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Liz Hill concludes that Arts Council England’s ‘This England’ report is based on a carefully constructed analysis designed to disguise a London-centric funding strategy and preserve the status quo.
In light of the current debate about ACE's distribution of funding, Carol Reid explains how the regional allocation formula built into Youth Music's grant-making process is leading to a more equitable balance across its portfolio.
When it comes to audience data, Michael Nabarro says technology should be helping return us to our roots and emphasise what makes our sector special.
Jessica Plant and Kate Davey argue that arts interventions in the criminal justice system have demonstrated positive outcomes, but longitudinal research is now needed.
Switching to a new ticketing system requires a lot of meticulous planning and the actual switchover day is very very tense, warns Harvinder Singh.
The growing demand for a digital public space, displaying work outside galleries through a variety of visual media, excites Mike Stubbs.
In Alex Youel’s second article on membership schemes, he shines a light on operational aspects as the scheme grows.
New reporting on environmental impact has generated baseline figures, but progress is being hindered by lack of data.
What sets the 'cultural digerati' apart from the rest? Hasan Bakhshi reflects on the findings of the ‘Digital Culture’ research into how arts and cultural organisations are using digital technology.
John Birchall discusses the potential conflicts and tensions behind creating future-proof web content.
David Dixon is convinced that fundraising in the arts sector is relatively easy, provided arts organisations make good use of all their resources.
Jenny Williams suggests some questions the arts sector should be asking in response to the 2011 Census findings relating to ethnicity/identity and migration.
A philosophy of dependence, subsidy and market failure are divorcing the cultural sector from the benefits of data-driven policy and strategy, says Nesta report.
What does working smarter in the arts sector mean? Julie Tait describes a project exploring staffing, technology and audience data.
Now that ticketing means interfacing with customers via websites, smartphones and social media, Roger Tomlinson reviews the advances into personal territory.