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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.
How can accreditation add value to creative work with young people? Alice Young discusses Arts Award, the qualification for the arts in schools.
How much has the arts marketing role changed in the last twenty years? Strikingly, says Sarah Chambers, who examines what is now required to market culture.
New approaches are refreshing our ideas about what constitutes art and science, and new technologies are enabling the blurred boundaries between the two to be broken down, according to Dick Penny and Verity McIntosh.
A social media-led website which showcases Glasgow’s visual arts scene has taken first place in the Public Sector category at this year’s Herald Scottish Digital Business Awards.
The BBC is to create a new award for digital innovation in theatres.
Arts organisations benefited from the digital development opportunities presented by The Space, but limited marketing, safe content and technological barriers undermined its impact.
Caroline Greener believes that cultural centres should be reaching out to those who will never physically visit their venue.
With so many mergers taking place, Mahmood Reza advises that careful consideration is given well in advance to bringing together respective IT systems.
Marcus Romer offers a suggestion to anyone who wants to find out how they will be working three years from now.
Wales is to step up support for creative technology projects by supporting producers to embrace the digital context.
John Birchall discusses the potential conflicts and tensions behind creating future-proof web content.
Dianne Greig explains how Glasgow’s galleries and museums are collaborating through the WhiteNOISE project to develop the city’s audience for the visual arts.