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The department is refusing to comment on widespread rumours it will be downsized or disbanded in February.
It’s getting harder to stand out from the crowd. Matt Locke shares his top tips on how to make more of your digital content.
Toma McCullim, artist in residence in Skibbereen’s Ludgate Hub, describes a project reconnecting diaspora and reinventing tradition through innovative storytelling.
New research highlights how cultural organisations could play a key role in demystifying the internet to non-users, writes Katie Moffat.
Patrick Towell unpicks the crucial differences between creativity and innovation in the context of rapid change in the cultural sector.
What is it like to lead a large and complex organisation? Having just spent some time as an interim chief executive, Matthew Brown reveals what he’s learnt.
In a consultation on its new 10-year strategy, the funder also heard from ‘many’ that funding should be reduced for the largest organisations, and that it is seen as using too much jargon.
A digital project will enable real-time collaboration across a consortium of six leading training institutions for performing artists.
As work gets underway on a new industry-wide digital code of best practice, Katie Moffat outlines four fundamental principles underpinning a successful digital strategy.
Aenne Lotze and Francesca Cross explain how a recent project harnessed young people's passion for online gaming to develop their real-world skills and relationships.
A key barrier to growth in the immersive technology industry is a lack of content. It’s a gap tailor-made for the cultural sector to step into, says Tonya Nelson.
A new app offers an innovative and cost-effective way for artists to shape their legacies within their lifetimes, says Ellie Porter.
Drew Hemment and Feimatta Conteh explain how a data-driven artwork encourages crucial public engagement with an environmental observatory.
Digital skills are spread thin in cultural organisations, with only one in six of those in the most senior strategic roles identifying web or digital activity as forming a part of their work.
When Ron Evans started thinking about how to make post-show talks more appealing and accessible, he found audiences hungry for new ways of engaging with the arts.
Opportunities for using virtual reality, augmented reality and mixed reality technologies will be developed with a view to extending the ways audiences across the world can experience live performance.
How can arts organisations develop the best possible strategy for their customer relationship management and ticketing systems? Helen Dunnett suggests some steps to make the task easier.
The opportunities for using virtual and augmented reality in the arts are immense, but realising them is no trivial matter, says Rebecca Gregory-Clarke.
Arts Council England will employ nine people to each look after a region of England and provide advice and tailored digital support to organisations across the country.
The lack of a marketing strategy in the first few years of the programme and the diminishing dominance of YouTube led to underwhelming take up of the multi-channel Canvas network.