With a wide range of integration possibilities and reporting flexibility, Sage Intacct might be the right financial management software for your organization. In this review, guest contributor Stewart Urist highlights a few of the key functionalities that have improved his organization's daily workflow and the quality of the financial information available, and flags some pitfalls to keep in mind along the way.
Amidst a host of negative reviews, season three of The Bear seems to epitomize the promise of prestige television -- bigger stars, bigger budgets, and higher production quality. Season three is ambitious and challenging, and it doesn’t allow the limitations of the television medium to dictate how the stories it wants to tell should be told.
At the core of fundraising is the relationship between a nonprofit and those constituents who are most passionate about that organization’s mission. As development professionals it is vital to find touchpoints that cultivate and maintain these mutualistic relationships. Convenience for the donor is critical to getting a first gift that leads to a sustained philanthropic relationship. DipJar offers a unique giving opportunity for organizations “on the road,” those with a facility, or those hosting fundraising special events.
Many have likely browsed the internet long enough to have been fooled by an AI-generated image or two at some point. Text-to-image models like DALL·E , Midjourney, and Stable Diffusion have advanced enough that most people only have about a 50%-60% chance of discerning if an image is AI generated, and the odds aren’t improving - but are these models good enough to forego using human artists altogether? This article provides a comparative review of the various offerings of Midjourney.
In the last two years, more than a dozen Virtual Reality tools have emerged, offering artists a wide range of mediums to express their creativity. These VR platforms have allowed every type of artist to showcase their talents in the Metaverse. This article delves into an exploration and comparison of VR, 2D painting software applications, comparing their capabilities against traditional oil and acrylic painting techniques. If you are an artist considering investing in a headset for your artistic endeavors or simply choosing an app, this article will provide a comprehensive side-by-side comparison of these programs with their real-life counterparts.
As more and more people rely on streaming services and more arts organizations are creating streaming offerings, it is increasingly important to consider user experience beyond a television or larger screen interface. The concept of non-cable TV streaming is now being implemented by almost every traditional network in addition to other streaming-only companies. Clearly, there is a demand and a value to distributing content for the producer as well as the consumer.
Emerging from COVID-19 lockdowns, being able to attend performing arts performances in person has felt like a sensory treat. Feeling the energy of the collective audience, the soft whispering and rustling in seats, the sounds of footsteps as performers take the stage, the low hum of stage lights - being present with art as it is performed heightens the senses in a way that its virtual counterpart simply cannot, in spite of numerous advances in the digital landscape over the last two and a half years.
Enter the Neumann KU 100, or “Michel” as Kevin Noe, Artistic Director of Pittsburgh New Music Ensemble (PNME), affectionately calls the humanoid microphone that sits at the center of ensemble’s 2022 season finale show, literally and figuratively. The microphone is a feat in binaural audio, engineered to replicate how sound travels through the human ear. When heard through headphones, it’s as if the listener’s head is placed right where the microphone is placed. For PNME’s performance, this meant that the audience’s ears were placed on stage between a cello and clarinet, surrounded by an ensemble of musicians.
The sudden closure of performance hall doors in March 2020 forced orchestras to rethink the meaning of staying connected with their community. In an instant, all classical music organizations became media production organizations — otherwise, they ran the risk of entirely losing touch with their audiences. The pandemic, which accelerated many long overdue innovations in the orchestral world, provided a not-so-gentle push to those who treated digital media as an afterthought to the sacred pillar of live performance. The discoveries made during this last year and a half has challenged orchestras in their method of artistic production. Throughline serves as an exemplary model of what can be accomplished when orchestras use the digital world in a meaningful and intentional way.
MyCAM is an interactive table at Cincinnati Art Museum, providing visitors with a unique experience through art exploration and map design. Located in the Schmidlapp Gallery, which is close to the museum lobby, MyCAM creates a fun start to a visitors’ art journey.
When considering how technology can improve and increase audience engagement with art, many immediately think of technology can be applied in house to create a more participatory experience. Yet, audience engagement can continue even when the audience is not in the museum. How can an arts organization engage with visitors even when they are not physically in the institution?
The comic book industry has been utilizing technology to create novel distribution pathways for many of their materials. By examining their solutions arts organizations may gain inspiration for ways to archive their textual or print works, and create interactive and engaging way for audience to appreciate the artworks.
While Instagram may be one of the most popular social media platforms, it lacks a convenient link-sharing within an individual post. Fortunately, there are tools available to circumvent this issue.
In the U.S, rights to present movies from major film studios can be obtained through Swank Motion Pictures and Criterion USA, the two largest film licensing companies in the nation. A third option that caters to independent films and grass roots organizations was launched at SXSW in 2012. Tugg functions mostly as an intermediary between independent filmmakers and their audiences, making it easy for movies to be shown in theaters and alternative venues. Its format makes it valuable for organizations that do not have an appropriate venues or filmmakers looking to increase their exposure.
