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.
This article examines 8 suggestions for museums to implement well-rounded digital projects for their audiences that are specific to the online context. These suggestions are drawn on the Rachel Broughton’s article Bridging the Gap Between Digital Native Modes of Learning and the Traditional Museum Ritual—find it here.
In less than three decades, the end of net art movement has been announced more times than its new beginning has been declared. The early 2000s brought a new group of net artists who saw utopian potential in the internet and began using it as a tool to demonstrate independence from traditional art markets. The net artists of today are more easily defined within the genre of new media art rather than net art since their work explores not only the technology of the internet but also the technologies employed on the internet and the socio-political contexts that it produces. Stereyl and Blas—two artists included in this post—reflect a sentiment of contemporary new media artists: the virtual ecosystem is not the same as it was a ten years ago. What defines new media art is a continuing analysis and reflection on this ecosystem.
Every week, AMT-Lab contributors share articles on interesting news at the intersection of technology and arts management. Recently, this practice has generated lots of articles dealing with the distribution of art online. Using the Internet as the platform, museums and artists are spreading their work worldwide.
