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.
Due to the popularity and booming business of video games, Hollywood studios have capitalized on popular game titles by developing new content based off of their intellectual property (IP). This study sets out to better understand video game IP’s impact on film and television markets and what specific elements might impact an adaptation’s success.
Sustainability and AI were at the forefront this year at the American Alliance of Museums (AAM) Future of Museums Summit. What role will museums play in creating climate-friendly communities? And how can AI be used to maximize efficiency, increase accessibility, and deepen engagement? Read key conference takeaways from Xueer Ho and Dr. Brett Ashley Crawford.
An overemphasis on data-driven work within the nonprofit sector has been shown to result in cycles of disempowerment, driven by third-party data demands of funding bodies.. This compounds due to the many market orientations nonprofits need to adopt, particularly prevalent among the arts. A key to navigating these markets and funder requirements lies in identifying a specific data culture best fit for your organization and investing in resources and training in order to achieve that framework sustainably.
With AI’s ability to automatically produce content and process complicated datasets with high accuracy, museums worldwide are exploring ways in which this innovative technology can help them better achieve their missions and advance accessibility efforts. Through case studies, learn about three applications of this technology: content digitalization, language accessibility, and visual description.
What is a content creator’s journey like? How do content creators grow to become media companies? What services does the creator economy need as they grow bigger? From these questions, our group makes predictions about the future of the creator economy and recommendations for how creators can thrive within the landscape.
Social media is infused into the daily lives of Gen Z and Millennials. In order to reach and meaningfully engage with IND18-35, organizations should build a thoughtful social media presence to funnel the IND18-35 community to specific content. Initially, organizations should identify existing Gen Z and Millennial parties as key stakeholders and partner with them to create interactive, promotional content on social media. The focus should be on TikTok and YouTube as 75% of survey respondents ranked one of these platforms as their primary source of short-form content.
Millennial and Gen Z consumers have forever altered the entertainment landscape. Shifts in their viewing habits are being motivated by a sense of community, increasingly short attention spans, and pragmatic decision-making spurred by coming of age in a digital and internet-driven environment. To fulfill these motivations, they have increasingly turned their attention to short-form content. this article offers insights on how and why Gen Z and Millennial consumers watch content.
Indie artists have been traditionally excluded from major labels due to their obscurity and improbability of generating revenue, causing difficulty in creating a career. Nowadays, however, independent artists have more power and capacity to survive, even thrive, without the help of a major label. The advent of the internet, streaming, and social media, as well as legislation regulating for rights of independent recording artists, have pivoted the music industry in the 21st century.
Having a better understanding of domestic legislation regarding digital privacy, as well as the international landscape as it pertains to these issues, can help in managing art that could be characterized as “seditious” or “radical.” It is important to note that surveillance, from both private and governmental entities, is on the rise as are the possibilities of censorship or unconstitutional oversight.
The social media platform Pinterest has only been around for a decade, but it is already the third-largest social network in the U.S. Although Pinterest is such a popular sharing platform, major art organizations do not appear to be using it to its full potential. Many leading institutions do not even have a public profile, meaning that they are missing out on important digital engagement opportunities. When used strategically, Pinterest can successfully promote an entire institution, a single program, or a department.
The transition from physical to digital content is progressing unevenly in the United States, where those with advanced technology capabilities and capital are capturing a disparate share of the economic gains. Companies that are benefiting from these disparate gains in market share are also shaping the market to benefit their industry. The transition to digital content is important to understand as it is rapidly changing companies’ business models. This is particularly true for arts institutions in the post-Covid-19 era.
When considering the medium of livestreaming for organizational programming, one must be aware of its many advantages and challenges. This second portion looks at two case studies. The first case study, The Geffen, set the precedent for non-Broadway theaters working with BroadwayHD. The second case study, The Orlando Shakespeare Theater, illustrates how a large regional theater can impact hundreds of classrooms with one performance, on a budget that is more feasible for regional theater companies.
This is a two-part series exploring how the benefits of incorporating livestreaming technology into theatres. Part 1 of the report documents a history of livestreaming theatre (involving a timeline and the lifespan of the industry’s biggest players) and a brief analysis of what it means to perform “Live!” and its programming potential.
