Even if people are willing to pay for digital performances, are they willing to pay enough? Robin Cantrill Fenwick examines the data emerging from the pandemic’s rush to digitise, and where the income opportunities lie.
As live-to-digital capture, broadcast and live-streaming are embraced more widely in the rush to build up work online, emerging technologies and creative approaches are also bringing new experiences in very different ways. Marcus Romer explains.
In the wake of the coronavirus pandemic it may become harder still for talented people to break into the media, but the New Creatives Network is still creating opportunities for young artists to do just that. Eleanor Adams tells the story.
Fine art students at the University of Lincoln are determined not to let coronavirus ruin their degree show. Emma Brice explains how they’ve been harnessing social media to give profile to their now-online celebration of 3 years’ hard work.
As ad hoc agreements are hastily put in place to enable performances to be streamed to audiences at home, AP has discovered an ecosystem that lacks a transparent process for creatives to claim repeat fees for recordings of their work now going online.
Being fleet of foot and digitally prepared means MSL is ahead of most in re-configuring its programme online. But in a landscape that we don’t yet understand, questions remain about its longer-term viability. Margaret Sheehy tells the story.