Remember the “old” Shift Happens video? Its been updated, and makes the old 2007 version seem ludicrously out of date – watch here:
Get AmbITion! Communicate, collaborate, create and celebrate getting digital in the arts.
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Shift Happens because of digital development (does Seattle Opera miss the opportunity though?)
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Social Networking as used by a Social Media Enthusiast
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Social Media – your audiences are aggregating and syndicating their content
Wave 4 is the latest in a series of reports from Universal McCann (ummm… the fourth one… see what they did there?) about how people are using social networks, especially in relation to aggregating digital content together that they’ve created – like vids and pics, newsfeeds and chats, etc. This reflects my experience – all my specialist online storage facilities (flickr, blip.tv) send feeds of my stuff to my Facebook profile, which in turn updates my Friendfeed, which in turn updates my blog. As far as Twitter and my delicious bookmarks go, those feeds update everything!! Sometimes I read my Tweets on Facebook before I’ve even tweeted them! [Joke].
Anyway – the report indicates:
nearly two-thirds of internet users around the globe have managed their personal profiles.- 71.1% have visited a friend’s social network page.
- In the U.S. 60% have managed their profiles in the last six months, up nearly 50% from 43.2% the previous year.
- 76% of social network members upload photos, up from 45% the previous year.
- 33% of social network members upload videos, up from 16.9% the previous year.
- In the Philippines, more than 98% of active internet users* have watched video online; in Korea, Spain, and the U.S., the figure is more than 8 out of 10.
- The number of people reading blogs has started to stagnate, with 71% of active internet users reading blogs, up from only 70% the previous year.
- 17% of active internet users access online content through mobile devices as well as home, work, or school computers.
- 83% of active internet users view video online.
So that leaves cultural organisations with some decent evidence that investing in social media is worthwhile, particularly if you can be up-to-the-minute with your news and offers, and porous in your attitude to sharing content with users who are increasingly acting like online digital content experts. If they’re free and easy about letting it all hang out, you should too. It all started here, remember
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Community crucial to theatre’s future says Guardian’s Lyn Gardner
Lyn Gardner in the Guardian blog today talks about how online audiences (the crowd in the cloud) are crucial to the future of theatre’s sustainable ability. The debate rages with the comment stream after the blog highlighting exactly Lyn’s point: that despite half the commentators not being at the Shift Happens event, they’re still engaging passionately and intelligently with the issues. She picked up The Bush Theatre’s new online initiative, bushgreen.org (in beta: to be launched soon, I’ll review it when it goes live) for crowd sourcing and disseminating new scripts, and there was a mention of pilot-theatre.tv : a simple webcast of a rehearsed reading of Catcher in their Eye, but a very cheap way of showing agents and producers globally what the new play will be like, and enticing them to engage with the process of booking it. Before, either producers would have needed to travel to York to see the rehearsed reading, or Pilot Theatre would have sent off the script and photos to a number of producers and then had to endure waiting times based on “don’t call us: we’ll call you”…
Business models are changing.At Shift Happens, the National Theatre also talked about NTLive, which amassed cinema audiences of 30,000 for Phaedre in a single weekend (you can’t squeeze that many people into all of the NT auditoria and its labyrinthine corridors together). But a significant shift in the landscape was recognised by Micheal Billington in his Guardian review of NTLive’s production, at a cinema in Chelsea. It starts:
The National Theatre made history last night. Its live transmission of Racine’s Phèdre was broadcast to 73 cinemas in the UK and 200 more around the world. It was a big risk but it paid off brilliantly. Indeed, watching it with a rapt, packed house in London’s Chelsea Cinema, I came to a startling conclusion: the production worked even better in the cinema than it did in the Lyttelton. And the implications of that are enormous.
MB says a theatre production worked even better in the cinema?? I never thought I’d see the day. Cultural behaviours are changing too.
P.S. Lyn also namechecks my other company Envirodigital - I talked about how the internet’s communities of audiences/customers/fans is an opportunity for theatres and other live art forms to begin the consideration of how to make the cultural sector more environmentally sustainable. An organisation’s crowd in the cloud can be their envirodigital community – check my slides here.
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Rise of the Edgelings
Manchester was buzzing last week with a range of events, from the preview of Videogame Nation at Urbis, the Digital Britain Unconference at MDDA, and particularly Futuresonic 2009. This year’s conference, to which myself, and a number of colleagues from AmbITion related arts organisations attended, had a range of themes, from Environment 2.0 to the Digital Economy. What stayed with me throughout the 2-day conference were the thoughts of main speaker Stowe Boyd from the opening session. He framed the debate in terms of the “edgelings” – individuals who are not necessarily part of one or other corporate structure. The destruction of traditional business models like local newspapers, record companies is resisted, but inevitable. The new business models, (and for that matter political and organisational models), will be more “connected,” more “social.” Making them pay might be the problem.
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