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  1. New music for a new era - mashups and Twitter concerts

    {Article originally posted to AmbITion Extranet by Hannah Rudman}

    This is the most amazing mash up: a new piece of music called ThruYou created from existing YouTube videos – amateurs and professionals play together! Arts funders, IP gurus and arts organisations take note – this is what can be organised without the organisation!

    Last night my favourite classical musician of the year Peter Gregson of Coffeeloop (an Edinburgh music and technology start-up) performed some microconcerts at Twitter HQ in San Fran yesterday: the Twitter staff were buzzing with it, and so were a global audience who tuned in via a Mogulus streaming channel. Follow his Twitter stream: @petergregson .

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  2. Twitter Best Practices List

    From: http://www.twine.com/item/123nqkqw1-qj/share-this-twitter-best-practices-list-help-save-twitter

    THE PROBLEM: TWITTER IS AT RISK

    Twitter is highly vulnerable to spam because of the way it is designed, and because there is a general lack of awareness of best-practices and practices to avoid when using Twitter. This article hopes to help solve that by increasing awareness of these issues.

    Below is a list of Do’s and Don’ts for making Twitter better, and keeping it that way.

    THE TWITTER BEST-PRACTICES LIST

    To help prevent Twitter from filling up with spam and abuse, we need to create a community-driven guide to Twitter Best Practices. This should be communicated and endorsed widely to begin to set some standards for acceptable use.

    Here is a draft, work in progress, list of Twitter best-practices:

    DO’s

    1. DO contribute content of real value to Twitter. These could be useful, clever, entertaining or engaging tweets, and/or they could be links to content that others might enjoy. The best way to get followers, attention and influence on Twitter, is to consistently add content of real value.

    2. DO take care of your Twitter karma. In the near future your Twitter karma will be used to filter you and your content in or out of Twitter feeds. So be careful of your karma. More tools are coming out that measure your Twitter karma and score you based on that. Such as:
    http://www.twinfluence.com
    http://dossy.org/twitter/karma/

    3. DO design applications that talk to Twitter to be polite. If you are making a Twitter application, or thinking of connecting your application to Twitter, think carefully about what it might do to Twitter if lots of people use it.

    • Don’t make it automatically invite all of your users’ followers – make your each of your users select which followers in particular they want to invite one by one, so they have to think about it first.
    • Don’t make it spew out large volumes of frequent and useless status messages to Twitter (for example, “Sue Smith is now on the NW corner of Park and 32nd Street,” “Sue Smith is now on the NE corner of Park and 32nd Street,” or “Joe the Swordsman just defeated Rick the Wizard in a battle” etc.
    • Don’t make it behave like a bot by autofollowing people and sending them frequent @reply messages etc.
    • Don’t make it send DM’s on behalf of your users, without first warning your users that they are about to send DM’s

    DON’Ts:

    1. DON’T use auto-follow. Auto-following rewards spam accounts and bots in Twitter. They simply follow you and you automatically follow them back. Be picky in who you follow. Who you follow reflects on who you are to the rest of the Twitter community.

    2. DON’T bribe people in order to get them to follow you. Don’t offer people prizes or rewards of any kind if they follow you, or if you reach a certain number of followers. Twitter can be more than a high-school popularity contest. But that depends on what we focus on as important (number of followers people have is not important and does not accurately reflect their actual value to the network. The number of RT’s a person gets is a much better measure of their value to the network.)

    3. DON’T DM people unless you think they should pay to read your message. DM’s go to many people’s mobiles via SMS. For many people, receiving SMS messages costs them money, and in some cases they have limits to the number they can receive. Only send someone a DM if you think it is worth them paying to get the message.

    4. DON’T send useless @reply messages to people. Especially people you don’t know. If you send someone an @reply, it should at least be relevant to you and them, and hopefully something they will want to read.

    5. DON’T post spam to #hashtags. Hashtags are a public resource and if you spam them you will actually make them so noisy that nobody will use them. If that happens, hashtags will become useless, even for spam. Spaming hashtags is like polluting your own drinking water. Don’t do it.

    6. DON’T participate in chain letters. For example “RT this and you will have good luck” – they are simply annoying, result in bad karma, and so will not bring you good luck. For example do NOT participate in #TryThis1—it’s dangerous and must be stopped.

    7. DON’T participate in multi-level marketing (MLM) on Twitter. That is not what Twitter is for. If you market something in an overbearing way on Twitter you and everyone downline from you who participates will probably end up losing followers.

    8. DON’T advertise directly on Twitter. Instead, if you want people to get attention to yourself, or your product or service, then contribute content with enough value that people will read it. In the course of reading your valuable contributions, people will discover you and/or your product or service.

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  3. BBC allows video to be embedded

    From: http://reportr.net/2009/03/11/bbc-allows-video-to-be-embedded/

    The BBC has started letting their video be embedded on other sites. The first few videos are available on the technology section of the BBC News website.

    They include a video on Internet football fans and a report from the Bafta Video Game Awards.

    As Andy Dickinson comments on an embedded BBC video on his blog, “How cool is that?”

    The BBC said there were “a huge number of tricky little issues to sort out and most of these have been complex business issues around rights, terms and conditions, etc.”.

    The move is part of the BBC’s strategy to make its content more open to the public.

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  4. Bill Thompson’s Vision of a Digital Future for the Arts

    For those who were unable to attend the AmbITion North East road show, below is an excerpt from Bill Thompson’s fascinating key note address on a digital future for the arts.

    Read more at the AmbITion Roadshow live blog:
    http://getambition.wordpress.com/2009/03/05/ambition-north-east-roadshow-%E2%80%93-tyneside-cinema/

    Next up Bill Thompson from the BBC:

    In his own words, “a digital refugee who would not like to be sent back to ‘analogue jail’”.

    Used to work for an IT firm that basically consulted with businesses on using ‘green screen’ technology, old style computers!

    Combined computing power in the room can dwarft that of a country. He wasn’t joking… visited Hungary a while back and was shown the country’s 64k internet connection.

    Being connected like air for most.

    It is not stopping, the speed at which innovation happens, surprises even him.

    Talked about Microsoft’s touchscreen mapping device which shows where the fingers are on the back. Wish I knew what it was….

    Plastic Logic’s flexible electronic reader. Flexible electronic paper.

    iPhone, iPod Touch a result of 5 year research. Similarly, electronic paper technology may not be in the shops at Christmas but they are coming. We have proven it is possible.

    Research that shows that it is possible to store one bit per atom. Store entire visual field of a person, storing every second of a person’s life on 60kg!

    Contact lens that gives you an overlay on your visual field, image of a ‘contact lens’ with a circuit board etched into it…

    Forget 3D cinema, this is augmented reality.

    Other work, direct neural interfaces. Nerve cells like silicon! You can develop systems where nerves merge with silicon and you can control things directly.

    Feels it is a one way process. Doesn’t think we will be able to upload thoughts onto memory, however we may well be able to control cars, laptops by thinking.

    Rich, nerdy, ’stupid’ friends, will be able to try it out first! BBC website shows this happening already – Bionic eye gives blind man sight.

    Examples: Cambidge Film Festival (of which he is trustee), Secret Heart film, Pilot Theatre on Second Life.

    Other organisations pushing the boundaries: Tyneside Cinema, Cornerhouse, Manchester.

    It’s about finding out what you can do within your remit as an organisation using digital.

    Lovely pic of Tom Watson, cabinet officer for information, on a Segway! His Power of Information TaskForce now liberates online mapping applications for Ordinance Map information.

    Digital Britian report a start, though he (Thompson) would argue for universal access at 2Mb for all (a fiftieth of the average speeds in South Korea).

    Still discussing Digital Britain Report – ITV’s job cuts announcement yesterday showing that cultural practice that is dependent on broadcasters is on shaky ground.

    “‘Maybe we should aim for being paid for content on YouTube”.

    Bill shares his Facebook profile. “I’ve known about Christian (@documentally) for a while but I’m meeting him for the first time today”.

    Know him from his online interactions, know about his gran.

    Now onto Newcastle’s Bigg Market. It’s a place responsible for the moral decline of the country at this difficult time, because of text messages.

    He is joking…

    Making the point that when he used to go out in his youth, the only way his friends could communicate the next pub they would be going to would be by telling the landlord.

    Text messages make Just In Time Drinking possible. Show that the effects of technology can be very unpredictable. We have to wait to see what happens.

    When it comes to the cultural sector in particular, it is difficult to see the difference between the impact of the technology and the impact it has on our lives. Sometimes, that change happens whether or not we take the laptop or computer.

    Press freedom is harder to repress even as the technology makes surveillance easier.

    The environment within artistic development happens is so different from what it was 50 years ago is working in a different world and therefore must operate in a different way.

    AmbITion was an intervention in an ongoing conversation between the arts world and technology. Was a way to counter institutional resistance to change of this form. Similar to how businesses resist changes brought on by technology.

    It is always a risk to change something.

    There’s more on the event’s live blog: http://getambition.wordpress.com/2009/03/05/ambition-north-east-roadshow-%E2%80%93-tyneside-cinema/

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  5. The new theatre – made by audiences

    From: http://www.guardian.co.uk/stage/theatreblog/2009/apr/06/theatre-london-bubble-company

    Lyn Gardner of guardian.co.uk writes:
    When I had my first child, I remember that I kept on talking about “when things get back to normal”. It took me an age to realise that this was “normal” and that my life had undergone a complete shift. I feel as if something rather similar is going on with the world economy. Talking to people working in theatre, everyone agrees that money is tight and it is likely to get a whole lot tighter over the next few years, with both funding and sponsorship affected. People are prepared for the worst. But I also detect a sense that many of them think that if they just hunker down, normal service will resume in a few years’ time, although perhaps not until after the Olympics. I’m not so sure.

    Whatever happens, it means that in the coming years artists, companies and producers are going to have to be much more tenacious and entrepreneurial. I don’t think this is necessarily a bad thing. Yes, of course it is crucial to keep the pressure on both local and national government regarding funding, in case it conveniently slips their minds what a terrific return they get – artistically, socially and economically – when they invest in theatre rather than in bankers.

    Even so, it is high time that theatre-makers recognised that it is impossible to thrive and produce your best work when you are hanging on by your fingertips. Rather than waiting around hoping that a few crumbs might eventually come your way, it’s better to get out there and make the cake and find new models. Nobody working in theatre would doubt the need for creativity and enterprise in the rehearsal room, so why not apply that creativity and enterprise to the business plan too? Theatre companies may have a particular mission – but they are businesses too and they can’t fulfil that mission successfully unless they have enough money.

    So, it’s great to see London Bubble coming up with its Fan-Made Theatre initative, which invites audiences to buy a £20 stake in the company’s upcoming summer show. The Bubble’s promenade summer shows in London’s parks and open spaces have given me and my family enormous pleasure over the years.

    Now you can help choose what the company will stage. Fan-Made Theatre works like this: in return for your £20, you not only get a ticket to one of the performances, but also a chance to submit ideas and scripts suggesting what the company might stage. The website allows discussion of the various proposals and an opportunity for stakeholders to discuss their favourites before the ideas are whittled down to a shortlist of five. There’s an opportunity for stakeholders to vote on the shortlist before the winner is selected by artistic director Jonathan Petherbridge and a team of advisers. There’s also an invitation to a party in the summer.

    No, this little but ingenious idea is not going to transform arts funding on its own and neither is it new. In football, the Blue Square Premier club, Ebbsfleet United secured its future last year by offering fans a £35 membership that gave them a stake in the club and an opportunity to select the team. Music intiatives such as Bandstocks allow fans to invest money in new acts as well as in more established talents such as Patrick Wolf.

    Other theatre initiatives have involved the audience at grassroots level: in 2008, Fierce encouraged audiences to choose which shows would be programmed; Pilot Theatre has developed scripts with audience input online. But this is the first time that I’ve come across somebody in the theatre combining investment and creative input. It strikes me as an interesting idea, and one that has only come about because London Bubble has had to think laterally after losing its revenue funding last year.

    I’m not for a moment suggesting that the company wouldn’t have preferred to have remained an Arts Council RFO (Regularly Funded Organisation), but rather than curling up and dying it has gone out and successfully reinvented itself. If necessity is the mother of invention, this is as good an example as you are likely to find: one that combines money-making potential with an opportunity to engage audiences in the process of making theatre and not just the final product.

    With many businesses already using social media to make customers partners in their development, why shouldn’t theatre do the same? For London Bubble, you have until 17 April to buy your stake but even after that there will be a chance to join and vote for the final piece, help shape it and attend rehearsals. Sounds like a good deal to me.

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Scottish Arts Council Culture Sparks Rudman Consulting Arts Council England