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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.
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.
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.