As we bid many of our contributors farewell and welcome a new group of writers with the beginning of the semester, we decided to ask our writers, What's on Your Phone?
Read the full article here.
As immersive technologies merge with AI-driven platforms, the boundaries between physical and digital life are rapidly dissolving - bringing new ethical, legal, and safety challenges into focus. This article examines the history of virtual harm in online and XR environments, from early text-based worlds to contemporary VR gaming and performance spaces, and argues for a privacy-first framework as the foundation for immersive safety. By analyzing legal gaps, platform accountability, and global policy efforts, it proposes digital “guardrails” that prioritize user dignity, data protection, and well-being as core design principles rather than afterthoughts.
This article explores the intersection of digital art, NFTs, and community governance through the lens of the furry fandom, a decentralized community of artists and enthusiasts. With the rise of NFTs, the ability to authenticate digital art and protect creators' work has become a critical concern. The study examines the resistance within the furry community to adopt NFTs, highlighting their reliance on community-based trust and governance over "trustless" blockchain systems. While some see potential in NFTs to safeguard intellectual property, many furries are skeptical, valuing social trust and ethics over commercialization. By studying the furry subculture's approach to art ownership and the challenges they face, the article poses larger questions about the future of NFTs and blockchain technology in creative spaces.
As technology continues to reshape the arts and entertainment landscape, our readers and listeners have shown a clear appetite for understanding these transformations. From AI's role in creative processes to the evolution of virtual reality and streaming, this year's most popular content reveals the questions on everyone's minds.
This article explores the rise of virtual production (VP) and its impact on contemporary filmmaking through the use of large-scale LED volumes that merge physical sets with real-time digital environments. Using high-profile productions such as The Mandalorian and 1899 as case studies, it examines how VP reshapes creative workflows across departments, redistributes labor rather than eliminating it, and demands new hybrid skill sets from designers, location managers, and technicians. The piece also addresses the role of labor unions and training programs in adapting to emerging technologies, alongside the economic challenges of scalability, access, and high upfront costs. Ultimately, the article positions virtual production as a transformative - yet uneven - evolution in the entertainment industry, emphasizing the need for equitable training and infrastructure as VP becomes a lasting mode of production.
This article explores how extended reality (XR) - including augmented, mixed, and virtual reality - is reshaping acting training by layering immersive technologies onto long-established methods like Stanislavski-based technique and the Method. Drawing on examples from Basrah to Juilliard and Odin Teatret, the piece shows how XR can deepen character work, expand dramaturgical research, and personalize feedback through data-driven simulations. At the same time, it raises urgent legal, ethical, and social questions around biometric data, FERPA and HIPAA protections, digital Blackface, and harassment in virtual spaces. Rather than treating XR as a magic solution, the article argues that thoughtful pedagogy, clear institutional policies, and equity-minded design are essential if these tools are to support - not replace - human-centered theatre education.
As we bid many of our contributors farewell and welcome a new group of writers with the beginning of the semester, we decided to ask our writers, What's on Your Phone?
Read the full article here.
Contributors Aoni Wang and Giorgia Gandolfini recently attended Idealware’s webinar, Infographics for Outreach, Advocacy, and Marketing: From Data to Design . This talk delved deeply into strategies for successful design of infographics.
Per Idealware, an infographic is an image that presents data, transferring numbers into a comprehensive visual narrative. Infographics have become very popular among organizations, as they are generally easier to understand and more effective at communicating data to the population at-large than traditional spreadsheets and reports. Infographics attract attention and provide new ways for visitors to engage with data.
We’ve had a fantastic semester of contributor research on diverse topics ranging from Google for Nonprofits, to Museums’ efforts and challenges exhibiting New Media art. AMT Lab will be on hiatus until January 5th to celebrate the holiday season, but we have a lot of exciting plans for the new year that we wanted to quickly share with you:
According to statistics from Digitalbuzz, there are over 288 million monthly active users on Twitter, 60% of which access the social network from mobile.
Contributor Aoni Wang investigates some best practices for this growing platform by continuing her examination of the Met, Warhol, and Tate's social media strategies. Click here to read the full article.
In 2000 the Washington DC based Smithsonian American Museum of Art announced the creation of the New Media/New Century Award. The New Media/New Century Award became one of first projects to support new art created for the Web. The museum accepted proposals for original Web-based projects that explored the subject of American landscape, and how the new medium of Web art affected the American landscape as a subject.
Though the project is over 10 years old, it demonstrates the early and exceptional sensibility of the Smithsonian’s curators. They understood the growing relevance new media art and especially Web-art, and its impact not only on people’s everyday perceptions, but also on the art scene as a whole.
Per Moz.com Facebook had reached unprecedented levels of popularity, with “1.19 billion monthly active users”, and over 750 million monthly mobile users. These figures underscore why Facebook is such an important communication channel for arts organizations. However, different organizations will have different objectives when managing their Facebook pages. I covered some general best practices in my first research update, but channel specific best practices also exist. To demonstrate how tactics might differ between organizations, I will us three museums: The Met, the Warhol, and Tate to provide specific examples.
When talking about new media art, there is no single definition. According to a 2001 research study by the Rockefeller Foundation, media artworks can be defined according to nine common elements: fluidity, intangibility, liveness, variability, replicability, connectivity, interactivity, computability, and chance. New media art is a very general and broad category and includes many subcategories. Among these, net art, digital art and plurimedia art are the most common within the visual art field. Nevertheless, the meaning of new media is constantly evolving.
More than any other artistic discipline, musicians have had the fundamental business models of their art form changed through the advent of new technology. At the same time, and out of necessity, the music industry has adapted more rapidly to new technology than any other art form, embracing technological innovation when possible. In their search for more sustainable ways to produce, deliver and experience music, some of the most famous and research driven musicians are experimenting with one of the world’s most used technologic tools: the App.
Google Analytics dashboards help users efficiently review important metrics and dimensions, like traffic sources or social media shares, quickly generate reporting tools, and create data-friendly cultures through easy sharing and visually storytelling. Learn about how dashboards can not only help managers process website information, but also how they can effectively communicate that information to a broader audience.
Social media use has become nearly universal among arts organizations. A 2012 social media study conducted by Pew Research Center demonstrated just how widespread social media usage was, with Facebook and Twitter as the most popular platforms by far. What best practices exist for social media use, and is managing more platforms necessarily better?
With the development of crowd-funding programs through companies such as Kickstarter, Indiegogo, and Patreon, artists have many new ways to generate both funding and visibility. Arts and culture organizations have a harder time competing with individual artists on these platforms. In an effort to assist these organizations as they try to change the world, Google now offers its own crowd-funding platform for nonprofit organizations: Google’s One Today.
Every month, AMT Lab publishes a collection of recent arts management and technology news. This month, many articles focused on how the latest technologies, such as 3D printing, can be used to create art. Technology has had a profound impact on cultural industries, and as always we are deeply interested in following these trends.
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.
In our technology-stuffed world, the difficulties faced by video artists seem paradoxical. Due to high up-front costs, and the difficulty of handling and selling digital technologies, established institutions such as art galleries and museums often shun their work. Artists may look at the entertainment industry as an alternative, but find themselves unfulfilled, as musicians typically come first in these sorts of collaborations.
In November 2012, NTEN and Idealware released the results of a survey studying nonprofit’s data use. Surprisingly, “outreach” data, or data relating to marketing, fundraising, and general communication activities, was commonly collected but infrequently used to inform future decisions. For instance, NTEN and Idealware discovered that 71% of those surveyed tracked the number of people on their mailing lists, yet only 23% used that data to inform spending and budgeting decisions.
In today’s culture, Google is seen as one of the most innovative technology companies in the world. From its search engine to the Android operating system, Google has permeated every aspect of our techno-centric lifestyles. Beyond the scope of their technological accomplishments, Google strives to help nonprofit organizations around the world by providing them with free online tools and access to grant monies. Follow the development of this research here.
Most articles on arts integration do not consider technology; however, it makes sense that they should. By introducing a technological component to arts integration efforts, educators can create an innovative environment where children prepare for the creative and multidisciplinary needs of their future.
Every month, AMTLab publishes a collection of recent news in the field of arts management and technology. After a summer hiatus, we’re back with a selection of articles showcasing some of the trends and highlights of September 2014. We’ve paid special attention to the heated discussion around net neutrality, how museums have integrated technology into their exhibits, and effective use of social media.