This article analyzes Ireland’s emerging position as a global cultural policy case study, focusing on the Basic Income for the Arts (BIA) program and its place within the national framework Culture 2025. While Ireland’s consensus-driven political system, strong arts advocacy networks, and history of support for artist income have enabled an ambitious, research-oriented basic income pilot, the article highlights deeper tensions within cultural policymaking. Drawing on Stephen Hadley’s concept of “cultural policy realism,” it argues that Ireland’s policies—despite their novelty—remain rooted in traditional, instrumentalist views of culture as an economic engine and national branding tool. By contrasting democratization of culture with cultural democracy, the piece situates Ireland’s model between innovation and reversion, emphasizing the need for sustained experimentation, critical evaluation, and more genuinely democratic approaches to cultural support.
This study advances Part II by translating Scopely’s strategy into an execution plan across three tracks - NPC innovation, intelligent monetization, and ethical LiveOps - supported by new evidence from a 1,159-response consumer survey, nine expert interviews (developers, influencers, and experiential professionals), and secondary industry research. Part I established the market context for AI’s disruptive potential and identified three priorities: live operations evolution, commerce optimization, and advanced player analytics. The goal of this phase is to pinpoint the highest-leverage AI applications that deepen gameplay engagement, convert payment resistance through demonstrated value, and safeguard community trust. Accordingly, Part II outlines actionable playbooks (context-aware NPCs and adaptive narratives), platform tactics (purchase-aligned mobile personalization and cross-play integration), and operational models (behavior-based matchmaking and transparency protocols) designed to drive scalable, technology-led growth while preserving the integrity of shared human play.
This study provides a comprehensive analysis for Scopely to enhance its position as a leader in interactive and mobile gaming, focusing on AI integration in live operations, in-game commerce, and player analytics. The research reveals the urgent need for gaming companies to navigate accelerated AI adoption and evolving player expectations for personalized experiences. The goal is to identify the most impactful AI applications over the next three years and strategies that maximize engagement and monetization while maintaining player trust. Significant to this goal is balancing innovation with ethical considerations, including data privacy and transparency, while recognizing AI's potential to enhance storytelling and create immersive experiences. Employing a mixed-methods approach with industry interviews, a survey of over 1,000 U.S. gamers, and secondary research, Part I establishes the foundation for understanding AI's transformative impact - setting the stage for Part II's empirical findings and strategic recommendations.
A daylight robbery at the Musée du Louvre in mid-October resulted in the theft of eight priceless pieces from the French Crown Jewels housed in the Galerie d’Apollon. The incident now serves as an in-depth analysis for arts leaders globally to confront not only external threats, like highly organized professional thieves, but also the complex, internal risk of compromised staff and the urgent need to re-evaluate their security posture, technological investment, and institutional accountability.
As immersive technologies redefine the live concert experience, artists and virtual idols alike are transforming how audiences engage with music. From Hatsune Miku’s “holographic” performances powered by projection and LED technologies to VR concerts by creators like BlackGryph0n and Gorillaz, extended reality (XR) is blurring the lines between physical and digital performance. This article explores the evolution of Vocaloid software, the artistry behind digital concerts, and the growing influence of augmented and virtual reality in live music. As AR and VR become more accessible, musicians and fans alike are discovering new ways to connect—reshaping what it means to perform, attend, and experience music in the digital age.
The word "engage" gets thrown around a lot. But what does it really mean? Our upcoming webinar takes a look at how arts organizations can inspire their audiences through online platforms by focusing on a case study from Jacob's Pillow, which recently launched their own online exhibit.
How can online engagement with arts audiences be meaningful, inspiring, and ultimately worth all the effort we put into the online space? Jacob's Pillow Dance Festival presents their recently launched online exhibit Dance Interactive, a collection of videos from 1930s dance pioneers to today's most visionary artists. Looking through the lens of crafting "inspiration", this webinar will help you define for your own organization what that catch-all term "engage" really means and the greater challenge of how to measure it.
Panelists:
Connie Chin is General Manager of Jacob’s Pillow, an international dance festival, school, archives, community programs, and National Historic Landmark, which recently was awarded the 2010 National Medal of Arts. At the Pillow, Connie’s special projects have included Virtual Pillow, the Nonprofit Finance Fund's Leading for the Future initiative funded by the Doris Duke Charitable Foundation, and the Wallace Foundation’s Leadership and Excellence in Arts Participation initiative. She has consulted as a Peer Advisor for the Massachusetts Cultural Council, and served on grants panels in Connecticut and Westchester. Prior to the Pillow, she was in brand management at Kraft and Ocean Spray; and has also worked at the San Francisco Ethnic Dance Festival and New York Foundation for the Arts. As a dancer she has performed with Bill T. Jones, Jawole Willa Jo Zollar, Muna Tseng, Sincha Hong, Ze'eva Cohen, and others. Connie holds a B.A. from Harvard College and an M.B.A from Yale School of Management.
Lisa Niedermeyer is an independent consultant currently managing digital projects for Jacob's Pillow, home to America's longest running international dance festival. Lisa also serves on the advisory board of Movement Media, a NYC-based organization that empowers dance artists as curators, creators, and strategists of media. Past project highlights include working with the online marketing team at Soundwalk, an international media firm specializing in sound art and iPhone audio tours, as well as collaborating with Jane Comfort and Company (with whom she performed for 7 years) as digital content director for the company's 30th anniversary rebuild of their website.
When I was working in the trenches of a theatre company in the Midwest about a year and a half ago, the arts orgs in town got together to have a round-table discussion about social networking.
At the time, I had grown my theatre’s social networking from mere presence to full-blown strategy and was seeing our friend numbers grow exponentially. I was proud of my Facebook page and our (at that time) fledgling Twitter site, but the MySpace page was the real shining star of the bunch, with almost twice as many friends as the Facebook page and three times as many as Twitter. Most intriguingly the people on MySpace didn’t feel like the people on the other networks at the time. They were much more diverse in terms of race and age. They didn’t have a professional feel like Linked-In or Twitter (in some cases). It was a network open to everyone, one that didn’t start as a “gated community” catering exclusively to historically white colleges and universities like Facebook. Best of all, they were asking questions through private messages that indicated that they hadn’t heard of the theatre or weren’t sure how to get information on shows.
At the meeting we went over the popular social networking sites and discussed how MySpace was losing its market share and how some of the orgs had abandoned it. I raised the question "But is MySpace really and truly dead?" to which about five people in unison responded "YES!" and someone said "let's move on". Ok, then...
Now around the same time, I read that MySpace was still growing, just at a slower pace than Facebook and Twitter, but that it was the social network of choice for African-Americans and other ethnic minorities. (This is referenced in Hispanic Trending and in the below video.) Interesting, huh? But I didn’t speak up again. I figured, the people have spoken. I became disenchanted with the MySpace page, still checking it, but not putting in much effort. Since that time, the very thing that made MySpace a great social network—its openness to all users—also led to its demise in popularity. (Although a study from FSU from July 2009 showed that the ill-favored network was still quite popular with English-preferring Hispanics, preferred more than 2:1 to Facebook.) However, the fact still remains that I gave up on something that at the time, for our org, had brought us close to those elusive “interested, but unaware” prospects that could be tomorrow’s patrons.
I didn’t put the two incidents together until Martin Luther King Day last week when I was thinking about diversity in the theatre. We shouldn’t just be thinking about audience diversity on MLK Day, or Hispanic Heritage Month, or when our grant proposal is coming due, but some organizations do. For most orgs, audience diversity is something we might value, but it often isn’t a part of our social media strategy or even a part of the marketing strategy. It’s easy to write off, because it is very difficult to track based on race or ethnicity. Maybe we don’t have the time or staff. Maybe we’re not completely sure how to do it effectively. But, the fact is, the world in which arts orgs operate is changing and not just because of the technology that has revolutionized that way we entertain ourselves or engage with the world.
The make-up of U.S. culture is changing. The census bureau projects that, by 2050, the Asian and Hispanic populations in the U.S. will have tripled. The percentage of African-Americans in the U.S. population will also continue to rise, at the same time they grow more affluent. Perhaps because of this, the for-profit business community has begun to recognize African-Americans as the hot emerging niche market, even profiling behaviors to help advertisers reach this audience. And, as Dr. Eszter Hargittai prophesied in the video above, the playing field for minorities in social networking is getting more level.
The past few years have seen the rise of niche social networking sites for African-Americans as well as Hispanic Americans. Additionally, the 2009 study at Florida State University referenced above found that equal percentages of English-preferring Hispanics, Asians, and non-Hispanic whites under the age of 35 now access social media sites 2-3 times a month. The study concludes with the following paragraph:
"Few marketers are proactively targeting ethnic minorities online and even fewer are leveraging social media to do so. A first mover advantage is available for those that devote the time and resources to engage these critical audiences in ways that they find meaningful. The fact is that we now have an unprecedented ability to reach and interact with ethnic minorities; and companies that deliver value to this segment today will be rewarded with the long term loyalty of this market."
So what are arts groups doing to build audience diversity in this market? In Part Two, I’ll "take to the streets" and chat with marketing directors (including Thomas Cott of Cott Mail), a media buyer, and more. Stay tuned!
There's been a vibrant debate going on in the arts blogosphere about diversity, how to best reach new audiences and the relevance of American theatre. Here are a few of the posts:
Connie Chin is General Manager of Jacob’s Pillow, an international dance festival, school, archives, community programs, and National Historic Landmark, which recently was awarded the 2010 National Medal of Arts. At the Pillow, Connie’s special projects have included Virtual Pillow, the Nonprofit Finance Fund's Leading for the Future initiative funded by the Doris Duke Charitable Foundation, and the Wallace Foundation’s Leadership and Excellence in Arts Participation initiative. She has consulted as a Peer Advisor for the Massachusetts Cultural Council, and served on grants panels in Connecticut and Westchester. Prior to the Pillow, she was in brand management at Kraft and Ocean Spray; and has also worked at the San Francisco Ethnic Dance Festival and New York Foundation for the Arts. As a dancer she has performed with Bill T. Jones, Jawole Willa Jo Zollar, Muna Tseng, Sincha Hong, Ze'eva Cohen, and others. Connie holds a B.A. from Harvard College and an M.B.A from Yale School of Management.
Lisa Niedermeyer is an independent consultant currently managing digital projects for Jacob's Pillow, home to America's longest running international dance festival. Lisa also serves on the advisory board of Movement Media, a NYC-based organization that empowers dance artists as curators, creators, and strategists of media. Past project highlights include working with the online marketing team at Soundwalk, an international media firm specializing in sound art and iPhone audio tours, as well as collaborating with Jane Comfort and Company (with whom she performed for 7 years) as digital content director for the company's 30th anniversary rebuild of their website.