Arts & Technology

An Artistic Revision of the American Dream

The American Dream, which for many Americans is the prospect of owning your own home, is dying. Or, at the very least, it is in danger of being lost to a sea of forces, which include overbuilding, overbuying and the economic downturn. With single family suburban homes becoming plentiful over the past decade, and the inevitable housing bubble that devastated so many suburbs around the country that followed, the thought naturally turns to whether this model is sustainable moving forward. What does the future hold for suburban living, and where do we go from here?

A new exhibit at the New York Museum of Modern Art seeks to rethink suburban living and the design of the communities themselves. Taking unique and sometimes radical approaches, five design teams each took a community ravaged by the housing crisis and came up with their own architectural and artistic solution to improve the affected areas and introduce more density, retail stores and sustainable practices. The results need to be seen to be believed, as they provide a completely new and interesting way to look at American housing.

The exhibit, titled “Foreclosed: Rehousing the American Dream,” looks at five suburbs around the country that have been hit hard by the foreclosure crisis: The Oranges, a New Jersey community twenty miles outside New York City; Temple Terrace, Florida, located just outside of Tampa; Cicero, Illinois, a suburb of Chicago; Keizer, Oregon, a suburb of Portland; and Rialto, California, located outside of San Bernardino.

Looking through the five exhibits, one sees a pattern: all five areas under study feature the now commonplace suburban single family homes that have come to dominate the suburbs of American cities, with the design teams seeking to fundamentally change the way we see suburban housing. Gone are the 1,500 square feet or larger single family homes with large backyards and wide spaces between properties; all five proposals call for much more density, shared spaces, and retail and dining options often inside the communities. In essence, what the design teams are trying to do is replicate some of the best features of urban living and transport them to the suburbs.

Even though single family suburban living has proved to be incredibly popular over recent decades, it has always had its share of critics from urban planners, policy makers and sustainable growth advocates. The effect on the environment, through increased automobile use and higher energy use, is widely mentioned. The separation from the community, through isolated properties and less interaction with others, is mentioned as well.

What is so fascinating about the exhibit is the way the design teams take all of these criticisms to heart and seek to remedy the problems of overbuilding and density through five architectural designs that really are about as different as they are similar. As to be expected, they all feature people living closer together and becoming more sustainable, but they differ enormously in how the communities are designed from an aesthetic level. I took a look at all five exhibits (virtually, of course, until I can make the trip to New York), and came away impressed with some of the projects and more skeptical of others. The five exhibits are broken down below:

The Oranges, New Jersey: Located twenty miles outside of New York City, the Oranges is a unique community that is, in the words of the design team, “more urban than suburban,” with close proximity to major roads and transportation options. The Oranges approach is perhaps the most radical of all five designs: it seeks to remove the car from the city by adding multi-level housing to the roads themselves, with occupants using mass transportation options instead. The designs of these new housing complexes are jagged in design and feature different kinds of housing, including multi-family housing units and shared public spaces. My favorite design element is transforming the roofs of the buildings into public places, where energy can be produced and green spaces can be added, helping to make the buildings more sustainable. Of the five exhibits, this one is the least practical, but earns praise for the unique artistic design to the housing units.

Temple Terrace, Florida: Located just outside of Tampa, the Temple Terrace project looks to re-develop 2.2 miles of the community’s downtown area through adding additional housing units and public spaces. This one is perhaps the least controversial of the five designs, as it splits the development between more conventional smaller housing units and another space for multi-family housing and duplexes.

Cicero, Illinois: This one is my favorite, as it seeks to take existing abandoned structures and re-develop them into housing and community areas. Cicero, a suburb of Chicago, grew up as a railroad town, then became a town full of factories in the mid-20th century; as the factories left in the 1980’s, the town started losing jobs and became an economically depressed area. The foreclosure crisis hit Cicero hard, and only worsened the situation. In recent years, the immigrant population of the town has boomed, leading to an increasingly diverse community.

What the Cicero project seeks to do is bring living and working together, and they do this through taking over existing abandoned factory sites and turning them over to housing. After the requisite environmental process, the design team takes these abandoned factories and converts them to high rise housing complexes, featuring shared living areas along with shared community spaces. Living units are on different floors, with each building featuring a community floor that can include shared kitchens, shared living rooms and more. The design team also seeks to change the way houses are financed, through innovative ideas like equity co-op’s and building trusts where people can buy and sell shares of their homes.

My favorite idea of the design was to take garage space and convert alleyways into stores, restaurants and community spaces where residents could earn additional money for themselves through land on their own property.

Keizer, Oregon: Located just outside of Portland, the design team for Keizer sought to combine the best of the town and the best of the country, and their design is striking in terms of how much of nature is included in the very dense living spaces created.

The Keizer design has a massive multi-level apartment complex look to it, but it also does its best to include plants and nature into the design. While there are multiple levels of housing, the nature elements are located at ground level, and include abundant supplies of green space, forest, exotic gardens, plant life and even exotic animals as well. Bridges connect the different complexes and include retail stores, and the series of courtyards that are included feature different nature activities like rock climbing and spelunking.

This design perhaps does the best job of creating a living, sustainable, all-encompassing community within its borders. The designers point out that the project achieves five times as much density and provides three times as much space as the existing Keizer community.

Rialto, California: The final project, looking at the community of Rialto located outside of San Bernardino, seeks to not so much radically change the suburban housing structure as it does to modify it around the edges. The biggest design departure from current practices is the “relaxation of boundaries,” where existing plots of lands are converted into row houses, duplexes and apartments. This means that while you can have a regular single family home on one plot of land, right next to it you could have a row of apartments or smaller homes on the same block. One rationale for this is that if a family residing in an apartment wanted to move up into a single family home, they could do so without having to leave the complex. The design team also adds retail and mass transportation options to the complex, again seeking to create a more complete community within its boundaries.

Current zoning laws and restrictions prevent most if not all of the above changes in each of the five designs from taking place, and the architects and planners associated with each would need changes in the laws if the designs were ever implemented. This is part of a larger concern for neighborhood revitalization and renewal, and as the housing crisis showed us, the current model of larger single family suburban homes is not sustainable in some areas. Changes need to be made, and these five designs seek to identify the best ways to do so.

I encourage everyone to take a look at the five designs online if you can’t make it to New York for the exhibit. It runs through July 30th.

(Photo credit: NY Museum of Modern Art)

Telemarketing is Dead - and I killed it

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Fundraising for nonprofit organizations is considered an art, not a perfect science, and it's clear that techniques must be tailored to each individual organization. One of the common pieces of wisdom is that “telephone appeals” (read: telemarketing) consistently work as a fundraising tool for nonprofit arts organizations. I’m not saying random cold calls, but calling people who have funded you before, have a history with your organization and would likely donate again. Nearly one out of every five people will respond and donate to your organization calling and asking for money. As a Millennial consumer, I cannot fathom this.

I, and perhaps you, dear Reader, belong to a generation simply called “Millennials”. Spell check doesn’t know that word yet, but soon it will. We are defined not by high technological competency, which is given to the generation directly before us, but by technological connectedness. I've had a series of experiences which have lead me to create these conclusions about the relationship between Millennials and telemarketing. Millennials, who by the way love to donate, have been raised in a society where everything is connected electronically.

With that connectedness comes with a degree of anonymity. While relationships formed over the web can become as close and as intimate as the penpals of old, they take time. They are cultivated with mutual respect and friendship and while our messages may travel instantly from one to the other, the relationship is built up more slowly.

In this age of instant communication, I think the telemarketing approach is dead to those arts organizations that wish to solicit donations from Millennials. My telephone is reserved for my parents and my grandma, and for calling Renee to let her know I’m outside her building and would she please let me in.

I have had organizations, which I have supported in the past, call me on the phone and ask for donations. It never works.

They always follow a certain pattern. The telemarketer introduces themselves, and asks your name - here again, trying to build up a relationship. But I, the Millennial consumer, am used to long exchanges on Tumblr before ever learning anything than the other person’s username, so that tactic falls short. I thrive in the anonymity of the internet, and this direct and sudden confrontation with a stranger frightens me like a deer in headlights.

Then the telemarketer will try to tell me about the organizations hardships this year; how an economic recession has set them back, or how government legislation has made their work more difficult, could I please help with their annual fund? I, the Millennial consumer, just watched a video of the violence in Syria this morning - you’re trying to tell me you have problems? The problems I care about are the ones involving life and death - and I will negate your ask at every turn.

Finally, the telemarketer has been instructed to ask three times before respectfully hanging up. Are you kidding me? I, the Millennial consumer, tweet, reblog, and share on Facebook all while drinking my caramel latte and finishing an accounting assignment. Your long phone call is wasting my time. Why didn’t you understand when I first said ‘no’? Are you trying to guilt me into this? This is ridiculous. I will never give to this organization again, and their number is now blocked on my phone.

In truth, this all could have been avoided if this organization, who clearly have a record on me, had just emailed me their ask with a direct link, explaining that they need help with their annual fund. The anonymity is intact, I no longer have an individual I don’t know trying to force me into the intimate donor relationship. They haven’t insulted me with blowing their issues into hyperboles (while important to the organization, meaningless to me). And it took all of two seconds to click the link and another to type in my credit card number.

What I’m saying here is, if you’re catering to a mature audience, use telemarketing. Statistically, it works. And probably you’re already using online direct asks in some form, whether its email or otherwise. What I’m hoping you’ll do is pay more attention to who gets what message. If you’re reaching for the Millennials, those fun-loving young kids, maybe tweet them. Email them. Ask them when they attend your next party.

For the love of art, though, do not call.

 

Art, Games, Art Games!

A curious reversal of roles will take place this March when the world of museums will open its grandiose doors to the realm of video games. While interactive games have often been used to ease visitors into contemplating works of art, the exhibition titled The Art of Video Games at the Smithsonian will, for the first time, display gaming as an art form in its own right. An interesting development, since the art world is known lesser for its playfulness, and more for its profundity.

But before we hit escape and quit on finding common ground, let’s not forget that in our era of interactivity, the profound can be playful! And while it is true that the line between games and art once seemed faint, even non-existent, technology has repeatedly defined it anew.

Art Hack Day in Brooklyn was one such example of the blurring between art and technological, idiosyncratic, fun. Scott Garner, recently featured in the Huffington Post, is yet another artist incorporating an irreverent amount of fun into his practice. His work titled Still Life is anything but still; the painting’s seemingly immovable subject matter tumbles to the side when the painting is titled.

http://vimeo.com/35109750

Still Life “involves a motion-sensitive frame that feeds real-time tilt data to a 3D scene.” With all those expectantly gleaming fruits and vases, it’s so tempting to disrupt the quiet order, balance, and meticulous composition!

Beyond all the fun and interactivity, the idea that artists too have been developing games (the kind that will most certainly puzzle you), is often overlooked. Early in the 20th century, it was the Dadaists that actively embraced games, more specifically games of chance (a concept they found liberating), in their art making process. One famous visual game developed at the time of Dada was Exquisite Corpses, where a piece of paper was folded up and artists drew on their respective folds without context and without limitations. This lead to the creation of a final image that was at times absurd, but always random. Exquisitely random.

Since the daring Dadaists, one contemporary artist incorporating the games of chance into his work is Christian Boltanski. His installation titled Chance was displayed at the 54th Venice Biennale, and more recently at the Nederlands Fotomuseum. The museum writes that “Chance deals with the themes that are characteristic for Boltanski’s work: chance, luck and misfortune.”

One of the components of his installation is an image matching game, where a series of portraits divided into three differing sections are continuously projected onto a screen. The visitor is invited to stop the shuffling of the images on a complete portrait. Chance is one of the few artworks that is most like a game in that users can actually win a portrait if they happen to pause on a complete picture. The game can also be played on Boltanski’s website, so take a chance!

While works such as Chance and Still Life hint at the influence of gaming and interactivity on contemporary art and artistic practices, the Smithsonian explores the exact opposite in The Art of Video Games. One of the areas it delves into is the progressive aesthetic and emotional influence of art and the increasing number of artists involved in the development and advancement of video games.

As the Smithsonian writes on its website, “In the forty years since the introduction of the first home video game, the field has attracted exceptional artistic talent. An amalgam of traditional art forms—painting, writing, sculpture, music, storytelling, cinematography—video games offer artists a previously unprecedented method of communicating with and engaging audiences.”

One such amalgam that will be featured at the museum is the PlayStation 3 video game, Flower. What is unique about Flower is that the game is not about impossibly high scores and series of never-ending levels, rather it is centered on an emotional journey through sweeping landscapes and rolling meadows. A scenic meditation whilst on your PlayStation.

In an interview by the Smithsonian, the curator of the show, Chris Melissinos, talked about gradual artistic development of video games, from the use of an isometric perspective to create depth in Marble Madness, to the influence of  jungle landscapes of Raiders of the Lost Ark on the game Pitfall.

The common thread between artists using games and developers using art is most definitely interactivity. With the amazing technical capabilities of designers and developers, both worlds have become more engaging and meaningful for their respective audiences. But whose team would you play for; the Dadaists or the Developers?

 

The Best of Both Worlds: QRpedia.

While scanning a quick response (QR) code on the back of a cereal box only to find it directs you to the cereal’s web site is, how can I put this politely, fun (that’s my attempt at sarcasm), it neither reflects the appropriate usage nor does it maximize the potential of those nifty little black and white squares. There's the cereal box QR code, and then there's QRpedia. QRpedia is a program announced by the Wikimedia Foundation in September 2011. It is currently competing in Barcelona at the Mobile World Congress for the title of the United Kingdom’s “most innovative mobile company.” Today, on February 29th, the winner of the award will be announced. The reward? The United Kingdom Trade and Investment’s (UKTI) support to expand the company internationally.

But enough about the competition. What exactly is QRpedia and how does it work in the museum setting? It functions just as an ordinary QR code does, except for its whole language-detecting brilliance. A Polish speaking viewer walks up to, let’s say, Claude Lorrain’s Seaport at Sunset (1639) hanging in the Louvre in Paris. In front of the text panel, the visitor whips out his/her smartphone and snaps a photo of the QRpedia code. The QRpedia code instantly detects the phone’s language and the browser opens to a Wikipedia article on the painting or related topic in that written language. If an article on Claude Lorrain’s Seaport at Sunset isn’t available in Polish, the QRpedia code will direct the user to the next most closely related topic available in that language, perhaps an article on the French, 17th-century landscape painter, Nicolas Poussin.

QRpedia’s language-detecting technology makes it truly unique. For foreign visitors, this eliminates the expense of an audio guide from museum visits (if there is a guide even available in their preferred language) and replaces it with the ease of snapping a photo, the interactivity of a QR code and the straight-forward, mobile-formatted information of a Wikipedia article.

[embed]http://www.youtube.com/watch?feature=player_embedded&v=aXCUOpBytxA [/embed]

Terence Eden, the lead developer of QRpedia, says

QRpedia is the perfect way to get access to massive amounts of cultural information. A typical museum display has less than a paragraph of text, often just in one language – QRpedia can give encyclopedic information in hundreds of languages. Recently, in Derby Museum, a painting by Joseph Wright was taken away for cleaning. The Museum staff have put a QRpedia code in its place so that visitors can still see a high quality image of the painting, and read information about the painting and its creator.

The program was created at the Derby Museum and Gallery in England. Today it is available online for any and every museum, gallery, library, public park, archive, historic landmark and so on. QRpedia has been implemented at numerous prestigious museums and galleries worldwide, including the United Kingdom’s National Archives and Spain’s Fundació Joan Miró. How about the United States, you ask? Why yes! It has been implemented at the Children’s Museum of Indianapolis. But why stop there? Its usage is not limited to arts and cultural institutions. Fun fact- the Occupy movement uses QRpedia codes on its posters and publications to disperse information to a wide and diverse audience.

What’s in it for the museum? A lot, actually.

1) You can create your own, online, as often and as many as you want.

2) For museums with multilingual audiences, a text panel can become cluttered and overwhelming with various translations. Additionally, the space allotted to provide relevant information becomes increasingly limited with numerous translations, causing you to cut-back even further on relevant information.

3) Because Wikipedia is editable, a curator, exhibition director, museum official or artist can translate articles to various languages and create articles if there is a void. That being said, so can anyone else. But be brave. Be bold. Be confident in the power of the public intellectual collective.

4) According to Roger Bamkin, the co-creator of QRpedia and the chair of Wikimedia UK, “We see e-volunteers giving thousands of hours to support museums... Hundreds of new articles have been created in dozens of different languages.” Beyond printing the codes, I’d say the work is done almost entirely for you.

5) QRpedia codes are not limited to paintings and items in your collection. Incorporate them in museum signage, directionals, cafe menus, etc.

6) QRpedia also records usage analytics. Museums, galleries, whoever, can track the number of QRpedia users, the paintings with the most QR code action, the most common languages, etc. In my humble opinion, it offers a rather innovative way to get to know your audience.

Accessible, innovative, interactive (for those inside the museum and those elsewhere translating Wikipedia articles without any intent to ever visit the museum…), and FREE. For museums and cultural institutions looking to expand into the QR code realm, this is the place to start. The Wikipedia articles are already written, online, and translated. Why not offer your visitors a more complete museum experience in their preferred language?

Kickstarter Reaches Major Milestone

Depending on your perspective, the following news is either a cause for celebration, or a sobering reminder of the state of federal funding for the arts in America. Or perhaps both. Kickstarter, the funding platform for thousands of arts and other creative projects, announced last week that it is projected, through its website and thanks to thousands of contributors, to be on track to receive over $150 million in pledges in 2012, by far its biggest and most successful year to date.

This is wonderful news for the arts community, and will help thousands of artists get their projects off the ground. However, the amount does represent a milestone of sorts: while substantial in its own right, the $150 million figure also surpasses the entire 2012 annual budget of the National Endowment for the Arts (NEA), a federally funded program with the might of the United States government behind it.

So it begs the question: as sites like Kickstarter grow in popularity, and help steer more funds to specific arts projects, does federal funding for the arts carry less significance going forward?

We’re big fans of Kickstarter here at Tech in the Arts, and have written about the site’s innovative funding platform and some of the better projects that it has featured. For those who are unfamiliar with Kickstarter, a quick primer: people can post projects online, ranging from art to fashion, film to music, photography to theater, and request donations to get the projects running. The people responsible for the projects outline what they hope to accomplish, how much money they need, and can offer incentives for people to donate money, like free tickets or exclusive merchandise, depending on the amount donated. In the end, if the project fails to reach its fundraising goal (usually within a couple of weeks), no money is exchanged, and the project fails.

As it relates to the juxtaposition of the two entities, first a few caveats. Projects from outside the United States are featured, so the money in question is not confined just within our borders. Second, the site is on track to secure $150 million in PLEDGES in 2012, which does not guarantee funding. According to the site, a little over half of projects fail to meet their fundraising goals, meaning funds for those projects do not change hands. However, with people around the world willing to contribute that much money, it does represent a significant milestone in the arts community.

I wrote last week about the 2013 funding request for the NEA in President Obama’s budget, and welcomed the news about the funding being increased for the new year. However, even with the increase, the budget has failed to increase with the rate of inflation, and is actually a decrease from the early 1990’s, when the budget was in the range of $180-185 million per year.

However, as budget deficits climb and the debt reaches new heights each year, the axe seems to fall on what’s referred to as “discretionary” spending, or spending that’s not mandated by existing laws, first, and that includes programs like the arts, education programs, and public service organizations. This has especially been true in recent years, with calls by some in Washington to drastically cut discretionary programs and cap them from future increases.

As I talked about last week, the NEA is an essential resource for arts organizations, after school programs, schools and community groups who depend on federal programs to survive. Few of these groups generate the amount of internet excitement as the projects on Kickstarter, and cannot rely on social media or online funding mechanisms to continue. Their continued existence rests largely with the help of their local communities, state and local organizations, and most importantly, the federal government.

My concern is that with sites like Kickstarter providing a mechanism for taxpayers to select the individual projects they would like to see funded, the desire to continue to fund the NEA and other arts programs will diminish. Why, after all, have taxpayers pay for a central agency like NEA when individuals can contribute to the projects in their community, or the projects they share an interest with, instead of some program or group they have never heard of?

The NEA has been targeted for elimination in recent sessions of Congress, but thankfully it has survived. Even though the advent of online fundraising tools has provided a steady source of pledges and funding for arts projects, the backbone of arts funding continues to be at the federal and local levels, and any decrease or entire elimination of funding would have a catastrophic impact on artists, the arts community, and arts lovers everywhere.

Another way to look at it this: with the advent of sites like Kickstarter, funding for the arts is increasing, and is becoming a wildly successful endeavor. Last year, Kickstarter received over $90 million in pledges, with several projects hitting the $1 million mark. This is NEW money coming into the arts community, and it deserves to be celebrated.

The ideal, however, is a world where both funding mechanisms continue to move forward, and serve the unique niches they cater to: Kickstarter to the up-and-coming and innovative film/music/theater/art projects and NEA for the community-based groups and local arts organizations.

Congratulations are in order for our friends at Kickstarter, with many more years of continued pledges and success moving forward. It is my hope that the same kind of success and impact continues with NEA, as it faces significant hurdles in Congress to secure future funding.

In Case You Missed It - February 2012

February 2012 was a busy month here at Technology in the Arts, and while its not yet over, let’s take a look at some of the great stories we covered.

There were some neat developments in the world of visual arts and art museums. The Met teamed up with Google and the High Museum of Atlanta released a new app. We also have a wishlist of exhibitions with cool tech elements.

February also featured some amazing events, including a lecture by Chad Bauman, director of communications at Arena Stage, and an interview with him. We covered an Art Hack Day and the Kinetica Art Fair in London. TechSoup launched a Digital Storytelling Contest this month which you can still enter until February 29!

All in all, a pretty solid month. What were your favorite stories in the arts and technology?

5 best practices to keep your email marketing relevant

Guest blogger Amelia Northrup is the Strategic Communications Specialist at TRG Arts, the data-driven arts consulting firm. She previously blogged for TITA from 2009-2011 as she completed her Master of Arts Management from Carnegie Mellon. This post is cross-posted on Analysis from TRG Arts.

email iconWe’re not buying the bad rap email marketing is getting these days. You’ve heard it all before. Open rates are down. Users often filter emails by sender and ignore unwanted or low priority communications. Sophisticated spam filters are plucking out and putting in quarantine anything resembling a sales message. And sophisticated users, especially those in the Millennial generation, prefer other media.

The offsetting fact is that access to email is greater than ever. Users of all ages have smartphones and tablets that make on-to-go communication easy, convenient, and ubiquitous. And, those worrisome open rates for email? They actually reached a two-year high in the third quarter of 2011.

So, when our clients ask whether it is worth it to continue to use e-mail in marketing and fundraising campaigns, our reply is: Absolutely.

Why? 

Email is cost-effective. In TRG’s two decades of experience, the most effective way to reach (and sell to) arts and entertainment patrons is via direct marketing. Simply put, direct communications get the right message in front of the right patron at the right time whether the message goes out by snail mail, telemarketing, or email. (Read a case study on this.) Of all direct channels, email marketing is often the cheapest weapon in your arsenal. Social media and other new media channels can help a campaign, but, like radio, TV and other “broadcast” media, it’s far less likely to reach the intended target and make the same sort of impact as a direct, targeted message.

Email plays a crucial role in today’s multi-channel campaigns.  We advise a 2-1 punch of direct snail mail with some sort of follow-up by email.  That second “touch”  via email acts as a “booster shot” to a campaign already in motion—reminding patrons of a deal or deadline and keeping your organization top-of-mind.

So, what makes email marketing effective?

1. Keep complete, clean patron records.  In all direct marketing, cleanliness is next to godliness--regardless of the channel you’re using, but especially with email marketing. A patron may move from their home and keep their email address and vice versa. Best practice is to keep each patron’s contact information up-to-date and tied to their home address and to their transaction history with your organization.

2. Update patron records regularly.  As a rule of thumb, you should always plan to import fresh lists at the end of each phase of a subscription, membership, and donor campaigns.  Also, refresh your records and email lists after each event or program has finished its run.  That’s how new patrons and their most recent transactions get added to your lists.

3. Make sure that those who opt out stay out. If your email system is worth its salt, it should automatically take people off your lists who opt out—and keep them out if you inadvertently add them again.  But what about patrons who have opted out of all communication with you in your ticketing or CRM system only? You must make sure that your email lists include those opt-outs too.

4. Reserve your right to a one-time email. Opting out from email communication is governed by separate, different standards than are “do not mail” and “do not call” designations. A patron’s presence on one of those mail or call suppression lists need not stop you from emailing. Once there is a business transaction--a ticket sale, donation, purchase of an event--you may email both a confirmation of the transaction and one follow-up communication. Best practice dictates that your one follow-up communication include, prominently, the ability to opt-out from future emails. So, we advise that your follow-up be well-crafted to keep patrons coming back and wanting to hear more from you. (Here are some good examples of follow-up emails from Convio.)

5. Invest time in email data hygiene.  It’s a lot of effort to pull lists correctly and import those lists into your email system--not to mention tracking which are current and who is on which lists.  (That’s why we love systems that integrate all transactions with email addresses!) The rewards of time you invest in your email data are great: higher open rates, greater response to offer, more engaged patrons.  A tool like email, which is direct, cheap and nearly universal, is worth every bit of time you invest, and will be relevant for years to come.

A Look at Typography: Google Web Fonts and More!

This terrific, typographic Thursday, let’s take a flourishing swoop through the world of serifs, ligatures, and stems. If your knowledge of type is limited to Times New Roman, Arial, and the omnipresent Helevetica, its time you enlarged your typographical horizon. For no amount of bolding, italicizing, and underlining can emphasize the importance of using appropriate and engaging typefaces.

Recently, the Metropolitan Museum of Art won the “Best in Class” award from Interactivity Media for its new website. While the Met had a lot of help from Cogapp, a company specializing in digital media technologies, there are number of cost-effective ways to improve the visual appeal of your own site; typography being one of the oldest and most aesthetically attuned.

A little over a century ago, the glistening era of the Parisian Belle Époque was beautifully, and textually illustrated in the posters by Henri de Toulouse-Lautrec. During World War I, Dadaists employed unconventional typography in their manifestos to signal an era of violence that could no longer conform to the bourgeoisie proprieties of the past. Even our love for vintage posters from the earlier half of the twentieth century has a lot to do with the brilliant use of typography!

But somewhere along the line, we became rather stiff in our typographical efforts. Concerns with readability lead to an irrational fear of the serif, and the world forgot that it had come this far, using typefaces besides Arial or Helvetica. While it is true that some of the older typefaces lose their readability when viewed online, there are many, many typefaces that have been created since the advent of the web. These newer font families are easy on the eyes, in both readability and visual flamboyance. Forget Comic Sans, it’s time for Fonts Sans Boredom.

One of the best places to start searching for the perfect typeface is in the neat world of Google Web Fonts. "Google Web Fonts makes web fonts quick and easy to use for everyone, including professional designers and developers. We believe that there should not be any barriers to making great websites. Our goals are to create a directory of core web fonts for the world and to provide an API service so that anyone can bring quality typography to their webpages."

The fonts provided by Google are open source, which means they are free and can be used sans fear! Each font is accompanied by a short paragraph describing its origins and the best uses (titles, sub -headings, paragraph text) for that particular style. You may be interested in an article in Mashable that gives you step by step instructions on How to Implement Google Font API On Your Website.

 Another great resource for the art of the alphabet is the website I Love Typography. The site features lots of informative articles by John Boardley, the publisher of Codex, the journal for typography. If you happen to desire a more typographical world, the website is great way to learn about different typefaces and their appropriate usage. As Boardley writes, “It’s just about impossible to imagine a world without type, but at the same time type’s ubiquity has most of us taking it for granted. So take a closer look.”

If you do take a closer and more critical look, you will soon notice how some sites employ typefaces to their advantage. I Love Typography is, of course, an undoubtedly great example! Others include The New Yorker, which uses beautiful text and plenty of white space to lessen the clutter and increase its visual appeal. Typographica and The New York Moon (showcased above) are other great examples of websites that transform text into graphic design! An entire list of sites showcasing the marvels of typography can be found in an article by the Design Cubicle.

So let terrific typography embolden you! Let's use it to eliminate textual overload and alphabetical lackluster.

Leading with Social Design at Facebook’s Analog Research Lab

“Everything just is,” says Christopher Cox, Vice President of Product at Facebook. Photos is an application for photos, Events is for events, and Groups is for groups of people. Though many criticize Facebook’s interface and design as bland and uncreative, its designers at the Analog Research Lab test their ideas and design decisions in a highly informed way.  According to a design mind article by Reena Jana, the Analog Research Lab is the company’s creative design space used to

...create branded marketing materials—T-shirts, for instance—for developer conferences and other Facebook events. It’s also where designers experiment with simple fonts and sleek iconography that will eventually influence what appears on the Facebook website.

I had never heard of Facebook’s Analog Research Lab. But its purpose, products and success reminded me of topics I have discussed in previous posts. For example, consider Facebook’s design decisions in light of  Nina Simon’s The Participatory Museum. Facebook has certainly managed to promote a social experience that is accessible, meaningful and unique to each user, in large part due to the structure format and design elements the creative team at the Analog Research Lab develops.

Or consider artist Tanja Hollander’s most recent project, Are You Really My Friend? The Facebook Portrait Project,  exploring the (d)evolution of human relationships as a result of our simultaneous existence in two worlds- the virtual and the real. At the Lab, designers are on a mission to make virtual interactions between individuals less cyber and more real.

The Analog Research Lab is not staffed with full-time employees. Instead, it serves as a space for Facebook designers to express the company and the brand using tools and techniques that are, get this, non-digital. The lab is stocked with a printing press, wood cutting tools, ink, a dark room for developing photos, drying space, etc. It encourages designers to focus purely on design, design techniques, and simpler, less complicated design strategies. True to its name, the Analog Research Lab is also a design research space. Colors, fonts, styles, shapes, etc. are tested on real people to gauge their future success and popularity online. The designers also use the space to make motivational, quirky screenprinted posters. Lots of them. So. Cool.

The Lab also serves as the home of Facebook’s new Artist-in-Residency program, a project to create, support and install offline artwork in Facebook’s offices. The first artist, Jet Martinez, recently completed a large, colorful mural titled “Bouquet” to beautify the walls of Building 17, where the company’s engineers work their magic.

Facebook’s offline and online design decisions aim to support human-to human interactions. This may come as a surprise, especially in light of the charged sociological and anthropological discussions that social media has forever affected (for the worse) humans’ ability to interact, engage and relate to one another in the physical world. Facebook’s creative leadership, including Cox, Ben Barry and Everett Katigbak, are committed to the design approach of “social design.” Updates to Facebook’s features, product development and design are made in response to users and their online behavior. Jana explains this approach as one that

…improves how people build human-to-human, versus human-to-interface, connections online.

Take for example one of the Lab’s stationary products- postcards printed with the word “Poke” in red letters. The design is in obvious reference to the virtual action of “poking” a friend on Facebook. To support the human-to-human connection, designers in the Lab created printed postcards, with non-digital design tools, for Facebook employees to write hand-written messages to send through good old fashioned, snail mail. The creative work done in the Lab explores the overlap and divide between cyber and physical interactions- translating Facebook's interactiveness in the digital realm to a tangible reality in our inhabitable space.

It is a neat space- the perfect dichotomy of trendy, vintage workshop and hip, old-school office. I am always curious to see how technology companies incorporate offline art and celebrate non-digital artists in their physical space, if they even do so. Are there other technology companies with similar artistic, in-house projects like Facebook's Artists-in-Residency program? Do technology or digital design companies have a responsibility to support non-digital and offline art? Are cyber users more attracted to online interfaces with simpler, non-digital design elements? Take a look at your own Facebook page. Think about the scaffolding, constraints and structured components that ironically, like Simon suggests, make self-expression so much easier and fluid.

NEA Sees Increase in President's 2013 Budget Request

Budget season is upon us. There may be no more exciting time of the year, if you are like me and revel in the workings of our federal government and how policy gets made. Even though Congress is perhaps not the most popular body of work these days (and that may be an understatement), the budgetary season is important because it tends to set the tone for the policy and political arguments for the rest of the year, and in an election year like this one, it becomes even more so. President Obama’s 2013 budget request, released last Monday, contained spending cuts across dozens of federal agencies, including the armed services, health care, and energy. But one area, accustomed to cuts in recent years, received a welcome surprise this year, seeing their funding request increase from 2012: the arts community.

The president’s budget, which clocked in at about $3.7 trillion dollars, included a request of $154.255 million for the National Endowment for the Arts (NEA), which is a slight increase of about $8 million from the funding that the NEA received this year. While still lower than the funding NEA received in 2010 ($167.5 million), it is a step in the right direction.

As the New York Times reported, included in the increase is about $4 million that would go directly to non-profit arts organizations and another $2.7 million for state and regional arts organizations.

As many in the arts community are well aware, the NEA serves a critical role in supporting artists and arts programs around the country. The vast majority of its annual budget goes towards grants that support artists in the communities of music, art, photography, theater, literature, and more. Just as important are the group’s efforts in art education, educating and introducing children to the wonders of the arts.

Not only are the group’s efforts vital to the artistic community; they also help create jobs and boost the economy in a tough economic climate. As NEA Chairman Rocco Landesman said last week, “A dollar invested directly through the NEA is matched by $8 in additional investment and generates $26 of economic activity in the community. In short, art works.”

Now when I say “budget request,” it is specifically that: the President is required by law every year to submit his budget request to Congress. This document is not law, but merely the budget that the president would like to see. It’s more of a wish list, or set of funding appropriation requests, that the president would like to see fulfilled. It is up to Congress to pass appropriations bills for each federal department and send them to the president for approval.

(If you’re interested in hearing me talk about the budget more in-depth, I appeared on the Carnegie Mellon radio program “Policy that Matters” last week to talk about the president’s proposal, and it is now available online.)

The important thing to remember about budgets is they set forth priorities. They help set the president’s agenda and represent a list of what he believes is worthy of investment. The commitment to the NEA, even though the funding increase is minor, represents a commitment to improving the lives of artists everywhere. In a tough economic climate, this commitment has never been more important for the arts community.

I last wrote about protecting federal funding for the arts this past October, and while the president’s budget is an encouraging sign, the calls for budget cuts and austerity measures continue in Washington. There is certainly still a chance that funding for the NEA may decrease when the budgetary bills are passed by Congress later this year.

There are certainly more pressing budgetary topics in the news, and the amount dedicated to NEA is a very small percentage of the overall budget. But for the artistic community, and for those who depend on the programs NEA supports, they remain a vital part of our American psyche and play a huge role in advancing the joys and benefits of the arts. In tough economic times however, and calls for budget austerity by some, there will be an incentive to decrease the budget in as many areas as possible.

The arts are as deserving as ever of our continued commitment to support the NEA and the causes it advances. Seeing the increased budgetary request for the endowment is a welcome sign. Even though it seems like Congress can agree on nothing these days, it is surely our hope that the continued support of NEA and arts programs everywhere will be one area where all sides can agree.