Current — AMT Lab @ CMU

David Dombrosky

What’s Your Motivation?

This post also appears as part of the Arts Marketing Blog Salon hosted by Americans for the Arts.

social_media_clutterIn a world where we are bombarded with thousands of marketing messages every day, our society has grown hyper-aware (and hyper-wary) of advertising in all its mutated forms – from magazine ads to product placement in television shows, from celebrities dropping brand names during interviews to Facebook pages used solely to increase ticket sales. When it comes to using social media, motivation is a key factor in forecasting whether an organization’s efforts will succeed or fail.

With motivation, I’m talking about the “why” not the “what.” Often we confuse the question “why are you using social media” with “what do you hope to achieve with social media.” Our answers tend to revolve around increases in attendance, ticket sales, registrations, donations, etc. Many of us mistakenly perceive our desired outcomes as the reasons motivating our social media participation.

I say “mistakenly,” but for some people there is no motivation for using social media beyond increasing the bottom line. Now, I know it is counterintuitive for me to proclaim this, but here goes. Social media sites are not marketing tools, they are engagement tools. (Wait! Don’t call me a heretic yet.) When social media sites are used with a motivation for engagement rather than self-promotion, they often lead to those desired marketing outcomes of increased sales and brand awareness.

When I think of social media superstars like the Brooklyn Museum, what stands out for me is the sincerity of their motivation. I truly believe that the Brooklyn Museum cares about community and the visitor experience. Why? Because they walk the walk. Very rarely do I receive blatant marketing messages from them through my social media accounts. Instead, I receive interesting content related to current exhibitions and the permanent collection, as well as opportunities for me to connect and interact with others who share my interests in the museum.

Okay, I’m as cynical as the next guy. So I know some of you might be thinking, “Yeah, right. Don’t be fooled, buddy. They want to increase the number of attendees as much as any other museum.” Of course they do, but that is not “why” they chose to pursue building and engaging audiences through social media. It is, however, an outcome of their efforts.

October webinar - Making the Most of Your Facebook Page

devine-kittredge-registernowHow to Make the Most of Your Facebook PageTuesday, October 19, 2010 2:00pm-3:30pm Eastern Register today for $25 Presenters: Maryann Devine and Jacquelyn Kittredge

You've probably heard a lot about Facebook in the media this past year, and you may have a lot of unanswered questions. You may be hesitating taking the plunge, for a variety of reasons -- it takes too much time or loss of brand control, for example.

In this webinar, you'll learn:

  • Why you should consider creating a Facebook presence for your arts organization, even you've already got a great web site or blog, even if you're using other social media tools like Twitter.
  • Why it DOES make a difference whether you create a personal profile, a group, or a page on Facebook.
  • Why your organization may be invisible even to fans of your Facebook page, and what to do about it.
  • Why it's important to engage with your Facebook fans -- beyond the usual clichés about 'conversation' -- and how to do it.
  • What is a 'landing tab' and why it gives you an advantage.
  • How it's possible for even the smallest organizations to use Facebook applications like contests and advertising without breaking the bank.
  • Participants in this webinar will also receive $25 off registration for the online course "Facebook Contests for Arts Organizations."

    Maryann Devine is a teacher, blogger, and consultant who helps arts people and connect with their biggest fans. She was director of marketing and public relations at The Academy of Vocal Arts before starting her own company, smArts & Culture. There she has worked with arts organizations large and small, as well as individual artists, and created classes and e-courses especially for people in the arts who have little time to spare, but a passion to learn. She has taught audience development and technology courses for Drexel University's graduate program in arts administration.

    Facebook maven Jacquelyn Kittredge created her company, e-bakery, to help small businesses mix social media into their marketing strategies. A consultant with a checkered past, Jacquelyn has been a programmer, corporate trainer, user documentation specialist, middle school teacher, and fundraising organizer (as well as a gift-wrapper and surf-shop chick!). Her teaching and training experience helps her keep the technical information people-friendly and easy to learn. To that end, she recently created the online course, "Facebook Contests for Arts Organizations." Formerly the Director of Marketing and the Chief Evangelist for a healthcare start-up company, VoiceCode.net, Jacquelyn lives in Alexandria, Virginia with her husband, one dog and their three (wild) boys.

    How do you share your season brochure with your website visitors?

    Amelia is working on a follow-up to her article from last year on the London Symphony Orchestra's use of their interactive, online season brochure. While her follow-up will focus on the success and challenges that the LSO faced with this pursuit, we wanted to check in with our readers to see how you are sharing your season brochure information with your online visitors. Please, take a moment to respond to the following poll:

    Art and Tech Round-up - Labor Day Edition

    In other news, Amelia Northrup is back from her summer in Washington, DC!  On Thursday, she and Corwin Christie presented a TITA webinar on creating and using online video.  If you missed the webinar, you can check out the recording here.

    Help Us Help You

    Last year around this time, we launched our Technology in the Arts webinar series.  To keep this service relevant to the needs of our online community in the coming year, please share with us the topics and types of webinars you would like for us to offer. Type your ideas directly into the box below and click on "Finish Survey" - it's that easy. Thank you in advance for your thoughtful responses!

    Raising More Money for the Good Work We Do

    This afternoon, I had the pleasure of working with Jerry Yoshitomi on a conference session dedicated to grassroots fundraising for the attendees of The Association of American Cultures (TAAC) conference in Chicago. Below are the slides for each of our presentations. Jerry's presentation on grassroots fundraising:

    Grassroots Fundraising

    Download presentation here.

    My presentation on online tools and practices for grassroots fundraising:

    The Quick & Dirty: Making a Video -- Upcoming Webinar

    Has the spark gone out of your relationship with your audience?

    Thursday, September 2, 2010 2:00pm-3:30pm Eastern The Quick and Dirty: Making a Video Presenters: Amelia Northrup and Corwin Christie Register today for $25

    Video technology is a cost-effective way to promote your work and engage your current (and potential) audience through channels that are widely accessed and have a broad reach. Arts organizations can effectively harness this technology to improve their visibility, attract new audiences, and find exciting ways to tell their story. This webinar will help you identify ways in which a video might best be used by your organization and discuss the tools you will need to physically produce and promote your video. In this 90 minute webinar, you will learn:

    • Strategies for using online video - identifying the message as well as your goals for using video.
    • How to produce online video content in an affordable manner - assessing the available hardware and software to identify the best tools to meet your needs.
    • Case studies and best practices - examples of arts organizations currently using online video to promote their work.

    Presenters AmeliaNorthrupAs the Web & Social Media Assistant at the Center for Arts Management and Technology, Amelia Northrup writes for the Technology in the Arts blog and has been featured on numerous podcasts. She has worked on numerous social media and multimedia projects with Kansas City Repertory Theatre and Wolf Trap Opera Company. Amelia is currently researching a white paper about the legal issues involved in the use of video footage from performances.

    CorwinChristie-96pxL. Corwin Christie graduated from Oberlin College before moving to Denver and founding a theatrical production company. Her work in development and marketing inspired her to attend Carnegie Mellon University's Arts Management graduate program. She recently worked as the Social Media Assistant at the Center for Arts Management and Technology, and is the current Marketing Director of Future Tenant Artspace in Pittsburgh.

    Tips for arts organizations working with web developers

    What should arts organizations expect when working with web developers?

    • Most web developers approach their work in a logic-driven, sequential manner. The structured nature of their work demands this of them. Correspondingly, developers will want to have all of the functionalities for a project locked-in prior to beginning the work. If changes are made after the start of the work, then the logic for the site may change, and the developer may be forced to redo all of his or her work.
    • Arts organizations should expect their web developers to deliver the completed project as articulated in the project agreement. Be sure to walk through the project agreement verbally with the developer to make sure that you both have the same understanding of the deliverable.
    • After your organization tests the deliverable, the developer should be willing to fix any errors in the code.  These are often referred to as "bugs."

    How do you know the difference between a bug and new work?

    • When there is an error in the website’s code that prevents it from working, then the site has a bug. Most developers will fix bugs within six months of a project’s completion date. It is good practice to make certain that this is articulated in the development agreement. Since bugs can develop over time, it is also good practice to consider adding maintenance or ongoing support to the development agreement or as a separate annual agreement.
    • If the website’s code is functioning properly but you would like for it to do something that wasn’t articulated within the development agreement, then this is likely to be considered “new work.”
    • Many clients have difficulty understanding why their developer would charge them more money to make the project do what they want it to do. (And if everything is spelled out in detail, then the developer should not charge extra for making it work.) As mentioned above, making a change once the project has begun may require the developer to redo all of the work that they just completed.
    • If you are vague or uncertain about what you want the final deliverable to do or how you want it to function, then you should brainstorm with the developer and hammer out these details prior to signing the agreement.
    • If you have already signed an agreement and start asking questions that begin with phrases like “Would it be possible for it to …”, then you are most likely talking about new work.
    • General rule of thumb: If it is broken or simply not working, then it is likely to be a bug. If you would like for the site to do something differently, then it is probably new work. This can be very frustrating for visually oriented people who have difficulty mapping everything out theoretically in advance and prefer to give feedback on something once it is “already up and running.” If you know that you will need to be able to give feedback and make changes (within reason) once a project is in the testing phase, then you should probably increase the budget for the project beyond the developer’s estimate by 20-30%.

    How do you handle a situation when a developer stands behind the hours allotted to a project vs. standing behind the deliverable?

    • Make certain that all of your development agreements are based upon deliverables and not estimated hours spent on the project.
    • Pay no more than 50% of the project’s total cost prior to completion. This will give you more leverage in possible negotiations than if you pay for the majority of the work at the outset.
    • Be certain that you haven’t changed the scope of work during the course of the project. If you did alter the scope of work, then you need to be flexible about the added burden placed upon the developer.

    Want to Save Your Online Data? There's an app for that...

    In May, I participated in a webinar hosted by the National Assembly of State Arts Agencies that focused on creative technology strategies for state arts agencies.  One of the issues that came up during the Q & A was backing up communications from social media platforms.  As entities within state government, many state arts agencies are required by law to retain copies of their communications.  But how do you archive communications that take place on social networking platforms like Twitter and Facebook? backupify-small-logoOver the past two months, I have been using a potential solution.  Backupify provides daily online backup for your social media and software-as-a-service data.  They are the only online backup and storage provider to seamlessly back user data to the Amazon S3 cloud with its strong security and data duplication policy.

    So here are the pros and cons of my experience with Backupify...

    PROS

    1. Backupify provides a centralized backup location for a number of online services, including:  Flickr, Facebook, Twitter, Google Docs, WordPress, Basecamp, Gmail, and many more.
    2. Businesses utilizing Google Apps can back up all of their data at relatively low cost.
    3. Quick and easy setup.
    4. With the free account, you are able to backup one account per online service.  The premium account level backs up an unlimited number of accounts per service for just under $60/year.
    5. Users are able to choose whether their accounts are backed up daily or weekly.
    6. Users are also able to opt for a daily email notification of backups, weekly email notification, or no email notification.
    7. The system maintains a backup history identifying when accounts were backed up, whether or not the backups were successful, and how many files were backed up per online service account.

    CONS

    1. There is no standardized format for backups because the backup file type is determined by the service providers.  For example:
      • Facebook photos are backed up on the site as photo files, but other Facebook elements (friends, statuses, links, notes, and events) are stored as an XML (Extensible Markup Language) file - which I view using Microsoft Excel.
      • For Twitter accounts, users can download a PDF workbook containing the following data:  profile, updates, received direct messages, sent direct messages, favorites, and mentions.  Users may also download XML files for each of those individual data pieces as well as an XML file containing information about the user's Twitter followers.
      • WordPress blogs and websites are backed up as a MySQL database in the sql.gz format.
    2. Currently, users may backup their personal Facebook profiles but not fan pages.  I asked Backupify CEO Rob May if there are plans to add backing up Facebook fan pages to the service's offerings.  He informed me that they are working with Facebook on this functionality over the next two weeks, so this option should be available in the very near future.

    My personal experience with Backupify over the past two months has been a very positive one.  Once the service adds the capacity to backup Facebook fan pages, it will be even more useful for arts organizations and governmental agencies using social media.

    May the Fourth Be With You

    As a special shout-out to fellow sci-fi fans in arts management, the staff at the Center for Arts Management and Technology bids you Happy Star Wars Day!  To celebrate this joyously geeky tradition, we used the always-fun, put-yourself-in-the-video tool JibJab to create a version of The Empire Strikes Back starring...us, of course.  Enjoy!

    Featuring: David Dombrosky as Luke Skywalker Shryansh Mehta as Han Solo Melody Fleishauer as Princess Leia Josh Futrell as Lando Calrissian

    What is an Arts Organization's "Online Voice"?

    On April 29th, Technology in the Arts will present the webinar  "Finding Your Online Voice" featuring renown arts consultant Maryann Devine from smArts & Culture.  We caught up with Maryann to talk about the idea of an arts organization's "online voice" and why it matters. What is an organization or individual’s “online voice”, and why is it important? By "online voice," I mean the tone and style of your encounters with people online. It should be an extension of the organizational voice you use elsewhere -- in your brochures, in your fundraising letters, in your advertising ... Unfortunately, most arts organizations use a bland, impersonal voice for their offline communications that's impossible to tell from their competitor down the street or across town. They mix in a little hype for the marketing writing, but so does everyone else, so everyone ends up sounding alike. How do you stand out?

    Why is your online voice important? Because whether it's your web site, or your Facebook Fan Page, we're talking about spaces that have their own social norms and user behavior. It's like taking your board meeting voice into the cocktail party and then to the kitchen table at your neighbor's house. If you don't adjust your tone, people are going to look at you funny! You're not going to connect with people. And that's why you're online in the first place, isn't it?

    How can we take stock of our online voice? You can take an inventory of all the places where your organization has an online presence.  For example:

    • your web site
    • your email newsletter
    • your blog
    • your Twitter account(s)
    • your Facebook Fan Page
    • your custom social network
    • forum spaces where your staff or volunteers participate in an official capacity
    • blogs where your staff comments, on behalf of the organization

    Then ask yourself:

    • How do your online interactions sound next to your offline communications?
    • Do they all sound like they're coming from the same organization, or do they seem wildly different?
    • How do people online respond to them?

    In the webinar, we'll talk about how to sound like YOU (the organization) and still strike the right tone for the online space.

    How will this upcoming webinar help artists and arts managers to refine their online voice to better meet their goals? Getting closer with the people who love what you do -- that's a strategy that supports fundraising, ticket sales, awareness building -- just about any goal I can think of that might be on an artist or arts manager's agenda. A distinct and -- dare I say it? -- authentic online voice helps people find YOU and listen to you instead of tuning you out, like they do with most of the other organizations and businesses that are vying for their attention. When they know it's YOU, they'll WANT to pay attention.

    April 29 -- 2:00pm-3:30pm Eastern -- "Finding Your Online Voice" -- Register today for $25

    Tweet the Arts on National Arts Advocacy Day

    Next Tuesday, April 13th, is National Arts Advocacy Day, when more than 500 arts advocates will be talking to their government officials in Washington, D.C. about the power of the arts and the need for arts education and arts funding. Whether or not you can make it to DC on April 13, please take the time to create a tweet featuring the hashtag #arts on your Twitter accounts and tell you friends to do the same.   If we get enough tweets with #arts we’ll push “arts” into Twitter trending topics for the day.

    More information can be found at http://www.tweetartsday.org

    Upcoming Webinar - Finding Your Online Voice

    devine_pic_registernowApril 29, 2010Finding Your Online Voice 2:00pm-3:30pm Eastern Presenter: Maryann Devine Registration: $25

    When we’re talking about social media, it's easy to get caught up in the technical nuts and bolts. In this webinar, you'll hear about the softer side of connecting with your audience online.

    Think about how you use social media in your personal life. What would your best friends think if you posted updates on Facebook like “What’s your favorite thing about my New Year’s Eve party? Post in the comments!!! Invites still available!”

    That’s how many arts organizations use social media – as desperate micro-advertising. And that's why people ignore it.

    In this 90 minute webinar, you will learn:

    • How your unique voice helps your audience listen up
    • The keys to extending that voice online
    • How to avoid common pitfalls
    • How other arts organizations get it right

    Maryann Devine is a teacher, blogger, and consultant who helps arts people connect with their biggest fans. She was director of marketing and public relations at The Academy of Vocal Arts before starting her own company, smArts & Culture. There she has worked with arts organizations large and small, as well as individual artists, and created classes and e-courses especially for people in the arts with little time to spare but a passion to learn. She has taught audience development and technology courses for Drexel University's graduate program in arts administration.

    Upcoming Webinar - Putting Social Media Strategy Into Action

    rebeccakrausehardie_registernow150pxMarch 23, 2010The Arts & Social Media, Part II: Turning Strategy Into Results 2:00pm-3:30pm Eastern Presenter: Rebecca Krause-Hardie Registration: $25.00

    You've dabbled with social media; you've got a general sense of how to think strategically; now what? In this session, we'll go beyond the jargon into the nitty-gritty and practical details of executing a successful social media plan. This is a highly interactive session. As the starting point, we'll explore your goals, questions and your projects and clarify the steps needed to turn them into reality.

    In this engaging 90-minute session, you will:

  • Learn how to create a step by step action plan to get you going
  • Look at some great case studies from other arts organizations
  • Identify and define 5 practical steps you can take now to have your project soar
  • Rebecca Krause-Hardie is a project manager, facilitator/trainer, social media strategist, & arts blogger, helping arts and non-profits use the web and social media effectively. Rebecca has over 20 yrs experience in new media, business, marketing, finance and project management. She developed and has been the Executive Producer of the award winning New York Philharmonic's Kidzone website, now in its 10th year. Representative clients include the Boston Symphony, NY Philharmonic, Detroit Symphony, MAPP International, Canadian Museum of Nature, NYS/Arts, Caring.com and the Paul Taylor Dance Company and Dance/USA.

    Please Note: While this session builds upon ideas discussed in The Arts & Social Media, Part I: From Experiment to Strategy, this webinar is a stand-alone session appropriate for all artists and arts administrators.

    Dave's Technology in the Arts Faves of 2009

    It's the end of the semester here in TITA-land.  Corwin and Amelia are gone for the holidays, and we will be on hiatus until January 4th.  So in the spirit of reflection on the year that was 2009, I have cobbled together my favorite Technology in the Arts blog posts and podcasts. FAVORITE PODCAST EPISODES OF 2009

    October 2009 - David and Corwin talk about Scott Kirsner's book Fans, Friends & Followers: Building an Audience and a Creative Career in the Digital Age.

    July 2009 - Brad interviews arts marketing consultant Erik Gensler about Google Adwords, Facebook ads and more.

    March 2009 - In honor of Friday the 13th, Brad and Jason take a bone-chilling look at some of the SCARIEST TECHNOLOGIES EVER!

    FAVORITE BLOG POSTS OF 2009

    Fear Not What "They" Will Say: Relingquishing Control and Opening Up the Conversation

    iPhone Apps for Arts & Culture

    What Google Wave Means for Arts Organizations

    Prepare Ye the Way for the Digital Season Brochure

    Why Net Neutrality is an Arts Advocacy Issue

    Perform a Digital Identify Self-Exam

    Tech + Art + Mobile + Money = A New Hope for Artsts and NPOs?

    Protected? Online Content and Its Abuse

    Arts Advocacy via YouTube

    Social Media Intern: A Risk?

    Who I Am...or, Who Am I?

    Early Adopters: The Art World of Second Life

    YouTube Symphony Orchestra

    No Comment - Bloggers Should Let Their Readers Respond

    ...so from all of us at Technology in the Arts -- Happy Holidays.  We look forward to connecting with all of you again in 2010!

    2009 Ticketing Software Satisfaction Survey - Deadline: Dec 11

    How satisfied are you with your ticketing software? Join over 700 of your colleagues in taking the 2009 Ticketing Software Satisfaction Survey by Friday, December 11, 2009. tickets

    The Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University, invites you to take part in our ticketing software satisfaction survey. This brief survey is designed to gauge the arts and culture sector's level of satisfaction with numerous box office and ticketing vendors in a variety of categories. The survey is designed to collect information only about products you are currently using.

    The survey takes 5-10 minutes to complete and is available here. The deadline to complete this survey is 11:59PM EST on Friday, December 11, 2009.

    In appreciation for your participation, you will receive a complimentary copy of the research report scheduled for release in January 2010.

    PLEASE SHARE THIS OPPORTUNITY WITH YOUR COLLEAGUES.

    Questions? Contact CAMT.

    iPhone Apps for Arts & Culture

    In this clip, prepared for the Technology in the Arts webinar on "Mobile Applications for the Arts: Where Are We," arts marketing consultant Ron Evans describes some of the recent apps that have been released that help patrons to engage more deeply with arts organizations and artists.

    Slides from the "Mobile Applications for the Arts" may be downloaded from here.

    A video recording of the webinar is also available.  First, you will need to download the free GoToWebinar codec from https://www.gotomeeting.com/codec.  Then you can download the video file from here.  This is a large video file, so it may take some time to load.

    Musicians Standing Up for Net Neutrality

    [Casey Rae-Hunter is the communications director for Future of Music Coalition - a national, nonprofit education, research and advocacy organization for musicians.  He has generously given us permission to republish this article which originally appeared on the Future of Music Coalition website .] NN_GrassrootsIn the almost ten years that the Future of Music Coalition has existed, we’ve seen tremendous changes in the way musicians go about reaching and cultivating fans. Perhaps the biggest development in our decade on the scene is in how artists are using the internet.

    It’s safe to say that nearly all of the exciting things that have gone down online are the result of net neutrality — the principle that protects the open internet.

    Net neutrality has inspired incredible displays of creativity and entrepreneurship, as musicians adopt and devise new ways to inspire fans and create a buzz. From OK Go’s famous YouTube videos to Erin McKeown’s “Cabin Fever” concerts to bands booking tours and cross-promoting, the internet lets all artists compete on an equal technological footing with the biggest companies.

    Today’s artists use their web presence not only to sell music and merchandise, but also an amazing array of innovative content — all without interference from gatekeepers. Contrast this with the traditional music industry, where artists required significant financial backing to reach potential listeners.

    But without net neutrality, all this — and many other things we’ve come to take for granted online — could be in jeopardy. Currently, a handful of powerful Internet Service Providers (IPSs) are putting pressure on the Federal Communications Commission to “tone down” its planned introduction of expanded net neutrality principles (and the accompanying public discussions) on the way to possible rulemaking.

    Why are the ISPs and their lobbyists in such a tizzy? Well, for one, they want to be able to charge content providers (you, know, people like musicians who put stuff on the web) a higher fee for the faster delivery of their sites and services. Those who couldn’t afford to — or didn’t want to — pay the “toll” would be stuck in the slow lane of the information superhighway.

    But that’s not the only reason that net neutrality (ie, the internet as we know it) is so important to preserve.

    Last year’s FCC investigation into whether Comcast interfered with users’ ability to send and receive data using the BitTorrent protocol revealed that even the King James Bible was being unfairly blocked. In 2007, AT&T censored political speech by Pearl Jam’s Eddie Vedder during the exclusive webcast of the band’s appearance as part of the Lollapalooza festival. The latter incident indicates the danger of allowing a single carrier to make decisions about what kind of speech it considers “appropriate.”

    Clearly, there’s a need for clear and transparent rules about what Internet Service Providers are allowed to do in terms of managing their networks. While there are certainly important discussions to be had about how to ensure a smooth experience for subscribers, any ISP activities that target or discriminate against lawful content in order to establish a marketplace advantage is contrary to what makes the internet the most important communications platform of our time.

    Naturally, there are are concerns about protecting copyright and intellectual property online. Keep in mind that FMC supports artists’ rights to have control over their creative expressions, as well as their ability to access potential audiences. Yet any solutions to unlawful filesharing are likely to be the product of a neutral net. (There are currently reports that because of new legal services, filesharing is becoming passé — globally, anyway.) The growth of the broadband marketplace — despite limited competition due to a cable/telecommunications duopoly — has helped lay the cornerstone for a legitimate digital music marketplace. These days, there are tons of exciting, legal ways to experience music online, and more are on the way. To abandon net neutrality is to starve this marketplace of the very oxygen it needs to grow and flourish. Besides, do you really want to hand over they keys to digital music innovation to your phone or cable company?

    FMC started its Rock the Net campaign in 2007 because we recognize that musicians are not only America’s cultural ambassadors, but also part of its entrepreneurial backbone. Just about everywhere you look, artists are finding new platforms to turn people on to their music. In the absence of net neutrality, these platforms may be only available to those who could cut big-money deals with the telecom and cable companies — or worse, the platforms may never be built at all due to an “innovation drain” that could result from a lack of open structures.

    More recently, we were thrilled to have Senator Al Franken talk about the importance of net neutrality in a speech at the 2009 Future of Music Policy Summit. This year’s conference also saw a keynote from FCC Chairman Julius Genachowski — check out C-SPAN video of both speeches here.

    This fight to preserve the open internet has been going on for some time. Now that we’re close to having net neutrality become the law of the land, it’s little surprise that the big telecom and cable companies are pushing back. But that shouldn’t stop you from letting the world know about your support of an internet that’s open to all. Why not write a song or make a YouTube video about it? And if you do, be sure to let us know and we’ll help spread the word!

    Why Net Neutrality is an Arts Advocacy Issue

    I teach a course on “Cultural Policy and Advocacy in the US” each spring for CMU’s Master of Arts Management program.  As I begin prepping for the upcoming spring semester, I find it intriguing that the issue of “net neutrality” has not gained much buzz within the arts advocacy community.  So let’s take a look at what net neutrality is and how the issue of net neutrality impacts the arts. So what is net neutrality?  Here’s a brief breakdown of the issue from Public Knowledge, a Washington DC based public interest group working to defend the public’s rights in the emerging digital culture:

    Okay, but why should arts advocates care about net neutrality?

    In the last decade, we have seen an explosion in the use of the Internet to create art, promote the arts, advocate for the arts, build community through the arts, and more.  Our sector’s ability to participate in the Web 2.0 cultural shift is due in large part to our ability to access any tool hosted on the Internet with the same ease as any other Web user.  Here are just a few examples of how this neutral access has fostered evolution within the arts community :

    • Artists have been able to choose from a wide array of online tools for distributing their work and reaching new audiences.
    • Artists have explored the use of the Internet as an artistic medium resulting in the genre of art known as net art.
    • Artists and arts organizations have leveraged the use of social media and social networking to further engage audiences before, during and after traditional performances and exhibitions.

    Let’s say for example that a theatre company pays Comcast for access to the Internet.  The theatre also has a nonprofit channel on YouTube where they post video interviews with playwrights, directors, actors, designers, etc.  The theatre has successfully used these videos as promotional tools to raise interest in upcoming productions.  What happens if Comcast decides to prohibit the theatre from accessing YouTube because Comcast is launching a video sharing site that competes directly with YouTube?  Suddenly, your Internet Service Provider (ISP) is determining which online tools you may or may not use to pursue your arts organization’s goals and mission.

    Does the idea that your Internet Service Provider would prohibit you from accessing certain sites sound preposterous?  It’s not.  On September 21, FCC Chaiman Julius Genachowski presented a speech at the Brookings Institute in which he states, “We have witnessed certain broadband providers unilaterally block access to VoIP applications (phone calls delivered over data networks) and implement technical measures that degrade the performance of peer-to-peer software distributing lawful content. We have even seen at least one service provider deny users access to political content.”

    During last month’s National Alliance for Media Arts and Culture (NAMAC) conference, Craig Aaron from Free Press laid it out on the line for the audience, “[The federal government is] going to decide whether or not the Internet remains public and free.”  Does that sound alarmist?  It’s not.

    In yesterday’s speech, Genachowski went on to state, “While my goals are clear -- to ensure the Internet remains a free and open platform that promotes innovation, investment, competition, and users’ interests -- our path to implementing them is not pre-determined. I will ensure that the rulemaking process will be fair, transparent, fact-based, and data-driven. Anyone will be able to participate in this process, and I hope everyone will. We will hold a number of public workshops and, of course, use the Internet and other new media tools to facilitate participation. Today we’ve launched a new website, www.openinternet.gov, to kick off discussion of the issues I’ve been talking about. We encourage everyone to visit the site and contribute to the process.”

    While this is a wonderful step towards ensuring net neutrality for the United States, we would be foolish to believe that the results of this process are a given.  A stunning statistic that Craig Aaron shared with the NAMAC conference last month is that the telecommunications field currently has 500 lobbyists in Washington, DC.  That is nearly one lobbyist for each member of the House and Senate.  You better believe that those 500 lobbyists are advocating for FCC policies that will allow their telecommunications employers to gain more financially advantageous control of the Internet and consumer usage.

    The number of net neutrality lobbyists in Washington, DC is very minor in comparison to the army of 500 telecommunications lobbyists.  That’s why it is so important for us to join the national discussion regarding this issue and add it to our list of arts advocacy priorities.

    Here are some easy things you can do today to help ensure net neutrality within the United States:

    1. Send a brief message to your Congressional representative asking them to support the Internet Freedom Preservation Act of 2009 (H.R. 3458).
    2. Contact Americans for the Arts and encourage them to add a net neutrality issue brief to the Congressional Arts Handbook that will be distributed during the 2010 Arts Advocacy Day event.
    3. Engage in the public discussion on www.openinternet.gov.