December 18, 2015 by katie
Nesta, AHRC & Arts Council England have just released the findings from this year’s survey into Digital Culture.
The Stage (https://www.thestage.co.uk/news/2015/digital-technology-in-decline-in-theatre-sector-claims-report/) have jumped straight in the claim that digital technology is in decline in the theatre sector. But what does this actually mean?
I’ve completed the previous two years of surveys on behalf of The Other Way Works, but this year the request languished in my inbox unopened. So much of the content is focused on ‘digital’ systems and marketing, with narrow and oddly specific questions on particular areas. I didn’t feel that the data I would be contributing would be reflecting our work and relationship with technology in the way I think is important or interesting.
The summary suggests that “digital technology has become seemingly less important to certain aspects of arts and cultural organisations’ work”. They may well have a point, but I wonder how much this is just a case of much of today’s administration and marketing work just being ‘digital’ by default and not considered to be in a special category anymore worthy of particular note?
Surely its no longer news to talk about the fact that your arts organisation has a Twitter account, a Facebook page, a Website, sends eflyers, e-newsletters, emails, uses Skype or Hangouts, cloud-based databases, uploads content to video & audio streaming sites. Isn’t that just the way that individuals and organisations operate these days? This isn’t ‘digital’ anymore, its just work. And its definitely not ‘digital innovation’. When there’s a free, consumer service, that as individuals we use on a daily basis for communication and leisure, just using it to help you run your arts organisation isn’t really worthy of note.
The Stage’s claim that Digital Technology is in decline in the theatre sector specifically highlights the stat that ‘only’ 8% of theatres live-stream their performances. So what? That’s just one (albeit one overly focused on by the funders, see The Space & Nesta R&D fund) use of digital technology. And a pretty dull one at that. I think its disappointing or maybe even embarrassing to judge a live artform’s engagement with digital technology with so much focus on this metric.
The report quotes representatives from some of the funders pointing fingers at the sector for ‘stepping back’ from investing in digital technologies. This seems a bit rich to me. The focus of investment in specific areas by organisations is surely heavily influenced by the funders own priorities and the funding streams they create. And it is these that are perhaps exacerbating the problem.
Nesta/AHRC/ACE’s Digital R&D fund decided to make large grants to a few to act as ‘examples’ for the rest of the sector to follow. The responsibility to succeed and the fact that larger more ‘reliable’ organisations were selected meant that the levels of possible ‘innovation’ within these restrictions were questionable. The money flowed to the few rather than the many. And to buildings more than to independent producing theatre companies, making the future even more unevenly distributed. And don’t get me started on The Space (in fact you can hear me making my points to the panel on the video of the 2nd Q&A session at their recent information seminar – https://www.youtube.com/watch?list=PLrRq4FeMUe-fYjtA7we1rI9ms-3ymR1EP&v=Pe1sCXHEGj0 at 11:50 in).
Their own metrics paint a picture of their pet funds’ failures to seed digital innovation in the wider cultural sector.
And on the bright side? Well maybe there is one…
The potential positive outcome of this report could be that it makes the case for the funders to be able to make more money available for digital experimentation, ideally with a focus on the independent sector and to creative exploration within the artform itself rather than in the marketing of it. And to make more, smaller grants to allow a much larger number of organisations to get involved, try things out, make more things, make better things, to engage experimentally with digital technologies as new tools with which to create their work – essentially to innovate in this area.
December 18, 2014 by katie
Produced by The Other Way Works
Creative Director: Katie Day
Developer: Ed Porteous
Bird Illustrations by: Luke Thrush
Design by: Sebastian Harding
Scientific Inspiration: Prof Debra Skene, University of Surrey
by Seb Harding
Characteristics: You’re practically nocturnal! You really start to hit your stride around midnight, just when everyone else is flaking out. Mornings are rarely seen.
Habitat: Can be spotted tripping the light fantastic at 4AM. If not outside then you may find them working late into the night within doors.
by Seb Harding
Characteristics: You’re the ultimate night owl. As the sun sets you come to life. Mornings are for lie-ins, or if you have to get up early there had better be coffee, and lots of it.
Habitat: Not often seen before midday. Usually found by night with a glass of red hidden in the depths of a wine bar.
by Seb Harding
Characteristics: You’re a bit of a ‘franken-bird’, part lark and part owl. Mornings hold no fear for you, but you like evenings too. You’re having your cake, and eating it.
Habitat: Adaptable to most environments. Often spotted outdoors in daylight hours.
December 2, 2014 by katie
Theatre Royal Winchester
Sat 14 – Sun 15 February 2015
Sat 28 – Sun 29 March 2015
Tickets now on sale (all now sold out!)