#TCG15 | @devonvsmith

Artist meets hacker how technology is changing the arts

hello.

Devon SmithLast summer NEA asked me to highlight what bright spots & blank spots in the intersection of arts/techExcuse to research and speak with a bunch of artists & arts orgs about what they’re working onCurrently at digital agency Threespot, but proud to announce…

slideshare.com/devonvsmith

Everything here is open source. this is posted online at…And I’ve included twitter handles so you can reach out directly to these arts orgs

the arts field must better leverage technology to stay relevant.

artists are exploring technology as an art form.

arts orgs are now in competition with audiences & tech companies.

arts administrators should adopt a maker approach.

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After looking at several hundred different examples, I took away four big concepts, some obvious, others less so1. Number of arts orgs is growing faster than audiences. In many cases, (in person) audiences are shrinking. Yet people interact w/ culture now more than ever. In a world of YouTube and

MakerFairs, the traditional arts field needs to better integrate technology into our work. 2. Experimentation among solo artists, especially installation artists. Technology is still a novelty. We’re less than a decade into any sort of new movement, it’s too early to tell how long

lasting tech will change the art form itself, not just the administrative side. 3. Technology has also democratized the means of creation and distribution. It’s given more power to the audience to determine the experience they want, and the availability and use of

data has put tech companies themselves in the driver seat of matching audience to art. The art critics recommendation isn’t as important. 4. Professional administrators aren’t equipped to effectively use technology. They’re not exposed in MFA programs, on the job, or in arts conferences. But opportunities for learning abound,

if you go just slightly out of their comfort zone.

least disruptive

most disruptive

social interactions

multi(tasking) media

devices

learning models

co-creation

data

interactive objects

7 areas where technology is fundamentally shifting the art worldmost examples launched in the past year, or still under developmentso many don’t have good “results” captured yetbroad overview bounces between artists, arts orgs, from marketing to makingoften looking *outside* of theatre

organizations struggle, artists innovate.

#TCG2015 | @devonvsmith

social interactions

multi(tasking) media

devices

learning models

co-creation

data

interactive objects

social media is changing how we…make and interpret art, empower audiences, distribute content, and who we consider partners

artists as innovators@CIIDnews

SLIDE: artists as innovators (@CIIDnews)ORG: Copenhagen Institute of Interaction Design: #CPHSignalsPROJECT: Walk up to an iPad, tweet, sends message via morse code as a light signal across the bay to another device that reads the light, and prints to twitterREASON: social media as the vehicle for artistic production more typical by installation artists where technology is embedded in the experience, often Twitter. http://ciid.dk/education/portfolio/idp12/courses/systems-layers/projects/cphsignals/

Example:Better Left Unsaid Livestreamed interactive theatre: http://betterleftunsaid.tv/2010/09/09/owen-panettieri-nyc-fringe-playwright-actor-blogger-and-unsaid-backer/Foursquare recreation of Ferris Bueller’s Day Off: http://mashable.com/2010/06/02/chicago-foursquare-giveaway/Game of Thrones via Twitter: http://www.conducttr.com/success-stories/19-reinos/

appeal to amateurs@tribecafilmfest

SLIDE: appeal to amateurs (@tribecafilmfest)ORG: Tribeca Film FestivalPROJECT: 2nd annual Vine Fest was an intentional appeal to amateurs, though many submissions came from experienced filmmakers. REASON: Constraints of the social platforms (shorter = cheaper) force new experimentation. http://tribecafilm.com/online/competitions/6second

Examples:Twitter-enabled story telling: https://shkspr.mobi/blog/2015/01/writing-a-choose-your-own-adventure-story-on-twitter/ Bruno Ribeiro’s meta-critique on social media as an art form: http://reallifeinstagram.com/ http://www.walkerart.org/internet-cat-video-festival http://www.fastcocreate.com/3017438/airbnb-releases-first-short-film-made-entirely-of-vines

lower barriers to entry@sfmoma

SLIDE: lowers barriers to entry (@sfmoma)ORG: SF MomaPROJECT: Shut down website temporarily & used Tumblr as their CMSREASON: Social media enables anyone, org or individual artist to promote and distribute their work. This has increased the competition for attention in an already crowded field. http://sfmoma.tumblr.com/

Example:https://www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project

organizations are adapting@LACMA

SLIDE: organizations are adapting (@LACMA)ORG: LACMAPROJECT: First museum on SnapchatREASON: Successful social media demands a unique tone, adapted to a new social medium/audience, puts conservative institutions at a disadvantage because they can’t take themselves quite so seriously. http://hyperallergic.com/144822/lacma-is-the-first-museum-to-join-snapchat/

Example:https://twitter.com/nmnh/status/568772601109213184

low cost experiments@britishmuseum

SLIDE: low cost experiments (@britishmuseum)ORG: British MuseumPROJECT: series of behind the scenes museum tours, streamed live on Periscope. Disappears after the livestream ends. REASON: social provides low cost opportunities to experiment

Example:Field Museum

collaborate with networks@twitteruk

SLIDE: collaborate with networks (@twitteruk)ORG: Twitter UKPROJECT: sponsored #LoveTheatre day to get UK arts organizations actively in conversation with their audience. 400k tweets w/ #LTREASON: Twitter, Tumblr, and Kickstarter each have dedicated staff members supporting cultural organizations use of the platforms. We should take better advantage of them as resources to form collaborative partnerships. https://blog.twitter.com/en-gb/2014/roll-up-for-lovetheatre-day-on-twitter

Examples: http://museumweek2015.org/

structure your data@foursquare

SLIDE: structure your data (@foursquare)ORG: FoursquarePROJECT: Foursquare knows that I check into arts organizations more often than shopping malls, so it sent me this email the day before black friday, recommending 4 arts orgs I should visit in DC over the holidays. REASON: Social media companies more indirectly promoting arts, by knowing data about your habits and affinities. Coming from a third party source made this recommendation more compelling. Arts organizations need to structure their data to be more easily consumable by these networks. http://www.theverge.com/2013/8/29/4671936/foursquare-will-soon-push-personal-recommendations-to-your-phone

Example:https://support.google.com/webmasters/answer/164506?hl=en

right here and now to anywhere anytime.

social interactions

multi(tasking) media

devices

co-creation

data

interactive objects

#TCG2015 | @devonvsmith

learning models

multimedia is changing…when, where, how, and who has the opportunity to experience an artistic production. This often means adding a nontraditional media experience on top of a live performance.

experience portability@forumtheatre

SLIDE: portability of the experience (@forumtheatre)ORG: Forum TheatrePROJECT: Podcast Play, best experienced in the location where the play takes place around DCREASON: Theatre is no longer bound to a collective gathering space, or necessarily requires your full & undivided attention. Podcasting is the ultimate multi-tasking media. http://forumtheatre.bandcamp.com/releaseshttp://wamu.org/programs/metro_connection/14/09/12/walking_podcast_play_introduces_listeners_to_other_sides_of_dc

Examplehttp://www.wired.com/2011/05/national-mall-location-aware-album/http://howlround.com/smartphone-plays-a-new-theatrical-genre

movement in any direction@projectdaedalus

SLIDE: movement in any direction (@marshmallowlf)ORG: Marshmallow Laser Feast, PROJECT: Project Daedalus experiments with drones as an artistic vehicle: 360 filmmaking, VR, immersive experiencesREASON: Theatre effects have been bound by pulley systems and fixed lighting arrangements. Drones allow for movement in any direction, and easily breaks the fourth wall between artist & audience. https://medium.com/@andymiah/project-daedalus-66e2cb48f716

Examples:http://www.theguardian.com/culture-professionals-network/2014/dec/19/2015-drones-art-creative-examples http://www.psfk.com/2015/02/air-2015-amsterdam-drone-circus.html http://www.cnet.com/au/news/behind-the-scenes-of-a-drone-orchestra/ http://www.dronejournalismlab.org/

inclusive devices@pan_studio

SLIDE: inclusive devices (@pan_studio)ORG: Pan Studio PROJECT: Hello Lamp Post in Austin. Text an object, it tells you it’s own story, and the stories of others who have passed by that location.REASON: Enlists a pedestrian piece of technology to turns static objects into interactive pieces of art. http://www.hellolamppostaustin.com/about

Example:Kennedy Center’s OK Go concert - http://artsedge.kennedy-center.org/multimedia/series/videostories/ok-go-at-kc Talking Statues London: http://news.artnet.com/art-world/london-public-statues-speak-out-79977 http://talkingstatues.co.uk/

adding an interpretative layer@PhilaOrchestra

SLIDE: adding an interpretive layer (@PhilaOrchestra)ORG: Philadelphia OrchestraPROJECT: LiveNote app provides visual notes about the performance, Shazaam-like technologyREASON: For those audiences who need more than just an aural experience to stay engaged with the arthttps://www.philorch.org/introducing-livenote%E2%84%A2-nights#/http://www.drexel.edu/now/archive/2014/October/LiveNote/

Example:http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/jul/25/live-revive-lament-opera-performance-app

interacting with artists@carnegiehall

SLIDE: interacting with artists (@carnegiehall)ORG: Carnegie HallPROJECT: Livestream concerts & classesREASON: Allows for international, interactive participation. Old joke “How do you get to carnegie hall” has a new answer. http://www.vulture.com/2014/10/livestreamed-concerts-from-carnegie-hall.html

Example:http://pica.org/event/mike-daisey-6/ http://qrius.si.edu/watch/bilingual-hangout-mammal-scientists-smithsonian-and-beyond

interacting with audiences@southbankcentre

SLIDE: interacting with audiences (@southbankcentre) ORG: Southbank Centre (London) PROJECT: Glass Box project - website redesign team in residence in the lobby, to do audience testing in real time REASON: surround yourself with your audience to get their feedback in an iterative process. use multi-tasking to your advantagehttp://digital.southbankcentre.co.uk/

Examples:https://twitter.com/mkramer

time-shifted and space-shifted@The_Globe

SLIDE: time-shifted & space-shifted (@The_Globe)ORG: Shakespeare’s Globe PROJECT: Globe Player - professional recordings of live performances you can subscribe to Netflix-style, or purchase one off. REASON: Live performance can be preserved, organizations can earn revenue from them, and audiences can choose whether to watch live or recorded. (Rent or own, 4-8 lbs)https://www.globeplayer.tv/

Example:On the Boards TV in Seattle offers many different performances & arts orgs: http://www.ontheboards.tv/http://www.theoperaplatform.eu/fr

mediate artistic experience before, during, and after

social interactions

multi(tasking) media

devices

co-creation

data

interactive objects

#TCG2015 | @devonvsmith

learning models

mobile apps are changing…what is possible before, during & after a performance/visitembedded in the artistic experience—in performing & visual arts,

personalized content@pepysinc

SLIDE: personalized content (@pepysinc)ORG: Threespot folks, at DC Fringe FestivalPROJECT: live performance built around the e-Geaux mobile app. Audiences downloaded app & connected their social accounts, performance would change based on user’s data, incorporating the names of their Facebook friends as characters, determine plot points based on how many single people were in the audience, and asked audiences to participate with characters onstage using their social media handles. REASON: Imagine tailoring the experience of the performance to the unique needs of every person in the audience. http://pepysinc.com/

Example:http://www.psfk.com/2014/11/artwork-uses-data-inflict-emotions.html Mood App - Tour the Amsterdam Museum based on your mood: http://www.stedelijk.nl/mobile-apps/mood-app & https://www.youtube.com/watch?v=V36x13iCmtQ

artist as builder@miranda_july

SLIDE: artist as builder (@miranda_july)ORG: Miranda JulyPROJECT: Somebody app. Text messages to friends, delivered by a stranger in person, with stage directions. “One to One Performance” REASON: Takes participatory arts to an extreme. No way to create this experience if the artist doesn’t deeply understand what’s possible with technology. http://somebodyapp.com/http://www.wired.com/2014/09/miranda-july-creates-an-app-that-doubles-as-a-social-experiment/

Examples:http://pitchfork.com/news/47678-dan-deacon-app-makes-your-phone-part-of-his-show/

technology as playwright@blasttheory

SLIDE: technology as playwright (@blasttheory)ORG: Blast Theory PROJECT: Karen - narrative experience, based on a voice over app that learns about you and adapts the storyline as you go. Think of ScarJo in Her.REASON: Rise of artificial intelligence makes it possible for technology itself to theoretically become a playwright. http://www.blasttheory.co.uk/projects/karen/

Examples:Slackbot automatic responses: https://slack.zendesk.com/hc/en-us/articles/202026038-Slackbot-your-setup-assistant-personal-notepad-and-programmable-bot http://searchengineland.com/google-translate-app-gets-improved-picture-conversational-translation-212748 —> multi-lingual support

inspire educational opportunities@NMNH

SLIDE: inspire educational opportunities (@NMNH)ORG: Smithsonian’s Museum of Natural HistoryPROJECT: Skin & Bones app - 13 different AR experiences based on the museum’s collections, many of them animated. Hold your hand out to a spider in front of the app, and it looks like the spider is crawling up your arm. 2 years to build, largest collection of 3D modeling in any iPhone app.REASON: Audiences aren’t just looking at artifacts behind a glass, now they (digitally) interact with them. Game changer for educational opportunities. http://naturalhistory.si.edu/exhibits/bone-hall/

Example:Kennedy Center iPad app prepares kids on autism spectrum for what to expect during the performanceL https://www.gettoknowthekc.org/stories/welcomehttp://showandtell.circus-starr.org.uk/ https://culturalpolicy.uchicago.edu/digest/testing-technology-how-augmented-reality-helps-museum-visitors-appreciate-paintings http://www.shoreditchstreetarttours.co.uk/news/insa-the-cycle-of-futility/ Re+Public: last year’s SXSW - http://www.republiclab.com/projects

real-time marketing@idatorg

SLIDE: real time marketing (@idatorg) ORG: collaboration of several museums in Plymouth England, built by iDATPROJECT: Artory - digital loyalty card, purpose began with how to collect data about culture goersREASON: real time user data will enable arts orgs to better market and engage visitors. 2 months post launch, 3k users. GitHub open source.http://www.theguardian.com/culture-professionals-network/2015/feb/06/artory-culture-plymouth-app-story http://www.artory.co.uk/

Example: https://theartstack.com/ https://en.wikipedia.org/wiki/Behavioral_retargeting —> Maybe we don’t need to know as much about our audience as we think. Outsource to the robots.

ambient presence@MakeTimeClock

SLIDE: ambient presence (@MakeTimeClock)ORG: Fractured AtlasPROJECT: Make Time Clock - Track artistic pursuits and passion projects. During a work session, the relevant light slowly "breaths" to indicate an active work session. As you complete the session the light goes solid and you can easily see your progress towards your weekly goal. (I can see 5/10 lights on so I know I'm halfway there.)REASON: devices are with us all the time, and can be a force for good to nudge us with gentle remindershttp://www.parttimeclock.com/

Examples:http://www.glowcaps.com/product/ —> National Circus energy efficiency

always-on marketing@appstore

SLIDE:ORG:PROJECT:REASON:

Examples:http://www.wareable.com/apple-watch/best-apple-watch-apps-832

distributed, temporary, and competitive.

social interactions

multi(tasking) media

devices

co-creation

data

interactive objects

#TCG2015 | @devonvsmith

learning models

how we learn is changing…digital enables new opportunities for professional development, but also puts arts organizations into more direct competition with technology companies

distributed network of colleagues@2amt

SLIDE: distributed network of colleagues (@2amt)ORG: 2am theatre PROJECT: #2amt - the conversations you have at 2am about the theatre industry, 5-year anniversary REASON: ongoing twitter chat of people who work in the theatre in some capacity, breaks down walls between disciplines, geography, organizations. When networking and learning can be 24/7, industry conferences are questioning their purpose. Has inspired a blog, several events and collaborations. Has a strong community organizer.

Examples:#drinkingaboutmuseums#museweb#artsed

repurpose existing platforms@culturaldigita1

SLIDE: repurpose existing platforms (@culturaldigita1)ORG: Chris Unitt, Cultural Digital PROJECT: used open source version of reddit to create a shared space of links/discussions on topics related to digital & arts REASON: don’t have to start from scratch when you build. try to pull & fork someone else’s code. http://culturaldigital.com/t/the-new-website-thread/370/8

Examples:

rapid prototyping@culturehack

SLIDE: rapid prototyping (@culturehack) ORG: Culture HackPROJECT: organizes hack days around the world that put artists and technologists together to create something REASON: Arts organizations need more exposure to the tools and practices of technology, in order to make their own improvements in the futurehttp://www.culturehack.co.uk

Examples:http://www.theguardian.com/artanddesign/2014/jun/16/hack-the-space-tate-modern?CMP=twt_gu http://www.nypl.org/events/programs/2015/02/07/nypl-labs-civic-data-hack-day http://www.up.co/communities/uk/london/startup-weekend/3854 http://www.hackingarts.com/ https://operaparallele.org/op-is-hosting-a-hackathon/

art under pressure@theartincubator

SLIDE: art under pressure (@theartincubator) ORG: The Art IncubatorPROJECT: 8 week residency program in Singapore, structured like a Y-Combinator, concludes in a demo day/gallery showREASON: Proliferation of arts incubators in the past few years, but most are missing some crucial element of: dedicated/funded time & space, access to industry experts/mentors, or enforced urgency to have a final producthttp://www.theartincubator.org/the-art-incubator-6-residency-as-method/

Examples:http://stpaconference.org/wp-content/uploads/2014/02/C4c.pdf

embedding experimentors@synchq

SLIDE: embedding experimentors (@synchq)ORG: SyncPROJECT: Geek in Residence - funds a technologist to be in residence with an arts org for 6 months, and experiment with them, document itREASON: knowledge about technology can be infused into the organization through a temporary expert, to kickstart the org onto a new path. http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/feb/28/geeks-residence-tech-arts-developer

Example:http://www.datakind.org/howitworks/datachapters/datakind-uk/

outsource learning technology@googleart

SLIDE: outsource learning technology (@googleart)ORG: Google Cultural InstitutePROJECT: offer a digital gallery space to showcase exhibits/performances, street view cameras into cultural spaces, white label app for museum tours REASON: Google can provide a higher production capability for all of these things than most arts organizations will be able to learn/invest in, but some complaints from arts orgs that it’s hard to yield control over to Google without knowing exactly what they’re going to do with the data. Still lots of copyright issues for theatrical performances. https://www.google.com/culturalinstitute/homehttp://mashable.com/2014/07/04/google-cameras-museum-selfies/

Example:https://www.kickstarter.com/events/filmfest2014http://www.washingtonpost.com/blogs/wonkblog/wp/2013/07/07/yes-kickstarter-raises-more-money-for-artists-than-the-nea-heres-why-thats-not-really-surprising/

audience as competitor@museumhack

SLIDE: audience as competitor (@museumhack) ORG: Hack the MetPROJECT: tours of the Met Museum led by young people, for young people, unlike any other museum tour. Small groups, participatory, short, thematic.REASON: Users are marketing for arts organizations, but they can also compete with their offering. Arts professionals are learning how to do their job better by paying attention to how audiences do it for each other. http://hackthemet.com/

Example:AirBnB is a competitor (& an ally) to performance arts/events - http://techcrunch.com/2014/05/16/airbnb-experiences/

audience as maker, curator, and free labor.

social interactions

multi(tasking) media

devices

co-creation

data

interactive objects

#TCG2015 | @devonvsmith

learning models

technology is changing…the role, responsibility, and opportunities of the audience

audiences as artists@Tate

SLIDE: audience as artist (@Tate) ORG: Tate Modern PROJECT: Drawing Bar - draw interpretations of the artwork you’ve just seen, and see it projected on the museum’s sacred wallsREASON: Giving an audience agency into the creation process makes them more invested in the institution, necessary for field’s survival. http://www.tate.org.uk/visit/tate-modern/things-to-do/interactive-activities/drawing-bar

Examples:http://www.engadget.com/2014/02/06/tate-museum-robots/ http://www.newseum.org/exhibits/current/hp-new-media-gallery/http://www.newseum.org/exhibits/current/nbc-news-interactive-newsroom/

personalize content@ClevelandArt

SLIDE: personalize content (@ClevelandArt)ORG: Cleveland Museum of ArtPROJECT: Interactive experience reads your facial expression, and matches it to an artwork in the museum REASON: every experience is tailored to the audience. Now I have a stake in finding that artwork in the museum.

Examples:https://vimeo.com/60176758 http://www.clevelandmetroschools.org/chsda

model behavior you expect@Tate

SLIDE: model behavior you expect (@Tate) ORG: Tate Modern PROJECT: hired Minecraft mapmakers to interpret works of art and build replicas in Minecraft. First exhibit was on cities. Asked audiences to contribute. REASON: as arts organizations ask more from their audiences, they’re going to need to model some of the behavior they want, especially for non-traditional audiences. Anyone who’s run a UGC campaign knows you can get tons of drek, and a few gems. This helps increase the gems. http://www.tate.org.uk/about/projects/tate-worlds-art-reimagined-minecraft

EXAMPLES:http://www.theguardian.com/artanddesign/2015/apr/22/minecraft-fans-invited-to-design-australias-perfect-national-park

nonlinear storytelling@blasttheory

SLIDE: nonlinear storytelling (@blasttheory) ORG: Sheffield Documentary Film Festival PROJECT: I’d Hide You - join actors IRL or by playing online, as seen through cameras mounted on them. Half theatre, half live action video game. REASON: When audience participates, don’t just expect diversions from a linear storyline, build them into the narrative. Digital allows for multiple storylines to happen simultaneously. http://www.idhideyou.com/ http://artsdigitalrnd.org.uk/projects/sheffield-docfest/

Example:Coney’s Better Than Life - Online controls aspects of storyline & design; live audiences at their mercyhttp://www.theguardian.com/stage/theatreblog/2014/jul/01/coney-no-island-streamed-theatre-audiences http://www.betterthanlife.org.uk/

audience as curator@thehenryford

SLIDE: audience as curator (@thehenryford) ORG: Henry Ford MuseumPROJECT: Exhibit Builder - allows audiences to build their own exhibits based on artifacts in the museum’s collection REASON: educational opportunity for students to consider role of curator & teacher to adapt the experience for their classhttp://collections.thehenryford.org/ExhibitHome.aspx

audience as contributor@I_W_M

SLIDE: audience as contributor (@I_W_M)ORG: Imperial War MuseumPROJECT: Museum-goers contribute their family genealogy & ID photos at the end of the exhibitREASON: increases engagement with the work, and it lightens load on a museum’s research staffhttp://www.operationwardiary.org/

crowdsource for diversity@Wikiturgy

SLIDE: crowdsource for diversity (#Wikiturgy)ORG: Sparked by a 2amt event in DC last yearPROJECT: #Wikiturgy Wikipedia edit-a-thon for theatre historians (dramaturgs) REASON: Crowdsource knowledge into a distributed platform, adding to, editing, and creating entries for theatre artists, plays, companies, journalists/critics, and scholars from underrepresented groups. Enables arts orgs to expand voices. http://howlround.com/meet-you-in-the-wikiturgy-commons

Example:Crowdsourcing transcription for Smithsonian digital collections: https://transcription.si.edu

who has access, what they do, and when it becomes art.

social interactions

multi(tasking) media

devices

co-creation

data

interactive objects

#TCG2015 | @devonvsmith

learning models

Data is changing…who: internal, peers, audience, tech co’s,Rise of data scientist/analyst positions within arts organizations

trade dollars for data@DallasMuseumArt

SLIDE: trade dollars for data (@DallasMuseumArt)ORG: Dallas Museum of ArtPROJECT: Friends Program. Membership was 5% of budget; made free to all people if they log activity (kiosk/text/card, earn badges, rewards), use data to target marketing, appeal to donors, and adapt museum layout/offerings. 100k people in 2 years. REASON: Major museums are now hiring data scientists.http://www.dma.org/visit/dma-friends http://www.bloomberg.com/bw/articles/2014-02-20/dallas-museum-of-art-trades-memberships-for-data

Examples:http://www.wsj.com/articles/when-the-art-is-watching-you-1418338759 http://futureofmuseums.blogspot.com/2014/06/a-recap-of-big-data.html http://www.thestage.co.uk/news/2015/02/data-scientists-appointed-work-nt-barbican-eno/

public accountability@smithsonian

SLIDE: public accountability (@smithsonian)ORG: SmithsonianPROJECT: public dashboard of limited activity REASON: Transparency is important to perceptionhttp://dashboard.si.edu/

Examples:Optimiser. Benchmarking New Zealand arts organizations google analytics datahttp://www.creativenz.govt.nz/assets/ckeditor/attachments/921/optimiser_pilot_presentation.pdf?1394400094http://www.creativenz.govt.nz/assets/paperclip/publication_documents/documents/359/original/final_white_paper_1.pdf?1404355324 http://www.nten.org/research/the-2014-nonprofit-benchmarks-study

data democratizes@newplayx

SLIDE: data democratizes (@newplayx)ORG: New Play ExchangePROJECT: meeting place for creators, selectors, funders; trying to get better data about what’s available & what’s being used in the theatre world.REASON: Previously this exchange was a black box, and too often a “winner take all”https://newplayexchange.org/

Examples:http://www.culturaldata.org/ http://www.washingtonpost.com/blogs/style-blog/wp/2015/02/02/smithsonian-american-art-museum-launches-effort-to-create-national-art-database/https://www.slated.com/ http://www.culturecraver.com/dashboard

scale requires data@opencultuurdata

SLIDE: scale requires data (@opencultuurdata)ORG: Open Culture DataPROJECT: collection of cultural datasets for Dutch arts organizations REASON: allow anyone to create apps that leverage the combined data on objects. Most cultural orgs now don’t have their own API or even structured/public data. http://www.opencultuurdata.nl/api-english/

Examples:Cooper Hewitt in NYC has re-opened/re-launched, and built their entire infrastructure on top of an APIhttps://labs.cooperhewitt.org/2014/the-api-at-the-center-of-the-museum/ https://collection.cooperhewitt.org/developers http://api.powerhousemuseum.com/login/?next=/ http://www.sfmoma.org/about/research_projects/lab/why_build_an_api http://hyperallergic.com/180422/smithsonian-joins-forces-with-14-museums-to-pool-data-on-american-art/

everything is data@TheWarholMuseum

SLIDE: everything is data (@thewarholdmuseum) ORG: The Warhol MuseumPROJECT: releasing and updating their digital strategy on github REASON: Github makes great version control. Hack the tools that exist to fit your needs. https://github.com/thewarholmuseum/digital-strategy

Examples:http://research.kraeutli.com/index.php/2013/11/the-tate-collection-on-github/ https://github.com/tategallery/collection

data as art@webwewantfest

SLIDE: data as art (@webwewantfest) ORG: Web We Want Festival in London PROJECT: Open Data Playground- data artist took open source data sets and created analog games to help audiences explore the data.REASON: Use art to make data more approachable.http://www.stefanieposavec.co.uk/open-data-playground

Example:Data as audio art: http://flowingdata.com/2015/02/12/algorithm-generated-song-based-on-income-data/

data empowers artists@LesiaTG

SLIDE: data empowers artists (@LesiaTG)ORG: Lesia Trubat (Spanish artist) PROJECT: Lilypad Arduino enabled ballet shoes (E-Traces) track a dancer’s movementREASON: For them to review later (like athletes already do), for audiences to have a visual experience of performancehttp://blog.atmel.com/2014/10/29/these-ballet-shoes-digitally-track-and-visualize-a-dancers-movements/ http://cargocollective.com/lesiatrubat/E-TRACES-memories-of-dance http://www.dailymail.co.uk/femail/article-2822099/Innovative-new-pointe-shoes-turn-ballerina-s-movements-unique-works-art-digitally-tracking-dancing.html

Examples:Berlin musicians (onformative), to create a soundscape based on movements of dancers using Leap Motion/MS Kinect: http://www.onformative.com/work/unnamed-soundsculpture/

replace and augment human interactions.

social interactions

multi(tasking) media

devices

co-creation

data

interactive objects

#TCG2015 | @devonvsmith

learning models

technology is changing…humans aren’t the only ones acting as artist, curator, or audience. smart objects & AImost of these are still a novelty

scalable art@daataeditions

SLIDE: scalable art (@daataeditions)ORG: Daata EditionsPROJECT: Commissions artists using moving image and sound to create digital editions available for sale and research online. Launch: May 14 2015REASON: sales of digital art is theoretically infinite, but community agrees to limit production and not copy. Like money. https://daata-editions.com

Examples:https://www.neonmob.com/ http://artandalgorithms.com/

transparent interpretation@LavaDesignLab

SLIDE: transparent interpretation (@LavaDesignLab)ORG: Lava Lab, in cola w/ Amsterdam Museum PROJECT: The Golden Age, explore the social connections between real people represented in paintingsREASON: Google glass allows for a deeper dive into content, iBeacons allow you to target content indoors. http://www.lavalab.nl/interactive-portrait-gallery-of-the-golden-age/

Examples:http://www.kealyc.com/ibeacons-in-arts-heritage-and-culture/http://labwerk.com/ http://www.theguardian.com/culture-professionals-network/2015/jan/20/rsc-digital-development-tech-shakespeare http://www.tnooz.com/article/antenna-international-google-glass-san-francisco/ http://www.mlive.com/news/grand-rapids/index.ssf/2013/05/google_glass_west_michigan_onl.html

touchable art@cooperhewitt

SLIDE: touchable art (@cooperhewitt)ORG: Cooper HewittPROJECT: pen. allows visitors to capture their experience & sent via email, and interact w/ exhibits (wallpaper repeated patterns) REASON: smart devices gives new tools to audiences to engage with the museum’s collection. tangible reminder to pay attention was critical to maintaining my engagement throughout the museum experience. http://www.theatlantic.com/technology/archive/2015/01/how-to-build-the-museum-of-the-future/384646/ http://www.theverge.com/2015/3/11/8182051/smithsonian-cooper-hewitt-design-museum-reopening-pen-4k

Examples:Performing Arts in the Wearable Age: http://static.squarespace.com/static/51d98be2e4b05a25fc200cbc/t/5392084de4b0037d4d325314/1402079309465/ThomasRhodesSamuelAllen_PerformingArtsInTheWearableAge_6.6.2014.pdf

replace the irreplaceable@V_and_A

SLIDE: replace the irreplaceable (@V_and_A) ORG: Victoria & Albert Museum in London PROJECT: 3D scanning & printing replicas to repair objectsREASON: low vision audiences - tactile manipulation, print objects at home, curators interact w/ fragile objects, digitization allows 24/7 displayhttp://3dprint.com/45399/marie-antoinette-museum-chair/

Examples:http://mashable.com/2014/10/31/british-museum-3d-printing-sketchfab/http://www.brooklynmuseum.org/community/blogosphere/2013/04/16/3d-printing-for-accessibility/ http://3dprint.com/9323/berlin-museum-3d-printing/ http://www.sculpteo.com/blog/2014/12/15/lets-3d-print-together-musee-du-louvre/ http://3d.si.edu/

enable all your senses@extantltd

SLIDE: enable all your senses (@extantltd) ORG: Extant, theatre company dedicated to low vision/blind artists and audiences PROJECT: Flatland - 19th century novel about 1D, 2D, and 3D worlds. They built a haptic interface audiences hold in their hand, used to navigate around an entirely pitch black room.REASON: Theatre has long relied on sight, sound. Occasionally smell. Almost never smell or touch. Adds a new depth to the experience. http://flatland.org.uk/

participatory experience@zhdkcast

SLIDE: participatory experience (@zhdkcast) ORG: Zurich University of the Arts at Sundance 2015PROJECT: Birdly allows you to fly above SF in a virtual reality experience, via Oculus RiftREASON: Virtual reality puts audience inside the artistic experience. why simply watch what’s happening on stage, when you could participate. http://www.theverge.com/2015/1/24/7882339/sundance-film-festival-2015-virtual-reality

Examples:http://www.theguardian.com/technology/2015/jan/27/facebook-oculus-story-studio-virtual-reality-films http://whitney.org/Exhibitions/Artport/Commissions/Proxy http://www.inition.co.uk/

artificially intelligent artists@3ldnyc

SLIDE: artificially intelligent artists (@3ldnyc) ORG: Huang Yi and Kuka, in residence at 3 Legged Dog performance space in NYC PROJECT: Robots that performs along with the dancer/choreographer REASON: Uncanny valley hasn’t seen anything until the performing arts world. Long way off to replace actors. http://3ldnyc.wix.com/huangyiandkuka

Examples:http://www.huffingtonpost.com/2014/11/12/drawing-robot_n_6141372.html http://www.vice.com/en_uk/read/noworkflow-405 http://www.wired.com/2015/03/shadow-ballet-drones-dance-humans/ http://www.theatlantic.com/technology/archive/2015/03/robots-and-the-future-of-art-fraud/387481/ Glitch Art: http://kernelmag.dailydot.com/issue-sections/features-issue-sections/12265/glitch-art-history/

social interactions organizations struggle, artists innovate.

replace and augment human interactions.interactive objects

who has access, what they do, and when it becomes art.data

audience as maker, curator, and free labor.co-creation

mediate artistic experience before, during, and afterdevices

right here and now to anywhere anytime.multi(tasking) media

distributed, temporary, and competitive.learning models

That was a ton of examples of how technology is changing the arts fielddozens more case studies in my notes

What didn’t I cover (that much)?Efficiency tools (Harvest, Zenefits, Heroku)Ticketing/CRM (EveryAction)Digital money (BitCoin, Square, Stripe)Data visualizationAdvertising techInternet of Things/smart devices

1. Listen to your audience. 2. Don’t dismiss novelty. 3. Test your minimally viable product. 4. Buy > build. 5. Steal from adjacent fields. 6. Take artistic risks online. 7. Balance data with human insights. 8. Make something together. 9. Leverage online learning.

10. Partner up.

Change your game

1. particularly if they’re doing something you hate, they’re demonstrating a behavior you can learn from2. newness can be inspiring to audience, staff, and field. not everything has to be sustainable. 3. don’t over-invest in early stages. use low cost tools4. try not to reinvent the wheel. your problem has probably already been solved. then iterate. 5. metaphors are powerful tool to help shift your POV6. tone & aesthetic matter as much online, as they do onstage. 7. don’t project your own bias into the data, it can deceive you. 8. Particularly with your administrative staff. 9. General Assembly, Skillshare, YouTube. 10. Consider partners broadly, and treat them equally.

@devonvsmith measurecreative.com

Get in touch1. Part of putting this together was an excuse to reach out to artists & orgs - so tell me more examples2. Also interested in particular in putting together events that put technologists, artists, and orgs together to learn from each otherCould mean: culture hack partner, incubators, conferences, collaborative working spaces3. Opportunities for capacity building and experimentation

Artstech

Questions?What ideas excited you most?Do you see other areas where tech is disrupting arts?What do you think will be most disruptive?

Slide 1: Elia Scudiero, Vanish, https://flic.kr/p/ddmhza

Slide 8: Wired UK, CHPsignals, http://cdni.wired.co.uk/1920x1280/a_c/Copenhagen_05.jpg

Slide 17: Marshmallow Laser Feast, Project Daedalus, https://twitter.com/marshmallowlf/status/524845637498454016 

Slide 27: Smithsonian Museum of Natural History, Skin & Bones, http://naturalhistory.si.edu/exhibits/bone-hall/

Slide 38: Hack the Met, http://hackthemet.com

Slide 40: Tate Modern, Drawing Bar, http://www.tate.org.uk/visit/tate-modern/things-to-do/interactive-activities/drawing-bar

Slide 53: Stefanie Posavec, Open Data Playground, http://www.stefanieposavec.co.uk/open-data-playground

Slide 54: Lesia Trubat, http://cargocollective.com/lesiatrubat/E-TRACES-memories-of-dance

Slide 57: Lava Lab, Interactive Portrait Gallery, http://www.lavalab.nl/interactive-portrait-gallery-of-the-golden-age/

Slide 59: Zoe Allen, 3D Printing (Detail of Loss & Scanning Process), http://3dprint.com/45399/marie-antoinette-museum-chair/

Slide 61: The Verge, http://www.theverge.com/2015/1/24/7882339/sundance-film-festival-2015-virtual-reality

Slide 62: Huang Yi, 3-Legged Dog http://3ldnyc.wix.com/huangyiandkuka

Slide 65: Steve Rhodes, LACMA, https://flic.kr/p/dFewKR

Presentation design by Jordan Fugate

Photo Acknowledgments