As part of the Summer Road Trip Series, we take a quick stop in Breckenridge, CO at BreckCreate’s WAVE festival. We’ll get up close and personal with various installations and see how some of the audience’s reactions, from social-media-activated artwork to family-friendly displays & performances.
Despite the development of technologies that allow businesses to operate more efficiently and transparently, it remains difficult for an outsider to see and understand the way in which the music industry pays its artists. The cash flow is becoming more convoluted with an increased diversity of options for consuming music, making it more difficult for artists—even those in the industry—to track how their royalties are calculated. AMT Lab Contributor Colin Baylor explores some potential solutions for this broken system.
We are conducting the 3rd National Ticketing Software Survey during the month of February. If you are interested in sharing your experience and your opinions about your software, please let us know. All those participating in the survey will receive a full copy of the report which will provide a national view as well as cluster analyses by discipline, budget size, and geographic region. The data will be useful for both organizations and vendors. Organizations will gain a better understanding of their own practices as compared to their peers and, more importantly, be able to use the findings as evidence for future technology funding campaigns. Vendors will have explicit evidence as to the needs and wants for future software design.
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.
Wearable computing devices--including smartwatches, fitness and health tracking devices, and smartglasses--are projected to quadruple between now and 2018. What does their increased use mean for the performing arts? In their follow-up paper to "Through The Looking Glass: How Google Glass Will Change the Performing Arts," guest correspondents Thomas Rhodes and Samuel Allen explain wearable technology, provide an overview of current experiments with these devices among performing arts professionals, and discuss potential implications and challenges for the field.
In my last research update, I illustrated some of the most important opportunities and benefits associated with the creation of online audiences. But as arts managers consider how to create these online audiences, they should also be aware of a variety of challenges and potential risks associated with doing so. Here are a few:
The Australian Chamber Orchestra (ACO) has teamed up with Sydney digital media company Mod Productions to produce a new interactive “virtual orchestra” that is breaking down audience barriers in the music world. The resulting audio-visual installation, “ACO Virtual,” has created the means to bring the Orchestra outside the concert hall and into spaces where the ACO may not perform.
Last month, I introduced the Berlin Philharmonics’ Digital Concert Hall as a best-practice example of creating online audiences by a symphony orchestra. Indeed, we can find orchestras worldwide reaching out for audiences beyond the walls of a traditional concert hall. So let us inspect three of these orchestras—the Detroit Symphony Orchestra, the Sydney Symphony Orchestra, and the Philharmonia Orchestra (UK)—and have a closer look at some of the tools they use, how these tools are being implemented, and the resulting opportunities they create.
As a frequent concertgoer and prospective arts manager, I am intrigued by the question of how to create online audiences for symphony orchestras. What does it mean to create such an audience? And moreover, how does an online audience for an orchestra differ from the audience that comes to the concert hall? Or does it?