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.
Artificial Intelligence is being experimented with in the world of theater, from playwriting in traditional theatre, musicals, and improv. It is also being used for scene design and as a creative collaborator and director. Can AI successfully produce on these fronts? What does this mean for the future of the industry?
The 2022 Theatre Communications Group conference offered virtual, hybrid, and in-person experiences. Hosted in Pittsburgh, the conference adeptly revealed the opportunities and challenges facing the field as theatre artists and institutions navigate their futures. The following summary offers two core takeaways from the conference, focusing on a theatre administration future of human-centered strategies allowing adaptive innovation within a constantly changing ecosystem.
As noted in How Video Games Can Serve as an Engagement Experience, video games, particularly RPGs, are widely popular and engaging with exceptional character and plot structure. The Elder Scrolls V: Skyrim and The Witcher 3: Wild Hunt exemplify Aristotle’s model of dramatic tragedy in a modern form. These case studies prove that video games are fun, tragedy is fun, and by marrying the two, arts organizations can experiment with exciting new forms of audience engagement!
When considering the medium of livestreaming for organizational programming, one must be aware of its many advantages and challenges. This second portion looks at two case studies. The first case study, The Geffen, set the precedent for non-Broadway theaters working with BroadwayHD. The second case study, The Orlando Shakespeare Theater, illustrates how a large regional theater can impact hundreds of classrooms with one performance, on a budget that is more feasible for regional theater companies.
This is a two-part series exploring how the benefits of incorporating livestreaming technology into theatres. Part 1 of the report documents a history of livestreaming theatre (involving a timeline and the lifespan of the industry’s biggest players) and a brief analysis of what it means to perform “Live!” and its programming potential.
When discussing the future of the arts, many professionals and studies have stated that the manner in which audiences consume arts and culture is rapidly changing--and has already changed. The Internet has been the most notable new space for consuming culture, providing both opportunities and challenges through widespread and instant information sharing. Over the past several years, AMT Lab has documented the various web-based arts experiences that are becoming readily available--usually including lessons and best practices that managers can take away for their own practice. This week’s TBT rounds them up into a user-friendly toolbox of online arts experiences of various artistic mediums.
Already your responses are providing valuable insight. AMT Lab has extended the 2015 National Ticketing Software Satisfaction Survey period through March 7, 2015. Collecting information on the attitudes and behaviors of arts organizations currently using ticketing software, the 2015 National Ticketing Survey will help illustrate the met and unmet ticketing needs of art organizations, and capture how ticketing software uses and needs vary by an organization's discipline, budget, staff size, and geographic location. Clear here for the full announcement.
We are conducting the 3rd National Ticketing Software Survey during the month of February. If you are interested in sharing your experience and your opinions about your software, please let us know. All those participating in the survey will receive a full copy of the report which will provide a national view as well as cluster analyses by discipline, budget size, and geographic region. The data will be useful for both organizations and vendors. Organizations will gain a better understanding of their own practices as compared to their peers and, more importantly, be able to use the findings as evidence for future technology funding campaigns. Vendors will have explicit evidence as to the needs and wants for future software design.
To tweet seat or not to tweet seat; that’s the question on everyone’s mind. After a rather engaging conversation at the Theatre Communications Group Annual conference in Dallas, I went home thinking about the pros and cons of new technology and how it can be used to engage today’s audience. If our audiences are evolving, why are we still connecting with them in the same manner as the previous generation of administrators?
Last week's Theatre Communications Group conference presented a changing perspective on audience engagement that uses technology. Tweet Seats are definitely on the outs. This 2 post series, however, focuses on the more immersive experience with two organization's successfully engaging their audiences. Their audiences must engage in some if not multiple forms of technology to partake in the theatrical story itself. The two organizations are Dog and Pony DC based in Washington DC and Rude Mechanicals based in Austin. Both use technology before, during and after the show. Dog and Pony DC's company member, Colin K. Bills, presented as part of a panel led by David J. Loehr of twitter handle @2amt (and 2amtheatre.com).
