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Richard Clay reports on a cross-sector, digital technology project, bringing together academics, cultural organisations and small or medium-sized companies.
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.
A year since receiving a Google Ad Grant, Liz Walker and Frances Richens reflect on the highs and lows of Watford Palace Theatre’s campaigns.
Seb Lee-Delisle describes how he used computer programming to create an interactive fireworks display.
Ben Taylor describes an arts event where performers ran through city centre streets, commanded by the general public while they watched online.
Live streaming offers exciting opportunities for both small and large arts organisations in many different ways, believes Andre Portasio.
What do the emerging digital technologies mean for live events? Hannah Rudman is excited by a pair of glasses.
The growing demand for a digital public space, displaying work outside galleries through a variety of visual media, excites Mike Stubbs.
AmbITion Scotland’s Make:IT:Happen fund aims to help Scotland’s cultural sector become digitally fitter. Ashley Smith-Hammond discusses its approach and some early results.
The Digital R&D Fund for the Arts has resulted in several playful yet valuable collaborations between the arts and technology providers and researchers. Jon Kingsbury describes four projects.
The digital fundraising pilot scheme was granted almost £100k from Arts Council England’s ‘hidden’ strategic fund and is now being rolled out nationally.
Nine digital start-up businesses and SMEs are being given the chance to win a share of £225k and to work with cultural organisations as well as big-name commercial brands.
Word/Play is an initiative in Somerset for people with mental illness or a learning disability. Mark Helyar describes how it has engaged with this predominantly rural community.
Greg Klerkx believes that everyone has a story to tell, which he proved with a digital literacy project in Portsmouth.
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.
The Royal Opera House has been sharpening its commercial agenda over recent years. Alastair Roberts describes how it has developed its brand licensing and media activities.
One in ten arts organisations is now reporting ‘a major positive impact on revenues’ from their digital activities, while a third claim that digital technology is essential to their creative work.
Playful interaction is at the heart of all Globe Education’s digital activities for school-aged children, writes Patrick Spottiswoode.