As AI continues to integrate into our everyday lives, how does it impact our creativity? Many researchers and scholars agree that the technology may promote significant opportunities in this space. By introducing novel ideas and opportunities to users, it may be most effective as a tool to augment, rather than replace, human creativity.
Many museums have gravitated towards utilizing XR (VR, AR, or other extended reality modes) in numerous ways to enhance visitor experience. While there are successful ways to support visitor experience, it is possible that XR can have negative impacts. This article explores case studies of two museums who have integrated XR into their exhibitions: the Cleveland Museum of Art and Illinois Holocaust Museum, discusses the positive and negative facets of these technologies on visitor experience, and analyzes implications for the arts field.
Major breakthroughs in the markets for art, books, and fashion arrive perfectly timed for the holiday season. Tech innovations demonstrate their ability to reshape markets and incentivize commerce across digital economies. From fine art to rare fashion finds, tech is redefining how we navigate digital art and cultural commerce. Read on to learn how you might make your next purchase with the help of artificial intelligence or the blockchain.
As the video game industry continues to grow, Hollywood studios are capitalizing on this intellectual property (IP) success through film and television adaptations. Students from Heinz College’s Master of Entertainment Industry Management program sought to better understand the current market for these adaptations. In Part II, see what film and video game executives consider to make an adaptation successful. Additionally, through a survey of gamers and non-gamers, learn what potential audiences prefer to see.
Colonialism has consistently been a force in the global purview, including the technological space. In recent years, the expansion of artificial intelligence has vastly increased corporations’ global influence. As the world’s technologies continue to advance and innovate, individuals must keep a watchful eye on the ways in which digital colonialism might repeat harmful practices from the past.
Touchscreens have altered the way we interact with our world. From scrolling through our Facebook newsfeed, to picking up tickets at the airport kiosk, we use this technology on a daily basis. Today museums around the world are embracing this tool as a way to promote interactive learning. Multi-touch technology, in particular, can create an interactive and collaborative learning environment. But what exactly is multi-touch technology?
More and more arts organizations are investing in digital video production as a means of engaging audiences who want to know more about arts programming. These audiences connect across a spectrum of devices, so knowing how audiences consume video will help organizations create the best format for engagement. A new survey conducted by Ooyala illuminates these patterns and provides vital insight to the conversation surrounding video distribution.
Museums, and all arts institutions, focus on reaching and engaging their audiences. For some it may mean reaching a broader audience while others are looking for a deeper relationship with their current audience. No matter the motivation, art museums face the daunting task of turning these desires into actionable and measurable endeavors. For some organizations, deep investments in technology may be a part of the solution. AMT Lab's latest publication, Gallery One at the Cleveland Museum of Art: Connecting Audiences to Art Through Technology uses WolfBrown's WolfBrown’s “Making Sense of Audience Engagement” framework to explore the Cleveland Museum of Art’s Gallery One initiative and to show how technology is able to reach a wide audience by filling diverse needs of engagement.
How do you learn best about art? Maybe you lightly browse, interact with friends, or get right in the middle of the action. There are multiple ways to engage with and explore art forms, however cultural institutions may not always program to meet these needs.
The Cleveland Museum of Art's Gallery One activities, on the other hand, were designed with people's learning needs and preferences in mind. In this article I apply WolfBrown's Making Sense of Audience Engagement Audience Typologies to the different initiatives to see how learners can interact with the the Art Lens App, Collection Wall, Interactives, and Studio Play at the CMA.
In 2012, Dog & Pony DC, a small theatre company in Washington D.C., encouraged audiences to direct the plot of a show and influence characters using Twitter. In A Killing Game, audiences and actors stood side-by-side, immersing themselves in a collaborative artistic experience. In order to learn more about the company’s decision to utilize social media, and its approach to integrating the technology and management of its uses, AMT Lab’s Kristen Sorek West spoke to company director, Rachel Grossman.
The year has come full circle for me and tweet seats. From my first conversation about them last summer at the Theatre Communications Group Annual Conference to the CMU School of Music’s tweet seat initiative this past spring, the last twelve months provided an opportunity to play with this still new (and at times, controversial) audience engagement tool.
Wearable technology is all anyone is interested in talking about these days, and certainly AMT Lab is no different (for example, see Performing Arts in the Wearable Age). I’d like to take a brief interlude from gossiping about when Apple’s smart watch is going to drop to refocus on an “older” wearable technology: Google Glass.
Let me preface this by saying I am not an Explorer (or a Glasshole–whichever floats your boat) but as a casual observer of technology, I’ll jump at the chance to try something new. Like Google Glass. So when the National Portrait Gallery offered me (and the rest of DC) the chance to do just that, you bet I went for it.
Just what is an online audience? How does it differ from an offline audience? How does participating in the arts through electronic media and online channels relate to the attendance of arts events? Moreover, exactly what (and how) are symphony orchestras using these digital technologies to engage with individuals around the world?
In recent years, crowdsourcing has become an increasingly familiar concept implemented by multiple arts organizations to develop and engage audiences. Examples include “Click! A Crowd sourced Exhibition” (Brooklyn Museum, 2008), “Soapbox!” (Museum of Photographic Art, 2013), “Boston Loves Impressionism” (Museum of Fine Art Boston, 2014), and “People Choice”(Gibbes Museum of Art).
On January 26, 2014, Carnegie Mellon University’s School of Music offered a little something extra to its audience both in Pittsburgh and afar: tweet seats. Last summer I wrote an article about tweet seats that provides an overview of decisions that need to be made before implementing this heavily debated audience engagement technique. With this advice in mind, the School of Music set out to define how and why tweet seats might be a good idea for live concerts.
