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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.
When it opened in 2009 the cinema screen at the Grove Theatre in Dunstable saw average audiences of about 40 people, but data-led marketing has worked wonders, explains Claire McFauld.
Ellie Manwell explains how bringing digital technology into the gallery space is helping Dulwich Picture Gallery enhance the visitor experience and connect with audiences
Roger Tomlinson treads carefully in the minefield of EU Privacy Directives and the so-called ‘UK cookie law’ which comes into force next week
The wellbeing agenda is developing alongside a demand for evidence-based practice. Daniel Callcut explores what this means for arts organisations
Christopher Goodhart extols the virtues, and the business case, for ensuring data accuracy in supporter communications