use more are We often, however. as sharing images (such for specialised platforms over the world, but some of those who the world, over less and less becoming are active to be very so such as Facebook have witnessed a decrease witnessed a decrease have such as Facebook all than a billion users more are in usage. There often to do many things such as chat, check out chat, often to do many things such as links, or simply spend and their friends’ statuses some social media years recent some time. In Many of the people who enthused about them of the people who enthused Many fairly or very back then used to go on these sites check and clear their inbox, or simply see what or simply see what check and clear their inbox, doing. other people are population, for example, use at least one social example, use at for population, whether to find out how a week, media site once to shared, they have and what are their contacts platforms of this kind like Myspace or Facebook. or Facebook. Myspace of this kind like platforms majority of the Spanish the great Nowadays appeared some people were wary or indifferent wary or indifferent some people were appeared people threw other them, whereas towards with new into experimenting themselves For example, when the social media initially example, when the For described in connection with festivals, but the with festivals, described in connection to relate those that probably are most significant seeing. are we the new behaviours attitude, longer a revolution but merely a mainstream a mainstream but merely revolution longer a still witnessing are we Actually digital society. such as those revolutions minor technological Some say that the digital revolution is no revolution the digital that Some say Post-digital is partly characterised by our having our having by is partly characterised Post-digital digital at to marvel ability that overcome A festival that has taken the idea of providing a generating confidence. Because a festival’s scope better and more ethical web experience slightly also extends to the Internet. further is transmediale. At a festival where, for several editions, discussions and works have Another feature of what we take to mean been devoted to the issues commented on in post-digital – or at least the start of a period this section, it seemed more than appropriate to of social and cultural consolidation with digital experiment with practice in a sense. – is moderation in the use of technologies. Organisations that are ‘digital natives’ Their website appears to be sparingly designed, (established especially between now and 2000 but the articles published on it have a particular and operate comfortably in these environments) feature: although there are buttons for sharing or underwent digitisation some time ago tend and posting on the social media, as found to use not a broad range of the newest digital on many Internet websites, they are visibly technologies but only those they need at a ‘disabled’. The buttons are grey, and each has an particular moment. on/off button. When you slide the cursor over one of them, the following message appears: These technologies are thus already part of day-to-day life, just like paper books or 2 clicks for more privacy: click on this button to ballpoint pens. The illusion that digital would activate the [Facebook/Twitter/Google+] share undermine off-screen (‘real world’) experiences button. Activating the share button will already and behaviours and that we would end up in transfer data to third parties. See more on a parallel and artificial virtual reality (we are i[nformation] exaggerating slightly to get the point across) is fading as we are discovering that tools such as email merely add a complementary layer or experience rather than taking something away from real life. We are returning to a focus on more human relations, direct contact whenever possible, and this is also being seen in some arts and professionals, and is fully materialised in pixel art or 3D-printing art. In the previous section we also spoke of Sónar In this post-digital environment, however, Festival, which in 2015 experimented with people are calling for a return to thinking and tracking festival goers’ mobile data, informing contemplating from a human and social rather them in advance of the experiment and inviting than a technological perspective, for making them to view the flow in real time, as a means humans the centrepiece of any strategy and of display and a tool for stimulating debate on technology the tool. In this respect, practices are these issues at a festival and a section, SónarD+, emerging in which analogue technologies and which has also been exploring them in recent methodologies – the sort that have ‘been around editions. for ages’ (doing things by hand, processing data in a more artisanal way…) – can coexist perfectly Once again, being concerned about protecting with the newest sorts. attendees’ privacy in environments increasingly populated by sensors, cookies and other tools The organisers of OFFF Festival tell us that of this kind is tantamount to being concerned this is the approach they take to internal about improving our audiences’ experience management and visitor relations.104 They at our festivals and cultural spaces, in turn confess that the number of people who attend

148 3. A POST-DIGITAL AND CONTEXTUALISED APPROACH Focus: Use of New Digital Technologies at Cultural Festivals 149 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E a festival where attendance is completely free of free is completely attendance where a festival communicative all its digital can cover charge, it example (for the social media needs with they have which account with its Facebook they where 2009, since managed exclusively editions, supply the official photos of past share activities, etc.) and with about their information QR featuring programmes locally distributed its from information broader provide that codes website. updated the social media. The organisers reckon that, as that, reckon media. The organisers the social also opts for a pragmatic approach to to approach a pragmatic also opts for Nocte Graus International Performing Arts Performing International Graus Nocte Festival Festival works best with their audience. best works The networking to disseminate their programme and their programme to disseminate networking react who in touch with their audience, keep with an app – which is what positively, very for processing data or access control. For the For control. or access data processing for social intensive very they combine time being, can still be managed well ‘analogically’ and and ‘analogically’ be managed well can still tools sophisticated not need more they do Focus: Use of New Digital Technologies at Cultural Festivals 150 adapt totheirephemeral nature. Theycannot For example,festivals embrace technologies that most usefultoeachproject, structure ormission. they have tooffer andidentifyingwhichonesare for alltechnologiessomuchasknowingwhat Embracing technologydoesnotentailgoingin media, suchas#TwitterFiction Festival. more ongeographicalubiquityandthenew witnessing theemergence offestivals that rely the mostusefulnewtools,andwe are also Classical Theatre Festival) that have adopted to Baroque theatre (such astheAlmagro have thusseenperforming artsfestivals devoted more socialapproaches orwithtraditions.We New technologiesare notincompatible with even ifitisonlythrough awebsite orblog. digital technologiesinsomeway oranother, festivals have already considered introducing in someway. Asstated at thebeginning,many technological transformations andtheireffects cultural changes,meaningthat theyalsoperceive Festivals coexist withalltoday’s socialand 4. CONCLUSIONS 4. CONCLUSIONS cultural role, aswell astheresources italready the festival’s mission,philosophy, goalsand Everything needs tobecombined withstudying devices suchasbeacons are centred ontheuser. architecture, andtheinstallation ofsophisticated and intime.Thedesignofapps,thefestival’s intellectually indigitalandubiquitousspace, their experience emotionally, aestheticallyor festivals are seekingtoenhance orbroaden The audience hasbecome thecentrepiece and and improve theaudience’s experience. telecommunications firmstotest,experiment as well asalliances withtechnological,digitalor have alsoseencasesofmore affordable tools, features suchasastructured website, but we a largerinfrastructure, andothersessential Some oftheideaswe have examinedrequire different matter. interfaces aspartofthefestival content isa installation withinnovative ortechnological the audience’s involvement. But settingupan build majorinstallations merely toenhance Focus: Use of New Digital Technologies at Cultural Festivals 151 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E the revolution does not consist in going in for in going in for does not consist the revolution incorporating new but rather of the the newest into others that a mechanism, parts of it, like always is Miscalculation be analogue. might well experimenting, but it is less of a possibility when with others. when shared a mistake to refusing that say might we Therefore, such as the social media certain embrace the amounts to being left outside networks of the large portion or very of a fairly circle major brought and others, have These, audience. in a host of aspects commented improvements is up to us to experiment, It on in this report. of no use, discuss is what discard discover, and digital, involved; and get the audience to help us. The there technological tools are all this is examined show that have cases we possible. we are seeing throughout the post-digital wave, wave, post-digital the throughout seeing are we intelligently and pragmatically – combining old – combining intelligently and pragmatically and relations tools and methods such as public as For, wearables. latest with the face-to-face means and capability to experiment and be means and capability to experiment – but with these new tools, mercilessly creative festival, but there are specific examples to are but there festival, a sense, this opens up a whole field go on. In the have all we new paths; discovering for maps explaining how to use all aspects of the maps explaining each best for which tools are tools or even human expression and creation. and creation. human expression manuals or route no instruction are There the social media, can promote the more social the more media, can promote the social as after fun side, if wished, side and the more a field of all about celebrating are all festivals the festival the best experience for the people the people for the best experience the festival such as technologies, new us through around has (not only financial but also the potential of but also the potential only financial has (not making committed to time…). Being the staff, Focus: Use of New Digital Technologies at Cultural Festivals 152 16. 15. 14. 13. 12. 11. 10. 9. 8. 7. 6. 5. 4. 3. 2. 1. Endnotes

edinburgh-fringe-festival http://www.crowdfunder.co.uk/fundraising/ https://screen.ly/faq/screenly-basico/ waxpancake/xoxo-festival?ref=discovery https://www.kickstarter.com/projects/ cine-migratorio-film-festival?ref=discovery https://www.kickstarter.com/projects/112720212/ barcelona-creative-commons-film-festival http://www.verkami.com/projects/396-bccn- http://www.verkami.com/year/2014/es#2 shuttle-tr-46244 coachella-mobile-app-includes-friend-finder- http://www.axs.com/news/2015-version-of- of-All-Time-Spent-on-Digital Mobile-Milestones-in-May-Apps-Now-Drive-Half- https://www.comscore.com/Insights/Blog/Major- http://www.afropunk.com/forum afropunk-festival_b_8006954.html http://www.huffingtonpost.com/lauri-lyons/ playlist/1R9pG1FohrQz9iInVnQI9F https://open.spotify.com/user/oddfellowsev/ kosmopolis/ http://kosmopolis.cccb.org/es/que-es- watch?v=PAhW5rUYVQ4 experiencia-del-festival/ http://industriamusical.es/infografia-compartir-la- app-de-m-u-r-s/ http://www.lafura.com/noticias/disponible-la- http://twitterfictionfestival.com/instant 4. CONCLUSIONS https://www.youtube.com/

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http://twitterfictionfestival.com/instant http://www.phonetasticfestival.com/home.php ocio/20150120/54423550090/grec-2015.html http://www.lavanguardia.com/ barts-20140716145029.html grec-lleva-electronica-atmosferica-olafur-arnalds- http://www.europapress.es/catalunya/noticia- familia-stinson barcelona/3159-lisandro-aristimuno-la-legendaria- http://www.cooncert.com/grec-festival-2015/es/ http://www.oakhurstporchfest.org oakhurst-porchfest-music-festival http://news.wabe.org/post/big-idea-behind- espectadores-y-duplicando-su-presencia-online/ hace-un-balance-muy-positivo-con-6-000- el-43-festival-internacional-de-cine-de-huesca- http://www.huesca-filmfestival.com/ https://festivals.festhome.com/home_festivals http://www.obs.coe.int Fest-cine-salon_0_396160667.html http://www.eldiario.es/cultura/Atlantida-Film- tribeca-film-festival/id985757645?mt=2 foreign-language-film-32617 streaming/amazon-prime-lands-oscar-nominated- http://www.homemediamagazine.com/ online-film-festival-2014 https://tribecafilm.com/stories/vote-tribeca- http://transmediale.de/archive http://issuu.com/artfutura http://issuu.com/artfutura/docs/artfutura_2015 https://itunes.apple.com/mx/podcast/2015-

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https://sonar.es/es/pg/sonarcashless http://www.ibtimes.com/rfid-wristband-about- latest-music-festival-technology-bonnaroo- bamboozle-coachella-more-705702 http://www.rfidjournal.com/articles/view?12201/2 http://lowfestival.es/promociones/ guialowfestival.pdf https://sonar.es/es/pg/sonarcashless http://ccaa.elpais.com/ccaa/2015/06/21/ catalunya/1434919296_067419.html http://industriamusical.es/el-2015-es-el-ano-del- cashless-rfid-en-los-festivales-espanoles/ http://www.cruillabarcelona.com/es/usuari-2 http://bime.net/bime_pro/es-es/noticias/noticia/ bime-apuesta-por-el-dinero-virtual-como-250nica- forma-de-pago-y-cierra-la-programaci243n-pro ibeacons-a-la-personalizacion-de-la-publicidad. html#.VmBl1OJcJCi http://propid.ischool.utoronto.ca/digiwallet_ overview http://premiosfest.com/festivales/low-festival/ http://cincodias.com/cincodias/2014/07/18/ tecnologia/1405707928_772747.html http://lowfestival.es/festival-indie/pulsera- inteligente/ http://lowfestival.es/nota-de-prensa/la-pulsera- inteligente-una-innovacion-para-ahorrar-tiempo- y-dinero-en-low-festival-2015/ http://lowfestival.es/festival-indie/carga-tu- pulsera/ http://blog.jwt.es/tendencias/como-ayudan-los- AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E 57. 58. 59. 60. 61. 62. 63. 64. 51. 52. 53. 54. 55. 56. 50. 65.

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badge-pickup-through-ios-app/ http://9to5mac.com/2014/03/06/sxsw-festival- using-ibeacons-for-interactive-sessions-speedy- http://www.bbc.com/news/technology-31883643 http://beekn.net/2014/04/coachella-ibeacon- way-bluetooth-le-will-change-events/ software-technology/18309.html https://www.coachella.com/mobile http://www.mobilemarketer.com/cms/news/ http://9to5mac.com/2014/07/14/bonnaroo- festival-used-ibeacons-to-collect-valuable-data- about-concertgoers/ cannes-165534 http://www.adweek.com/news/technology/4- ways-beacons-are-helping-people-network- http://ibeaconsblog.com/beacons-at-the-cannes- lions-festival/ concerns-arise-with-proximity-based-beacon- technology beacon/ http://searchcrm.techtarget.com/feature/Privacy- https://www.fayerwayer.com/2014/10/que-es-un- tomorrowworld-tv-live-streaming https://www.youtube.com/watch?v=IOza3iZWe5s http://www.tomorrowland.com/en/news/ http://www.youredm.com/2015/09/25/watch- tomorrowworld-2015-live-now-day-1-live-stream/ https://twitter.com/ search?q=%23transmediale&src=typd http://transmediale.de/festival/livestream- preview http://live.sxsw.com/category/videos/sxsw-live

49. 48. 47. 46. 45. 44. 43. 42. 41. 40. 39. 38. 37. 36. 35. 34. Focus: Use of New Digital Technologies at Cultural Festivals 154 74. 73. 79. 78. 77. 76. 75. 72. 71. 70. 69. 68. 67. 66. default.aspx lang_castellano/cias_empresas/trabajos/rpas/ http://www.seguridadaerea.gob.es/ oppikoppi-beer-drone_n_3157561.html http://www.huffingtonpost.com/2013/04/25/ festivales/ drones-para-encontrar-a-tus-amigos-en-los- http://www.socialunderground.co/pepsi-usa- posts/710826008934071 comprar-provisiones/ lollapalooza-ofrecera-pulseras-inteligentes-para- https://www.fayerwayer.com/2014/07/ shipped/ know-about-those-bracelets-youre-going-to-be- tomorrowland-theres-something-you-need-to- http://www.festivalsherpa.com/heading-to- festivalgoers-to-trigger-a-facebook-friend-request The-bracelets-have-a-button-which-allows- bracelet-is-used-at-Tomorrowland-Festival-2014- https://www.quora.com/Which-type-of-RFID- newsarticle/63 https://www.intellitix.com/resources/ https://www.coachella.com/about-wristbands/ http://www.rfidjournal.com/articles/view?10829/2 watch?v=DEmJ9NnzPeo https://www.youtube.com/ http://www.bonnaroo.com/privacy wristbands/ bonaroo-adds-social-media-feature-to-rfid- http://www.secureidnews.com/news-item/ 4. CONCLUSIONS https://www.youtube.com/watch?v=tY_jQ1yyK7g https://www.facebook.com/resurrectionfest/

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87. 86. 85. 84. 83. 82. 81. 80. 95. 94. 93. 92. 91. 90. 89. 88. pdf globalinternetreport/assets/download/IS_web. http://www.internetsociety.org/ Exceeds-Desktop-Only-in-the-U.S Number-of-Mobile-Only-Internet-Users-Now- https://www.comscore.com/Insights/Blog/ of-All-Time-Spent-on-Digital Mobile-Milestones-in-May-Apps-Now-Drive-Half- https://www.comscore.com/Insights/Blog/Major- http://www.internetlivestats.com/internet-users/ http://goo.gl/80540Z presspack_whatyoudid.pdf http://www.bsc.es/viz/whatyoudid/press/ http://sonarplusd.com/es/activity/2062 information-in-the-world-2011-2 http://www.businessinsider.com/amount-of- newsletter/ http://vilmanunez.com/2014/03/06/que-es- cultural/ marketing-newsletters-en-tu-organizacion- http://asimetrica.org/por-que-usar-email- http://www.codigos-qr.com dead/ http://www.pfsweb.com/blog/is-the-qr-code- adaptadas-a-moviles google-penalizara-a-las-paginas-web-no- http://www.pymesyautonomos.com/tecnologia/ http://transmediale.de http://www.mirafestival.com/es http://todaysart.nl/2015/teaser

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https://www.agpd.es/portalwebAGPD/ http://www.forbes.com/sites/ parmyolson/2015/01/27/facebook-active-users- decline/ canaldocumentacion/cookies/index-ides-idphp. php http://hiroshima.mx/festivalofff-3-dias-de- creatividad-y-cultura-post-digital/ http://www.aprja.net/?p=1318 AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E 102. 103. 104. 101. ◄

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https://play.google.com/store/apps/ http://www.bsc.es/viz/whatyoudid details?id=com.goldenvoice.coachellaexplorer

https://play.google.com/store/apps/ details?id=com.jauntvr.preview.mccartney millones-dolares-20140325234721.html https://www.google.com/get/cardboard http://www.europapress.es/portaltic/empresas/ noticia-facebook-compra-oculus-rudy-2000-

100. 99. 98. 97. 96. Focus: Use of New Digital Technologies at Cultural Festivals 156 Pilar GómezGutiérrez Director ofProduction Carmelo García Ollauri Director ofFinances andResources Jorge Sobredo Galanes Director ofProgrammes Elvira Marco Martínez Director General MANAGEMENT TEAM Miguel SampolPucurull Secretary Alberto Valdivielso Cañas Itziar Taboada Aquerreta Javier Sangro deLiniers Rafael Rodríguez-Ponga Salamanca Tomás Poveda Ortega María BelénPlaza Cruz José Pascual Marco Martínez Valle Ordóñez Carbajal Manuel ÁngeldeMiguel Monterrubio Montserrat Iglesias Santos Lorena GonzálezOlivares Members Miguel ÁngelRecio Crespo President BOARD OFDIRECTORS ACCIÓN CULTURAL ESPAÑOLA (AC/E) CREDITS

Focus: Use of New Digital Technologies at Cultural Festivals 157 from September to from AC/E DIGITAL CULTURE ANNUAL REPORT 2016 REPORT ANNUAL CULTURE DIGITAL AC/E supporting the launch of this project at the at supporting the launch of this project in April 2016: Telefónica Fundación ESPACIO We would like to thank all the people and to thank all like would We in this study by who took part institutions digital cases of good submitting their generously to the in response sector in the festival practice on its website by AC/E announced invitation www.accioncultural.es 2015. December to all the organisations also grateful are We mentioned are experiences and people whose in the various practice as examples of digital chapters of this study. opinions and observations your welcome We can be sent to which about this publication, [email protected] for Telefónica to Fundación grateful are We ACKNOWLEDGEMENTS

@Tuitidifusa @marysaints @laracoteron @sandopen

@RaquelInesMesa @jldevicente @G_Kintaniya @protoplasmakid @javiercelaya @pauwl @PepeZapata

@Imastranger Creative Commons Attribution- ISBN: 978-84-15272-76-2 M-4973-2016 Legal: Depósito #AnuarioACE © NonCommercial-NoDerivs 3.0 Unported licence www.accioncultural.es Printing Gráfica Advantia, Comunicación Design and layout of Pdf and Epub of Pdf and layout Design Editorial Diseño Cuadratín Copy editor Copy Moreno Ana Martín Pepe Zapata - Zapata Pepe Mariana Moura Santos - Santos Moura Mariana - Waelder Pau - Lara Sánchez Coterón Authors - Martínez Iván - Montecarlo José de la Peña Aznar- Aznar- de la Peña José Grace Quintanilla - Quintanilla Grace - Peñuelas Fernández Isabel - Luis de Vicente José Advisory committee Coordinator Coordinator - (AC/E) Raquel Mesa Director - Celaya Javier Acción Cultural Española (AC/E) Cultural Acción ORGANISED AND AND ORGANISED BY PUBLISHED The AC/E Digital Culture Annual Report analyses the main technological trends that cultural managers will need to bear in mind in the coming years in order to have a better understanding of the impact of new technologies on their culture organisations.

This third edition sets out to analyse the impact of new technologies on artistic creation and their use at cultural festivals. Its broad-ranging content has been divided into two main sections to make it easier to read for the different audiences at which it is aimed. ‘Smart Culture’ is the overarching theme of the six articles that make up the first part. Just as the first report’s Focus dealt with the impact of the Internet on the performing arts (theatre, opera, dance, ballet, etc.) and that of the second edition analysed the use of new technologies in the world of museums, for this third edition it conducts a thorough analysis of the use of new technologies at some 50 Spanish and foreign cultural festivals.

Both sections of the AC/E Annual Report speak of a hybrid realm halfway between technology and art; of blending between the physical and digital words; of vanishing boundaries between industries; and of the use of smart analyses and Acción Culturalalgorithms to give value andAcción meaning Cultural to the often too much but never enough Española Española data. The chosen topics explorewww.accioncultural.es the pathways of the new collaborative economy; analyse its impact on artistic creation; examine the new space for interaction between people, machines and industries; and explain the changes that have taken place in markets and in how artworks are produced and sold.

Acción Cultural Acción Cultural Española Española www.accioncultural.es

Spain’s Public Agency Spain’s Public Agency for Cultural Action for Cultural Action www.accioncultural.es