With AI’s ability to automatically produce content and process complicated datasets with high accuracy, museums worldwide are exploring ways in which this innovative technology can help them better achieve their missions and advance accessibility efforts. Through case studies, learn about three applications of this technology: content digitalization, language accessibility, and visual description.
October was filled with new debates on AI policies, a halt to one of the most significant AI safety bills in the United States, and a host of new AI developments in video, music, and even podcasts.
Arts and cultural nonprofits often operate in multiple markets for earned and contributed revenue. With increasing attention on data-driven decision making, effective market orientation often depends on effective data use. This fundamental collection, transmission, use, and interpretation of data within an organization collectively contributes to what can be considered an organization’s data culture.
Museums have increasingly begun to volunteer their spaces as polling places, acting as a democratic vehicle for their communities and adding to the greater fabric of America’s election infrastructure. In doing so, they can support local democratic processes and prove to their communities that they are not unbreachable temples for the elite, but open platforms for the people.
As exemplified by the Hollywood strikes of 2023, we find ourselves in a new era of Artificial Intelligence in film and television. While studios are looking to cut costs, performers seek job security, and consumers seek quality content. Through research conducted in collaboration with facial motion capture technology provider Faceware Technologies Inc., Master of Entertainment Industry Management students at Carnegie Mellon sought to gain insight on how AI-generated content will transform existing industries, including how this technology could affect employment in the entertainment industry, content development, budgets, contracts, legislation, and privacy rights.
Last week the world watched in shock as Notre Dame, a building that has stood as a sentinel over hundreds of years of French history, burned. While the physical and psychological devastation of these events is difficult to fathom and must not be trivialized, technological projects carried out at many of these historical locations and museums provide a ray of hope that what is gone may not truly be forever lost.
Nobody ever wants to be in an emergency situation, but let’s face it, they happen. Hurricanes, floods, fires, terrorism, I.T. failures, and even epidemics are a real concern in today’s world. Last week we talked about disaster planning for artists, but what about the organizations? Almost every for-profit organization in the country has some type of emergency preparedness plan and training for staff members. But for some reason (money, time, human resources), arts organizations are a little behind this vital curve. Which is where ArtsReady comes in! This initiative was developed several years ago by South Arts as a way to help organizations with emergency preparedness. As you probably know at this point, developing strong management practices regarding emergencies is becoming a national conversation. (Read the Green Paper published earlier this year!)
ArtsReady Program Director, Hannah Leatherbury, explains that, “We want arts organizations to start thinking about a readiness plan like they think about a strategic plan.” We conducted an interview with Hannah last September, and the podcast gives some great information about the history of the organization and importance of continuity planning.
There are three main components to ArtsReady:
(1) “Be ArtsReady” awareness campaign, which provides resources and guides for organizations to create “what if?” plans. Join the campaign!
(2) In-progress development of community source software, which will be a web-based tool to help arts organizations be more resilient after both minor disruptions or major crisis. It will allow organizations to assess their risks, have a secure backed-up location for readiness documentations, and be connected to other arts organizations to share resources and stories. Check out the demo presentation for this online tool.
(3) Membership in the Coalition for Artists’ Emergency Preparedness, a voluntary task force which is committed to organizing a nationwide support system (resources, education, advocacy) for artists and arts organizations before, during, and after disasters. **Be sure to check out, "When Disaster Strikes, Are You Prepared?" a workshop they are conducting during the Americans for the Arts Half Century Summit on June 26th at 4:00pm.
What experience have you had with emergency preparedness? Does your organization have a plan in place? We love to hear what you all are doing !
"Emergency preparedness is possibly the only topic in the world that is both terrifying and boring," quips Studio Protector's Craig Nutt. Disaster planning is easy (and risky) to put off for another day. As we enter the Atlantic hurricane season, now is a good time to consider your own emergency preparedness. In this two-part series, we will look at resources that can help arts and culture organizations both prepare for and recover from flood, fire, and other disasters.
One resource specifically designed for artists and artisans is Studio Protector, an information toolkit created to help you "cover your A's: Art, Assets, and Archives."
Studio Protector goes beyond general preparation tips to include advice relevant to artists working with a wide variety of media. For instance, after a flooding disaster, the "First Aid for Your A's" section explains that freezing wet items can buy time, but that not all materials are okay to freeze: textiles and books, yes; paintings and ivory, no. This kind of information can help you prioritize your time in a salvage situation.
The idea for Studio Protector grew out of lessons learned by artists during and after Hurricane Katrina. Visual artists developed the tool in partnership with the Craft Emergency Relief Fund (CERF+), which provides direct grants and loans to artists who need help in emergencies.
Studio Protector is comprised of two parts:
(1) The Wall Guide contains tips and checklists that help you start small and build your disaster response plan incrementally. Five subject-specific pullout guides, which can be easily taken off site in the event of an emergency, focus on topics such as evacuation, clean-up, and salvage. The entire kit is the size of a calendar and is designed to hang on your studio wall. The online video demonstration is a good introduction to what the guide looks like and how it works. The kit is currently available through CERF+ for $16 plus shipping and handling. Profits from the sale of the Studio Protector Wall Guide go towards CERF+ programs.
(2) The Online Guide* is designed as a supplement to the Wall Guide, with artist-to-artist videos and links to additional resources. Because it contains a lot of basic information as well, it is a good first stop when working on your emergency plans -- or when beginning the recovery process. The Online Guide is available for free on the Studio Protector website.
Although it is geared for visual artists and studios, Studio Protector has advice and tips that can also be useful for performing arts organizations -- particularly those with a large investment in costumes, scenery, stage equipment, or digital archives.
*Web development for Studio Protector's Online Guide was a project of Center for Arts Management and Technology, home of this blog.
