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  1. Taras Young, cultural professional and award winning hacker reports on #chs11!

    Over the weekend, I was incredibly fortunate to take part in what was – to my knowledge – the first proper Scottish hack day, Culture Hack Scotland.

    For those not familiar with the term, a hack day is essentially 24 hours in which a large group of geeks, furnished with everything they need – raw data, coffeef, sugared foods, collaboration, enthusiasm, and somewhere to park their laptops – create many wonderful and ingenious things, seemingly out of thin air.

    This is a long post, so grab a mug of tea, and join me as we enter the weird and wonderful world of speed-coding with Scotland’s rawest cultural datasets.



    It started on Friday evening at the InSpace building – formerly, in my student days, Crichton St Car Park. A fairly informal networking-and-beer session was followed by introductions from the organisers and supporters of the project. Even at that point, there was excitement in the air, and it was obvious it would be a great event.



    Photo by FestivalsLab, licensed under Creative Commons (CC BY-NC)

    By the end of the evening, developers were being encouraged to go and have dinner, while cultural people were being gently and politely directed towards the exit. Although I had a developer ticket, I felt more cultural, so made my excuses. I was left, however, with the nagging feeling that I should have stayed.

    [Skip the next bit if you don't want to read about me and my hack.]

    Ah, great, I knew you’d make the right decision! Now, although my day job involves working with ‘digital media’ – I’m currently looking after the development of our brand new website, building up our social networking community, designing stuff for plasma screens, training staff to use video cameras, and so on – not ‘digital media’ as in blank CDs – I wouldn’t call myself a developer. I’ve been dabbling in code since I was a nipper, but anyone who’s actually seen my code would probably baulk at how baroque and twisted it is. This, I guess, is what I was thinking: when it comes to software development, getting away with writing bad code should be my forté, so why shouldn’t I give it a go?

    So first, I downloaded the datasets provided to Culture Hack Scotland by a variety of big-name Scottish cultural organisations, like the National Museums of Scotland, National Theatre of Scotland, and Edinburgh Council (who had provided 365 days of brilliant data about footfall around Edinburgh). However, I realised that if I was going to build something, I’d have to pick a dataset that had already been formatted; I didn’t want to spend precious time getting the data into a format that I could work with.

    That’s where the Edinburgh Festivals listings API, provided by FestivalsLab, came in. An API (in this case, anyway) is a system you can query in order to find out information, and this one gave you raw information about last year’s shows at the Festivals – like show title, description, date, time, venue, map location, price, and so on. After staring blankly at the types of information available, it eventually struck me that it was all quite similar to the datasets I’d once tapped into a Commodore 64, some 20 (jesus, 20?!) years ago – when I was trying to make my own text adventures. Eureka!

    First off, I had to find a way of interfacing with the API, which returned information in the JSON format. Ah. I’d never done that before. Or heard of JSON. Right. Since I’d done a little coding in PHP before (basically, customising my website), I chose to go with that, and headed for the excellent PHP online manual. After a lot of tinkering, searching, copying, pasting, learning and adjusting, I finally managed to get a script working that could send off a request to the FestivalsLab server, and return a PHP array/object thing (still not sure what it’s called) with all the data I needed. (Actually, it took a while because I originally wrote an iCal parser out of a fear of tackling JSON, before realsing the JSON results not only had more useful data, but were much easier to work with.)

    To take a break, I headed for more familiar territory – design and layout using HTML/CSS. I also gave it a name – EDVENT, a sort of amalgamation of ADVENT, the classic text adventure from ‘the day’, and Ed-inburgh. By the time I’d done that, it was past 3am, so I surreptitiously added my proposed entry to the Culture Hack Scotland wiki – more as an incentive to actually see it through the next day than an admission that I knew what I was doing – and went to bed.

    Eight hours pass… and I’m being woken up by the postman, who, unrelated to the hack day, is delivering me a Penguin Classics copy of Casanova’s abridged memoirs from Amazon. Well, you never know. But – yikes – it’s 11am. The hack day’s been going for, well, 11 hours over in Edinburgh. And I’m still in Dunfermline, at my front door, holding a copy of Casanova’s abridged memoirs.

    So, after a lightning-fast shower, breakfast and check of the excellent Train Times website, I was off back to Edinburgh. I arrived just after 1pm, with a hack so far consisting of a web page that looked a bit like a retro monitor, and a function for requesting listings from the FestivalsLab API. I thought I hadn’t a nun’s hope in Borstal of finishing the project, to coin a phrase. (No, I don’t get it either.)

    I’d arrived at lunchtime, so the room was devoid of hackers – it was a free lunch. Organiser Ben was the only one at a desk, and also had pretty much the only space in the room next to him, so I sat down and started coding. Handy, since Ben was the brains – and hard work – behind the API I was using! (Sorry, this is beginning to sound like a story from ‘Take a Break’ or ‘Bella’.) In the event, I didn’t need to ask him much, but I suspect his API-ness washed over me as I furiously coded in order to get the thing done by the deadline of 4.15pm. Which, to my amazement, I did. A real-time text adventure based on the live data being fed from the Festivals server. I even had time to add a few comedy bits in – additional random phrases that, I hoped, would turn it from a rehash of boring listings into something more resembling life on the streets during Festival time.



    What followed was a series of presentations of some amazing hacks from some extremely talented people. Inspired perhaps by the presentation the night before, there were useful hacks, beautiful hacks, playful hacks and ‘placeful’ hacks. While they were all impressive, my favourites were Alex and Jen‘s Steal It!, where you could steal artefacts from the National Museums of Scotland; and Culturephone, a listings interface via VoIP with voice recognition, which blew my mind. Some were also very obviously marketable as products – such as the lovely Festafriend, which we’ll no doubt be seeing again come August.



    Photo by AmbITion, licensed under Creative Commons (CC BY-NC-SA)

    I gave my presentation, and – as you can see – I looked less silly than I felt (what do you mean I.. oi!) In the event, the jury was kind enough to give me a totally unexpected prize for my efforts, and EDVENT was also named Most Playful Hack, which was fantastic. You can see all the hacks, including mine, on the website.

    Other highlights: meeting the brilliant Tom Scott – who loathes being called a celebrity, and is pictured below with an adoring fan – and getting my very own Culture Hack Scotland mug.

    Taras’s Final Thought

    Hack days aren’t just a case of having fun and making cool stuff, though. They showcase the sometimes overlooked breadth of talent out there (and, believe me, there’s plenty of it in Scotland). They also highlight how important open data is, and that cultural organisations should do as much as they possibly can to free their data; if it’s useful enough, and if it’s in an accessible format, there’s no telling what incredible hack some friendly geek could turn it into. It was a great opportunity for the cultural and developer communities to network, too, and – for a lucky few – there were already partnerships emerging at the event, which look like they may evolve into commercial opportunities – clearly a great result.

    The organisers, including Rohan, Ben, and Suzy (and others!) did a fantastic job, and I overheard many participants saying it had been the most productive and fun hack day they’d ever attended. It was my first time, and it’s certainly set the bar very high. If, as is being suggested, there’s another one already being planned, I’m sure it’ll be at least as good – if not better. I can’t wait.

    Originally posted on Taras Young’s website.

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  2. Live blog – Culture Hack Scotland

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  3. Internet comes of age for visual arts with Google’s project

    googleartprojectGoogle’s ultra-high resolution Street View cameras have been sneaking around galleries in nine countries – out of hours – to capture the world’s finest art collections as 360 degree digital tours. The Art Project was launched at Tate Britain yesterday, and includes 385 rooms, and 1061 different pieces.

    Each gallery has also chosen one piece to be digitised in ultra-high resolution (7bn pixels), which allows you see a masterpiece in greater detail than the human eye and most microscopes can manage. This encourages people to study art works in depth, for better understanding technique, subject, materials/construction and realisation, and is a move away from the noughties obsession in the visual arts sector as of digitisation as a mechanism for futureproofing archiving.

    Nick Serota has had to assure art lovers (and insurance companies) that no security information is given away, but his most interesting comment is around the great fear that the cultural sector has of digitisation: that digitising work causes cannibalisation of the live, real experience. “When people get a glimpse, they want to see the real thing” he’s reported as saying in The Times today.

    Having been shouted at twice for wanting to see an exhibit more closely and peering with my short-sighted head over the line at the National Gallery this weekend, I shall appreciate the accessibility of the work being online. I shall also be able to work out what I want to see in Paris during a short trip in April. But I know that I will not have the thrill of all the things I like in a gallery: understanding the scale of work; the way being near it makes me feel; if it smells of history or strange materials, and just trying to work out why someone else has been standing there studying the piece for a few minutes. As a sensory and social human being I know that the “real thing” cannot be replicated. I believe all human beings innately know this too, and I wish the cultural sector would more fully grasp the potential of digital for increasing access. Without digitising, we face the risk of becoming obscure.

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  4. Webinar: Open innovation, open data (23.02.2011)

    edinburgh festivals innovation lab logoIn this webinar, Roland Harwood and Ben Werdmuller will introduce you to the core concepts behind open innovation and open data and explore their enormous but yet untapped potential within the cultural sector.

    By attending the session either in person or online, you will learn the principles of open innovation, hear engaging stories of how organisations across the UK have have benefited from such approaches and take away practical advice on how openness can give your organisation the edge.

    This is the first of a special series of events co-hosted by AmbITion Scotland and the Edinburgh Festivals Innovation Lab.

    Register for Open innovation, open data: what it is &amp; why it matters in Inspace on Eventbrite

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  5. So that was 2010 digital developments in the arts!

    Hannah Rudman on big screenIt’s that time of year again for Hannah Rudman to sum up the 2010 digital developments in the cultural sector. Generally, we’ve seen more audience participation online and in venue, and digital access to culture becoming a mainstream activity.

    Here’s my pick of the main developments in each art form: for more detail on what individual arts organisations have been up to, especially in Scotland, visit the AmbITion Scotland website for video case studies.AmbITion logo

    Music
    2010 was the year the music industry got its way, when the graduated-response method of dissuading piracy was adopted by parliament. Digital downloads hit £370m this year – a fifth of UK music sales – but 76 percent of downloads are ‘illegal’.
    —1.2 billion tracks downloaded illegally (source: Harris Interactive) – retail value: £984,000 (source: BPI).
    —That’s 76 percent of all downloads (source: BPI).
    —P2P use was up 7% (source: Harris Interactive).
    If the Digital Economy Act measures get implemented, labels will have recourse against illegal P2P, the primary unauthorised channel. They spent the rest of this year turning their attention to websites which host songs without authorisation [source]. (Whether they’ll go after Google, who of course direct so many to so much “free” music…)

    Classical Music
    For the past few months, the SPCO has been experimenting with on-line coupons to reach new audiences. In May 2010 they trialled their first on-line coupon venture via Groupon, and sold about 80 coupons for a specific concert (of which 60 were actually redeemed). They then trialled Travelzoo. In October, they offered an inexpensive two-concert “flex pack” for the current season, and sold more than 500 of them. In December 2010, they offered a season pass for Thursday and Friday night concerts for the rest of the season via Living Social, and sold more than 1400 passes — an amazing number for a one-day sale! [source].

    Many classical music and ballet organisations have been simulcasting concerts with great success – the business model works, and this has been proven by the Met Opera, now three years down the line.

    Opera
    In 2006, the Met began transmitting live, high-definition opera performances into movie theaters, beginning with six shows in 248 theaters in eight countries. The current season features 12 operas in 1,500 theaters in 46 countries. Last season, 2.4 million tickets were sold to nine different shows. The Met’s share of the gross was $24 million, and after subtracting production costs and revenue-sharing payments to its unions, the company realized over $8 million in net revenue.

    Said Peter Gelb, the Met’s general manager, “For the first time in its recent history, or maybe in all of its history, the Met has discovered a new source of revenue that has expanded its capacity and is helping to ensure the education of future audiences at same time.”

    Last season, each HD transmission reached an average of 267,000 paying customers (Mr. Gelb notes that a successful opera DVD today sells 20,000 to 30,000 units world-wide), a major audience boost. The company also has picked up about 7,000 new individual donors thanks to the transmissions, a valuable resource for an institution that relies on contributions to supply about 40% of its annual operating budget. In addition, even given the recession, paid, nondiscounted ticket sales increased to 85% of the box office last year, compared with 76% when Gelb took over. [source]

    Theatre
    2010 has seen the success of distributed live performance through simulcasting begin with UK productions – see my blog about National Theatre Scotland’s experiment at Traverse Theatre, and increased audience acceptance of pre-recorded theatre. These are new business models for UK theatre, and have created new audiences interested in the new hybrid format at a new pricepoint. NT Live (see too this blog) and & digitaltheatre.com are the biggest success story so far, digitaltheatre.com utilising the internet as a global distribution channel for sale of HD recordings – video on demand (VOD) and download to own (DTO).

    There have been interesting experiments this year where filmed performances have been distributed digitally live (think NTLive! simulcasting to cinemas), and on-demand (think digitaltheatre.com). But what about making work available to closed, finite networks to increase access, and enhancing it with distributed live elements such as Q&A with the cast? That’s what Arts & Theatres Trust Fife are up to this December: screening a special free performance of its Christmas show, Jock and the Beanstalk, by award-winning theatre company Wee Stories, from Dunfermline’s Carnegie Hall to children’s wards in six hospitals across Scotland via a private Web TV channel provided by Solus, enabling the show to be transmitted across various digital media on Fife’s network of linked screens to a wider audience as well as the hospitals. Staff from ATTFife staff went to all the 6 locations in Scotland, to facilitate a live webcast Q&A session with the cast and children at each location on the afternoon of 21st December.

    Dance
    Dance has been the core content of the year’s most popular digital developments: 3D film, and the natural user interfaces (NUIs) of gaming devices like Wii (you could liven up the post Christmas lunch slump in front of the TV with a family game of Dance on Broadway for Wii…).
    The pressure to come up with new and exciting dance moves often keeps choreographers thinking outside the box. but 2010 has posed a new challenge: with the flood of 3-D film releases, they must also think outside the frame.

    “It’s not just the choreography within the frame but the frame itself,” says Jon Chu, director of “Step Up 3D. With 3-D, the frame becomes a much more active partner, and it becomes a duet between audience and dancers.” [source]

    Literature
    The iPad and the Kindle have been changing the marketplace for e-books, ensuring their popularity and lower price point. Many e-books now have interactive elements too. However, the paper book is not dead, even if some of the mega/cahin paper bookstores are. Curated, local independent bookstores are thriving, supplementing book sales with live events and reading clubs. [source]

    Visual arts
    Audience and Experts have co-curated the Walker Art Gallery’s latest exhibition, aptly named 50/50. Using a digital kiosk in a Walker gallery and an online survey at walkerart.org, individuals cast nearly a quarter-million votes on whether particular artworks should “definitely” or “maybe not” be included in the exhibition 50/50. Crowd curation at its best!

    Museums
    Brooklyn Museum’s had a great time working with GPS location game FourSquare, rewarding the Mayor on the first Saturday of every month with an annual membership, and incentivising other Foursquare users with offers and prizes. and the Museum of London has given its archive a new lease of life on anyone’s smart phone and on the streets of London via an augmented reality application “Street Museum“.

    That of course is just the tip of the iceberg. Please do review my 2010 blogs for more case studies. Thanks for reading this year, and I’ll be back in 2011, probably with some predictions of where I think we’ll be at in the arts, with digital, by the end of 2011!

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Creative Scotland Lottery Fund Culture Sparks Rudman Consulting Arts Council England