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.
As audiences gradually begin filling halls once again, orchestras are having to ask the question of what’s next for the newfound digital space. Do they take the risk of funneling resources towards streams on the heels of a devastating fiscal year, or divest and potentially sacrifice a newfound means of reaching their communities through increased accessibility? Contributor Cameron Massey looks to established and emerging examples.
The "boys" of PICT's "The History Boys." Photo courtesy of PICT.
In 2006 Stephanie Riso, Operations Director of the Pittsburgh Irish and Classical Theater (PICT), recognized the limitations that performance space imposed on ticket sales for her popular Cabaret Pittsburgh project. She considered ways to expand the audience of the musical revue without finding a new location or having to take the show on the road, and landed on the possibilites afforded by internet streaming.
Riso discovered that, with the exception of the Kennedy Center's free online performances of Millennium Stage musical acts, there was no precedent for streaming live performance online. With fellow Carnegie Mellon alumnus Alex Geis, and his company 21 Productions, Riso developed a live stream for Pittsburgh Cabaret. Upon seeing that "the (sound and video) quality was amazing, " she determined that she could use this technology to live stream PICT's theater productions.
“PICT’s long-term goal is to create a new revenue stream that will help to sustain the organization and live theatre into the future," explains Riso. Like so many theaters, PICT is small, limited by region and budget, and cannot tour under the Actors Equity SPT contract. So Riso conceived LIPLO™ (for "Live In Person and Live Online"), a hub where tickets could be sold to online streams of live performances and watched in real time. What was once just a dream of live theatrical streaming is -- almost -- a reality.
"Online presents great promise to theatres, but only if there is something worth watching; no one goes to a theatre website to ‘hang out’ and read about the upcoming shows. They go to the website simply to get the necessary information so they can attend a performance if they happen to live in that city. But, if there is a place online where a person can go and be entertained with a high quality experience – that changes the conversation and opens up potential ad revenue and customers/patrons,” explains Riso.
Last Saturday was to be PICT's inaugural, open-to-the-public, free LIPLO™ test stream (of PICT's production of Alan Bennett's "The History Boys"). Unfortunately, with less than a week to go, AEA and AFTRA could not agree on contract terms, and Riso had to pull the plug on the stream. "[W]e had secured the rights from Alan Bennett (the author) plus Fox, who owns the film, new media and broadcast rights – which was a very big deal. . . .Knowing that Actors Equity would be the biggest obstacle, I approached them in February 2009 to start the conversation. Their initial email response was that at the time they were not giving permission for actors to participate in live streaming. However, upon further conversations with their filming and taping department they encouraged me to talk with AFTRA (American Federation of Television and Radio Artists) and were completely open to the possibility – although Actors Equity kept stating they would likely expect 2 weeks contractual salary for the actors plus rehearsal which seemed out of sorts with the proposed free trial project. When AFTRA finally negotiated a favorable conclusion and all actors agreed, Actors Equity backed off and was not willing to move forward."
Riso is now caught in a Catch-22 in which she cannot have a bargaining conversation with the unions about money without data collected from test runs--which cannot proceed until the unions agree to allow the stream.
Provided the unions agree to allow LIPLO™ to proceed, theaters around the world may be able to implement this technology to expand their audiences. This may prove a popular method for watching theater, and precisely the tool that performing arts need to find new ways to make money and raise awareness of the art. Once the unions can get on the same page, "the only thing that stands in the way from any organization using LIPLO™ is whether or not the organization has the permission or right from the author, actor, designer, etc to live stream the work." If organizations are interested in implementing LIPLO™, the LIPLO™ team would "adjudicate the organizations and their work prior to acceptance within LIPLO™ to ensure there is a level of expertise and quality for the LIPLO™ audience." Following that, LIPLO™ has an all-inclusive team that would work with the organizations to put their work online.
Though Riso is confident that the technical components of the stream are dependable (it has undergone at least 15 trials without a hitch, and Geis will be online for every stream to troubleshoot viewers' problems via messenger), additional details rely on feedback from viewers of what were to have been three practice streams (including "The History Boys," PICT has streams planned for each of their season's final productions). For example, would viewers prefer a single or multiple camera feed? Is Paypal the best way to sell tickets to online streaming? Would the tickets be priced lower than in-life tickets? How will advertisers most effectively be placed during the stream? Will advertisers be local or could they be national and international? And most importantly, will this truly reach a new viewing demographic?
It is this writer's hope that the unions recognize the need to update contracts to open the possibility of alternative methods of viewing live theater. It increases exposure for all the artists involved in a show, and greater exposure could lead to greater demand for the artists. The tools are in place to expand audiences beyond the Baby Boomers, and hits the Millennials, and even Gen-Xers, where they live--online. In theory LIPLO™ is the perfect marriage of technology and art, and could do what simply expanding or altering marketing approaches may not: it could get new people watching live theater.
To view Riso's Quicktime community address, and to read additional information, including her request for supporters to contact these unions, visit the LIPLO™ website and follow the simple log-in procedure.
Update: AEA refused to discuss the matter with me. Spokesperson Maria Somma replied, "As you may have read in the media, Actors' Equity Association will not comment on the situation in question."
