Empathy is vital in the work of NHS staff, but it's not always part of their professional development. Persis Jadé Maravala is collaborating on a project to improve healthcare training using touch.
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What’s in a name? And how does an organisation go about changing its brand identity? Lauren James has some top tips.
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Most people in the sector don’t need to be analysts but they do need the insight to make changes that speak to audiences. Here, Anne Torregiani shares how this thinking has shaped The Audience Agency’s next-generation suite of audience insight tools.
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Natalie Woolman explains how a bootcamp to develop a talent pipeline for the multicamera teams of the future will address a serious gap in skills training.
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The Intellectual Property Office (IPO) has published a Get Paid Guide which it says aims to help demystify metadata for music creators.
The resource, developed in partnership with PPL and PRS for Music, guides creators on how to register and manage their metadata, so they can protect their recorded music rights and ensure they are paid fairly and timely for their work.
It follows the launch of a guide on intellectual property rights for songwriters and composers released last year.
IPO Head of Research, David Humphries, says that following the publication of the Metadata Agreement in May 2023, IPO and representatives across the music industry have worked together to determine how best to improve the quality and accuracy of data.
He added: “Industry led working groups on technical solutions and education have been meeting regularly to consider how best to improve the current data systems and how best to engage with the creator community.”
Michelle Escoffery, President of the PRS Members’ Council, said the guide has all the tools to make it easier for creators to master the art of good music data.
“My hope is that by simplifying what can be quite complex, we empower our songwriter, composer, and performer community to understand that inputting accurate music data is a key contributor to financial success,” Escofferey added.
“By closing the knowledge gap, we will improve the quality of metadata across the music industry and ensure we're paid timely and correctly for our creativity.”
The institution says its reliance on legacy infrastructure has impacted its ability to restore services quickly in the wake of a major ransomware attack last October.
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Can arts organisations reach new audiences through strategies like digital capture? Recent successes offer insights into the potential of a creative and inclusive approach, write Fiona Morris and Sarah Butcher.
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Immersive Arts, a UK-wide three-year programme backed by the UK’s four arts councils, expects to support over 200 artists and organisations unlock the creative power of technology.
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The speed of innovation in the digital world can be hard to keep pace with and, as Katie Moffat writes, this is going to be a rollercoaster year – so hold on to your hats.
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Collections Trust has deleted a link to a terminology guide from its website following accusations that a section on Palestine described Hamas as 'freedom fighters'.
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Many arts organisations struggle to find high-quality trustees, particularly ones with digital or business expertise. A new matchmaking service is responding to this challenge, as Anna Rowe and Matthew Swann explain.
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Sam Hornsby and her best friend Mae Yip were sick of seeing young people experience the same lack of access to the creative industries they went through 20 years ago. So they did something about it.
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Government says it is prioritising the development of a regulatory framework for AI technologies that will promote innovation while responding to risks.
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Tom Higham is Creative Director of Mediale, passionate about the power of digital technology. His early career was shaped by an accidental discovery of an artistic community in a pub and inspiration from a basketball hero.
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Last week, The Audience Agency announced a merger with fellow sector support charity, Culture24. Here, CEO Anne Torreggiani explains why they have joined forces and how their work together will support a more future-focused sector.
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Spearheaded by Artistic Director Vicky Featherstone, the Living Archive contains information on every Royal Court production.
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The Audience Agency and Culture24, who were both part of ACE's National Portfolio until they lost funding in April this year, have joined forces.
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The Arts and Humanities Research Council (AHRC) has launched a UK-wide network of creative technology labs to provide researchers and companies with innovative facilities to develop screen and performance technology.
Established with £75.6m of AHRC funding, the CoSTAR national network comprises a National Lab, three Network Labs and a Foresight Lab.
The National Lab is led by Royal Holloway University of London with partners including Pinewood Studios and the National Film and Television School. It will contain a dedicated stage and studio space, with a motion capture rig and a creative artificial intelligence computer facility accessible across the UK.
Led by Goldsmiths, University of London with partners including BFI and the Creative Policy and Evidence Centre, the Foresight Lab will collect and analyse data to better understand the impacts of emerging technologies.
The three Network labs are: Screen Lab, led by Ulster University, with BBC Northern Ireland; Realtime Lab, focusing on video games development and led by Abertay University; and Live Lab, led by the University of York with Opera North, which will develop technologies for live performance.
“The way we experience live performances will be completely transformed over the next decade”, said Professor Helena Daffern, Live Lab Co-Director and Professor of Music Science at the University of York.
“Imagine a live concert of your favourite artists where every member of the audience can shape their own unique audio-visual experience. You’ll have the ability to engage with every aspect of a production wherever you are, be it in the arena or the comfort of your own living room.”
“The Live Lab is poised to be at the forefront of innovation for live events,” added Professor Gavin Kearney, Lab Director and Professor of Audio Engineering at the University of York.
“We’re combining York’s research expertise with industry, public and third-sector partners who are all dedicated to innovation in live performance.”
As cultural organisations address divisive issues in an increasingly challenging social media landscape, some are choosing to leave certain platforms after experiencing controversy.
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AI is here, and we have to deal with it, says Lauren James. But rather than diving straight in, she advises first giving proper thought to its pros and cons.
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