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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.
Kirsten Bodley believes that creativity is crucial to scientific and technical innovation, and in turn technical skills have a huge role to play in artistic progress.
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When public funding dried up, NEoN, Dundee’s digital arts festival, faced a stark choice: adapt or die. Lyall Bruce tells the story.
Peter Tullin is optimistic that there is a huge demand for a form of cultural entrepreneurship where people and experiences that were formerly unconnected are brought together.
What does working smarter in the arts sector mean? Julie Tait describes a project exploring staffing, technology and audience data.
Art and technology should be in the curriculum for the creative industries to thrive, says Nesta.
Oonagh Murphy’s research into how museums are engaging digitally with their audiences took her to New York. Here she reports on what she saw.
Clayton Shaw describes how a volunteering project in digital technology appealed to young people in Birmingham.