In this episode of the Arts Management and Technology Lab, Samantha Childers explores why so many songs recommended by streaming platforms like Spotify, Apple Music, Amazon Music, and YouTube Music sound strikingly similar. She breaks down the inner workings of music streaming algorithms—how metadata, collaborative filtering, content-based filtering, and continuous feedback loops collectively shape the “perfect playlist.” Childers also examines Spotify features such as Discover Weekly and Discovery Mode, uncovering how these tools influence music discovery, artist visibility, and even compositional trends as musicians increasingly write with algorithms in mind. Alongside these technical insights, she raises critical ethical questions about data privacy, algorithmic bias, pay-to-play practices, and the shrinking role of human curation. Ultimately, the episode invites listeners to rethink how algorithm-driven platforms shape not only what we hear but also how we discover, value, and experience music.
In this episode of the Arts Management and Technology Lab, Andrew Wolverton and Zachary Collins explore how arts-focused technology can transform nonprofit ticketing and operations, tracing Ludus’s journey from a side project for a single high school musical to a nationwide platform serving more than 4,000 organizations. Collins explains how Ludus was built from the ground up around the real needs of drama teachers and community theaters, growing into an end-to-end system for ticketing, fundraising, marketing, volunteers, and concessions—while staying anchored in a people-first culture summed up by the company’s core value, “Give a Shit.” He reflects on navigating the COVID-19 shutdown through livestreaming and social-distancing tools, choosing the right growth equity partner, and why he believes AI shouldn’t replace arts workers but instead act as a “superpower” that frees them to focus on human-centered work and shared live experiences.
In this episode of the Arts Management and Technology Lab, Alexann Sharp and Cara Flannery sit down with four-time Emmy-winning innovator Michael Cioni to unpack how technology and creativity converge in modern media workflows. Cioni introduces Strada, a peer-to-peer platform designed to enable remote collaboration without cloud storage, and shares career lessons on building networks through industry events (NAB, Cine Gear, IBC) and assembling complementary teams (“Swiss-cheese” collaboration). He distinguishes generative vs. utilitarian AI, predicts a shakeout and rebound for GenAI, and outlines his Skills Gap Principle and “Technative” mindset for balancing creative and technical strengths. The conversation closes with candid advice on taking smarter risks and betting on yourself.
In this episode of the Arts Management and Technology Lab, Daniel Temkin and Luna Lu discussed the artistic possibilities of code, focusing on esoteric programming languages (esolangs) and how they can function as a medium for art and human expression. Temkin explained that his interest began with experimenting in existing esolangs (like Brainfuck) around 2007-2008, leading him to create his own and document them conceptually, moving away from overly technical documentation. The conversation highlighted how giving up on the idea that programming must be practical allows for artistic exploration, connecting esolangs to idea art, constraint-based work (such as the Oulipo Group), and performance art. Temkin detailed the structure of his book, which presents programming languages as idea-based art, containing both realized works and conceptual prompts inspired by artists like Yoko Ono, and described how his languages — such as Fat Finger, which inspired code poetry, and Folders, which manipulates file system hierarchy — explore themes of collaboration, human irrationality, and the extreme constraints of logical systems. Listeners were also encouraged to explore existing esolangs on the Esolang Wiki before trying to design their own.
In this episode of the Arts Management and Technology Lab, Melida Hernandez and Christine Rivera dive into the intersections of technology, identity, and representation in digital spaces and media. Melida explores how AI-based recognition systems, often trained on biased datasets, misclassify transgender and non-binary individuals, which impacts their self-presentation, psychological well-being, and digital agency. Melida also discusses how these technologies replicate real-world prejudices, limiting the fluidity of gender expression online, and highlights the lack of diversity in AI research teams, where women make up only 10–15% of staff. Christine’s research, on the other hand, focuses on how scripted and streaming television depicts motherhood and women’s reproductive choices, connecting these portrayals to broader issues such as policy, workplace inequality, and the “motherhood penalty.” Together, they unpack how media archetypes, algorithmic bias, and social platforms shape public perception and reinforce gender roles, calling for more inclusive storytelling, equitable AI design, and better systemic support for women and marginalized communities.
In this episode of Tech in the Arts, Dr. Brett Ashley Crawford of the Arts Management and interviews Bill Updegraff, founder and CEO of Grapeseed Media, a programmatic digital advertising firm. Grapeseed Media, established in 2013, has grown into a trusted partner for brands and agencies in digital advertising, earning recognition on Inc.’s 5000 list of fastest-growing private companies.
AMT Lab Chief Editor, Samantha Sonnet, and Garrett Brooks, Creative Director of MAS, discuss all things experiential marketing. With over 10 years in experiential marketing, Garrett has been a part of projects for clients such as YouTube, Google, Facebook, Hulu, Netflix, LinkedIn, Bacardi and Pepsi and has activated executions at cultural touch points like the Super Bowl, CES, and SXSW.
In this episode contributor Reid Manning sits down with Charles Hugh, the founder and CEO of Voxpop Games, a peer to peer game distribution and development platform. Together, they discuss the launch of the Voxpop platform and their mission of supporting streamers and developers by utilizing profit sharing with marketing.
In the final part of her interview Digital Producer Sarah Ellis of the Royal Shakespeare Company (RSC) expands upon the technical aspects of ‘Midsummers Night’s Dreaming’ and the complexities surrounding artist rights in the social media realm. Together with Google, the RSC expanded the theatre experience into social media, prompting narration, content creation, and collaboration among audience members and the story’s characters.
Click here to read the interview.
In the second part of her interview, Sarah Ellis, the Digital Producer of the Royal Shakespeare Company (RSC), expands upon the intricacies of introducing both audiences and actors into the world of a digital play. ‘Midsummer’s Nights Dreaming’ was an innovative digital experiment which explored storytelling and audience engagement online using social media.
Click here to read the interview.
In the second part of her interview, Reena S. Goodwin, the Digital Communications Manager at the Cleveland Museum of Art, expands on the use of social media for museum events, the challenges associated with social media, and making “connections with audiences, not for them.” Click here to read the full interview.
Woolly Mammoth Theatre Co. in Washington, DC has been getting a lot of press lately about their re-launch of the Pulitzer-Prize winning play "Clybourne Park". Along with the production, Woolly Mammoth has begun an innovative audience engagement campaign that includes many social media platforms. In this podcast, Rachel Grossman (Connectivity Director for the theater) answers questions about social media planning, what "connectivity" actually means, and integrating efforts across platforms.[display_podcast]
