A D i gital R e s e ar c h P r oj e c t by S o u n d a n d M u si c

D i gital C o n t ext s in t h e Art s an d B e y o n d

October 2009

Editors: David Rogerson and Ashley Wong Project Manager: Ashley Wong

C ontent s
1.0 Intr o d u c ti o n 2.0 What d o e s t h e n e w digital w orld lo o k lik e ?
2.1 Digital Britain 2.2 Digital Content 2.3 Digital Education 2.4 Gaming 2.5 Trends 2.51 Social Media 2.52 Mobile Technology 2.53 Cloud Computing 2.6 Sustainability 2.7 Archives 2.8 Intellectual Property 2.9 Revenue Models

3.0 H o w h a s t hi s aff e c t e d t h e art s ?

3.1 Audience Relationships 3.2 Learning and Participation 3.3 Knowledge Transfer 3.4 Digital Delivery Models 3.41 Broadcasting Models 3.42 Publishing Models 3.43 Social Networking Models 3.5 Music Industry 3.6 Marketing 3.7 Conferences and Symposiums

4.0 N e w C r e ativ e H o riz o n s

4.1 Digital Art Scene 4.11 Net Art 4.12 Networked Art 4.13 Online Participatory Projects 4.14 Installation 4.15 Electronic Music 4.16 AV 4.17 Software Art / Code as Art 4.18 Emerging Technologies 4.2 Collaboration between Organizations 4.3 Commissioning 4.4 Digital Arts Funding 4.5 Residencies
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4.5 Festivals

5.0 N o t e s a n d F u rt h er R e a di n g Ap p e n dix 1: C a s e S t u di e s

1.0 I ntr o d u c ti o n
This document is a body of research supported by Sound and Music to assist in the development of the Digital Strategy. Its aims is to provide an overview of the context of digital development in the arts in the UK and abroad, by taking a glimpse at recent developments and issues in the industry, policy, and education, mapping out emerging practices in digital delivery in the arts, and providing a scope of digital and media art practices. In July 2009, Ashley Wong was appointed as Research Assistant to facilitate the project in collaboration with Digital and New Media Manager, David Rogerson. This document will provide the base for our strategic development, which we hope will be useful and inspiring to others.

Sound and Music is an arts organisation that supports innovative practice in contemporary music and sound. The organisation is the result of a recent merge of four founding organisations: British Music Information Centre (BMIC), Contemporary Music Network (CMN), and Society for the Promotion of New Music (SPNM) and Sonic Arts Network (SAN). As a newly formed organisation, Sound and Music looks to be embedded in the 'digital' and become an active participant in a new digital world.

2.0 What d o e s t h e n e w di gital w orld lo o k lik e ?

The advent of the internet, mobile phones, wireless, and satellite telecommunications have changed they way in which we do business, communicate, seek entertainment, socially interact, and experience and engage with art. Digital technology has become the core of the globalised modern society, raising a number of interests and issues in business, government policy, education and the arts and sciences. This section provides an overview of the recent developments, trends and issues in a digital world.

2.1 D i gital B ritain

The British government has recently released a series of reports to shift towards a 'digital economy' placing the digital media and technology at the centre of social and industrial development. The reports bring increasing support to digital communication services, content providers, IT sectors and digital entertainment and education. The 'Digital Britain' scheme aims to boost the importance of digital radio and television, raising the role of the BBC in the overall cultural development in the UK and abroad.

Digital Britain aims to: complement and assist the private sector in delivering the efective modern communications infrastructure we need, built on new digital technologies; to enable Britain to be a global centre for the creative industries in the digital age, delivering an ever wider range of quality content, including public service content, within a clear and fair legal framework; to ensure that people have the capabilities and skills to fourish in the digital economy, and that all can participate in digital society; and for government to continue to modernise and improve its service to the taxpayer through digital procurement and the digital delivery of public services. (Digital Britain Final Report, p.1) The Government made clear in this years budget its commitment to a modern knowledgebased economy underpinned by a strong communications infrastructure. It announced that the Government would pursue a Universal Broadband Service, at a speed of 2 Megabits per second, by no later than 2012. Digital technology and particularly the Internet is the common backbone for numerous services and devices that most people now take for granted, including MP3 players, webenabled mobile phones, online gaming, social networking, multi-channel television, digital radio and podcasts. But it is much more than that. Digital technology is no longer simply desirable. It is rapidly becoming an essential facility for citizens and consumers in a modern society. (p.28) The changes that digital technologies bring require us to develop a new level of participation for a competitive digital knowledge economy and a modern democratic and fair 21st Century

society . A Digital Big Bang will transform how we participate in a modern democracy, how we learn, how businesses operate, how we fnd jobs and how we do them, how we access our public services and how we develop our creativity, make the most of our free time and network with friends. (p.28)

The BBC has begun to develop its role as a partner with an increasing range of other media and cultural organisations, UK-wide, in the Nations and Regions and locally. (p.140) The relative growth in the scale and importance of the BBC in the overall digital content ecology, give it a commensurate public responsibility. The BBCs partnership proposals are one means by which the BBC is seeking to demonstrate its recognition of those responsibilities. (p.141)

Int er n e t U s a g e S t a ti s ti c s
Internet usage in recent years has sky-rocketed across the board with the UK with some of the most highly active users. The internet has become essential in the daily lives of the public over other mobile and television media.

Most people with broadband at home already feel they could not be without it. More than 70% of such people described it as essential or important. People with broadband at home value it more highly than their mobile phone, land line or digital TV. (Digital Britain Final Report, p.30) The total count of unique UK internet users is 36,820,000. [Source: comScore, May 2009] (Internet Stats Compendium, p. 7) The total number of internet users worldwide is 1,596,270,108. [Nielsen//NetRatings via Internet World Stats, April 2009] (Internet Stats Compendium, p. 8) The UK has the most active online population in Europe, with the highest average number of daily visitors (21.8m), the highest usage days per month (21 per user), and the highest average time spent per month per user (34.4 hours). [Source: comScore via Econsultancy blog, June 2007] (Internet Stats Compendium p. 7)

2.2 D i gital C o n t e n t

Digital content is now the main source of information for the public overtaking publishing, television and radio who are all also going online. Additionally to traditional media, digital content provides users with multiple means of receiving and engaging with information. For industries, digital media is a cost-efective means of producing and distributing content - opening up to possibilities for user-generated content and amateur production. This, however, leads to issues of large masses of content from a wide range sources, in multiple formats, and from various levels of

expertise. What becomes important is content aggregation and careful selection of media.

Digital technology has signifcantly reduced the cost of producing, distributing, storing and manipulating content. Today anyone can be their own publisher, journalist, programme maker or international e-merchant. It also enables content to be replicated instantly at virtually no cost. (Digital Britain Interim Report, p.36) The audiovisual content production sector in the UK accounts for annual production activity of between 5.5 to 6bn, and exports (according to ONS data) of around 2.3bn. (p.36) British consumers have a huge appetite for new digital services, with high levels of take-up of new networks and devices. This in turn creates a market environment which unlocks new commercial possibilities and encourages innovation in new content, services and applications. These changes are challenging the economics of intermediaries of all kinds and more traditional types of content companies publishers, the music industry, the newspaper industry and broadcasters in particular. (p.37) The UK probably has more publicly owned content than any other country in the world. The public service broadcasters, academia, libraries and archives could take the lead in beginning to build a global commons of data, knowledge, news and entertainment. (After the Crunch, p.98)

Link Int ern atio nal C e n tr e f or D i gital C o n t e n t Our principal aim is to fnd new ways of using digital technology that will help organisations to develop and grow. Focusing on the regeneration of Merseyside and the North West, we help businesses and other organisations to understand how digital technology can beneft them. We work with these organisations to apply technology in practical and efective ways http://www.icdc.org.uk/ 2.3 D i gital E d u c a ti o n
As the digital becomes increasingly embedded in society, education, training and computer literacy become necessary in order become an participant. The Digital Britain scheme emphasises the development of 'digital life skills' for employability, social inclusion and business productivity, and aims to ensure universal access to basic ICT skills. As a result, young people and learning become a major focus in digital development in the arts and beyond.

Digital Life Skills needed by all, Digital Work Skills needed by most, Digital Economy Skills needed by some. (Digital Britain Interim Report, p.63)
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The frst step is to understand the importance of ensuring that all children and young people in education have access to the right level of learning and technical resources to enable them to develop the vital frst steps of digital life skills and digital work skills without which they will be unable to play a full part in society . To achieve that, we will also need to ensure that our teachers have the skills and support they require to provide the right level of learning. (p.64) The Government is also looking at the ways to ensure that the most disadvantaged young people are not left behind because they lack technical facilities in their homes. (p.64) Digital technologies ofer enormous opportunities for fun, learning and development. (p.67) In todays schools, young people are increasingly being prepared for a Digital Britain by using digital technology in the classroom, from mashing up archive flm in history and citizenship lessons using IMovie to teaching science with digital cameras and animation software. (Digital Britain Final Report, p.173)

Digital Britain brings new support for developing research and training programmes in Art and Music Colleges as well as through media studies and creative media programmes. These education schemes aim to equip young people with digital skills as well as develop a creative openness to technology. These colleges and programmes provide possibilities for partnership and collaboration in the arts. (See 3.6 Knowledge Transfer)

Diplomas, the new qualifcation for 14-19 year olds, combine theoretical and practical learning and have been developed in partnership with over 5,000 schools and colleges, universities and employers. (Digital Britain Final Report, p.175) Media Education, as distinct from Media Studies, is seen in an increasing number of Arts Colleges as part of an extended defnition of literacy, ideally provided across the curriculum, but with opportunities for specialist teaching and assessment of learners progression in relation to explicitly media outcomes. (p.175) Specialist Arts and Music Colleges are supporting young people to develop digital life and work skills in day to day teaching through investment in professional standard software and hardware set in enhanced creative spaces such as recording, TV and radio studios and digital art and media suites. (p.175)

A number of funding opportunities are emerging from foundations, government initiatives to promote digital literacy and learning amongst young people. Funding is being poured into funding projects, equipping schools with ICT infrastructure and supporting development of skills in young people and supporting professional development for those later in life. These programmes and initiatives provide possibilities of support for digital projects with young people and fostering the development of new creative practitioners and the digital arts.

First Light is the UKs leading initiative enabling young people to realise their potential via creative digital projects. It funds and inspires the making of short digital flms, refecting the diversity of young peoples lives through 1.1m of UK Film Council Lottery funds each year. First Light is also the lead organization managing DCSFs youth initiative Mediabox, distributing 8m over two years. (Digital Britain Final Report, p.176) Creative Partnerships is one of the Governments fagship creative learning programmes funded by the DCMS and DCSF. It is designed to develop the skills of young people across England, raising their aspirations and equipping them for their futures. (p.176) Mediabox gives 13-19 year olds in England the opportunity to develop and produce creative media projects for flm, television, radio, online and multimedia platforms. (p.176) The Young Design Programme created and run by the Sorrell Foundation gives schoolchildren the chance to work with university student designers to solve real problems. (p.176) Now funded by Becta, the e-skills UK programme C C4G (www.CC4G.net), gives 10-14 year old girls a new perspective on technology-related careers, while helping them to acquire valuable skills. Over the past three years, C C4G has engaged with more than 3,500 schools and 125,000 members. (p.176) Government has invested considerably in both ICT infrastructure and in the provision of ICT kit in schools, with most now well-equipped to make better use of technology to support learning; and is establishing a network of nine regional ICT support hubs providing a range of Continuing Professional Development models that, among other things, improve teaching and learning. (p.176)

2.4 G a mi n g
The gaming industry has grown and is expected to continue to grow in the near future. Young people are engaging with digital technology early on through games, both video, computer now mobile games. Games play a role in developing an interest in digital technology in young people. Often associated with mindless entertainment, games can also be educational - making learning with technology fun and engaging (See 3.2 Learning and Participation).

In Animation, Computer Generated Imaging (CGI), electronic games and other interactive digital media applications, the UK has over the last 15 plus years more than punched its weight in global markets, whether in terms of awards and recognition or its creative excellence and in jobs and wealth from its business innovation (Digital Britain Final Report p.127)

The global games market is rapidly expanding, with a compound annual growth rate of 10.3% and projected worldwide sales of $68.4bn by 2012.20 The UK video games industry is currently highly placed in the global games marketplace (p.127)

Its no longer just about high-end, boxed games. New routes to market are ofered on the back of the growth of online delivery such as PC and console down-loadables as well as new platforms like the iPhone. There have been over a billion content downloads on the iPhone since launch and games are the most popular category. In the top 100 iPhone applications, 60% are games. (p.128-129) In a 2005 report by the BBC, 100% of children surveyed between the ages of 6 and 10 called themselves gamers. Every single one. 74% of young people between the ages of 6 and 16 played console games several times a week or more. (Why Game Consoles, p.5) Because gaming is play it is regarded by some young people as lacking the purpose and passion of real music making. The low esteem of gaming in the eyes of some young people, and many parents, inhibits a deeper engagement with music-games. (p.12)

P lay

'Play' as a creative process has formed a major role in education policy where it has become integral in learning and development for young people. Play allows for individual learning through experience and practice that allows for a freedom to explore develop self-knowledge and confdence. Digital games and play can open up possibilities for learning and education programmes involving young people and schools.

The concept of development as a continuous process, which involves a dynamic relationship between mind, emotions, body and environment, ofers a broader perspective for considering the benefts of play in the context of development than one that focuses on specifc skills acquisition. (Play for a Change, p. 40)
Play for a Change has revealed a resonance between the academic research on the benefts of

play for childrens health and well-being and the broad aims stated in current policies for children and young people. However, policies and practice do not refect this resonance because of their instrumental understanding of play and the nature of childhood. (Play for a Change) Play enables individuals to sample their environments and to try out a range of behaviours in a relatively low risk fashion. In play, children deliberately seek to place themselves in uncertain situations where they can improvise responses, drawing on conventional movements alongside novel actions in order to regain control and re-establish a sense of balance (Spinka and others 2001). (p.20) Play enhances the development of fexible and adaptive emotions. The design features of play uncertainty, fexibility and as if frames enable children to develop repertoires for avoiding emotional over-reaction through a range of play strategies such as courage, bravery, resilience, and sociability (Sutton-Smith 2003;) (p.20) The interest of the educational feld in the relationship between play and learning lies within a narrow instrumental approach through the design and management of playing experiences to meet clearly defned educational goals, often expressed through such phrases as learningcentred play and play-based learning (Farne 2005; Pramling Samuelsson and Johansson 2006).
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Such approaches fail to recognise the inherent nature of play and thus diminish the potential that this form of behaviour may ofer to support learning (Lofdahl 2005; Howard and others 2006). (p.23)

2.5 Tr e n d s

Trends follow with development of new digital platforms and technologies. Social media has gained in popularity with new applications such as Facebook and Twitter. With the release of the iPhone, mobile applications have become a trend and means of connecting with audiences. Cloud computing on the management side, provides a new hassle-free way managing storage. New applications and tools continually emerge and fall out of relevance, requiring a need to keep on top of trends and recent developments in digital technology and content management.

2.51 S o c ial M e dia

Social media and Web 2.0 has become a major trend that has changed the way in which content is produced and distributed online. Social media has become a standard practice for organisations and businesses to engage with the public and has a main role in online marketing (See 3.5 Marketing). It has also changed the role and relationship with audiences (See 3.1 Audience Relationships) More companies are investing in social media as a means to lower costs in marketing and to receive revenues through advertising. Currently, the most popular social media applications are Facebook, Myspace and Youtube.

S o ci al M e dia S t a ti s ti c s

The most popular RFO (Regularly Funded Organisations) social media sites are: Facebook (45%), Myspace (20%), Youtube (15%), Flickr (7%) and Twitter (3%) (ACE Digital Content Snapshot presentation, MTM London) Facebook had 50.6bn page views compared to MySpace's 45.4bn. The most popular social media sites in the UK: April 2008 [Source: Nielsen Online, May 2008] (Internet Stats Compendium, p.38) 55% of companies spend less than 5,000 per year on social media marketing. Only 4% spend more than 50,000 per year on social media marketing. [Source: Econsultancy / Guava UK Search Engine Marketing Benchmark Report, April 2009] (Internet Stats Compendium) More companies are using social networking for marketing, they are starting to spend more, but generally spend very little. [Source: Hitwise, July 2008] (Internet Stats Compendium) Advertising spending on social networks in the UK is expected to rise 77% to 115m in 2008. [Source: eMarketer, June 2008] (Internet Stats Compendium)
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Over the next several years user-generated content (UGC) will boost website revenue, mainly from advertising. [In-Stat (via eMarketer), October 2006] (Internet Stats Compendium)

2.52 M o bil e T e c h n ol o gy
Mobile technology is becoming the next movement in digital communication as mobile phones become more like mini-computers embedded with audio and video players, and online connectivity allowing for email, chat, and GPS, and mobile applications for games, searches and other new tag-on usability . Communication with audiences can be instantaneous whether the user may be on the street, at home or travelling abroad. Though internet usage on mobile phones is still low, statistics are growing as new mobile phones are emerging with new features and cheaper connection options. Websites are being adapted for mobile usage, preparing for the day when online connectivity will be carried around with every user. According to statistics, mobile phones are increasingly being used for digital entertainment ie. games and other audio/visual experiences.

Digital implies much more than Internet and online activity. It also includes developments in mobile technologies and live media in public spaces. (ACE and NESTA - Seminar Summary, MTM London) the exponential growth in mobile broadband services in the UK in the last 12-18 months has led to the possibility of Internet connection over relatively inexpensive devices such as pre-pay mobile. (Digital Britain, p.36) Mobile will play an important role in developing alternative means of connectivity across much of the country. (Digital Britain, p.63)

M o bil e U s a g e S t ati sti c s

Mobile entertainment however is growing "Music, games and mobile TV will be the major contributors to the global mobile entertainment market which is predicted to rise from just over $20bn in 2007 to more than $64B by 2012. [Source: Juniper Research, Feb 2008]" (Internet Stats Compendium) Although over 70% of the UK's installed mobile phone base is capable of browsing the Internet, the majority of users feel the service is either too expensive, too slow, not practical or, they dont know how to use it. [Source: Deloitte, May 2009] (Internet Stats Compendium) A minority of UK mobile phone owners are currently using the more advanced functions; 11% of mobile phone owners are using the device to access the internet, 7% to send email, and 2% to locate places using GPS. [Source: Ofcom, Aug 2008] (Internet Stats Compendium)

E x a m pl e s

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The frst mobile applications developed by museums and art institutions were released this year by The Brooklyn Museum in New York and The National Gallery in London placing them as digital leaders in the feld.

T h e B r o o klyn M u s e u m C o ll e c tio n A P I (New Y ork , U S ) In March 2009, an iPhone application for The Brooklyn Museum Collection is released for the browsing the collection.
The Brooklyn Museum Collection API is a set of services that you can use to display Brooklyn Museum collection images and data in your own applications. http://www.brooklynmuseum.org/opencollection/api/ The API ofers us a way to share our data in a very democratic waythe work we do on the API can beneft all developers working with our collection onlinenot just major projects coming out of the non-proft sector. http://www.brooklynmuseum.org/community/blogosphere/bloggers/2009/03/04/brooklynmuseum-collection-api/

T h e Natio nal G all ery, ( Lon d o n , U K) The National Gallery releases the Love Art free iPhone application. The app features about 250 art treasures, with videos, audio commentary, zoom-able high-res images, and galleries and themed tours. http://www.it4arts.org.uk/WP/?p=648
The Gallery, in partnership with Antenna Audio and Apple Inc., has designed a new application for iPhones and iT ouch devices that enables people to explore a sample of the collection while theyre on the move [] This Pentimento application, called Love Art, features 250 paintings from the collection along with around 200 minutes of audio and video content, including interviews with National Gallery Director Dr Nicholas Penny, dramatist Robin Brooks, artist Maggie Hambling and Girl with a Pearl Earring author Tracy Chevalier. Making use of special iPhone features such as its large touch-screen, zoom, Rolodex and scrollable menus, Love Art ofers a playful exploration of the collection, together with informative commentaries. http://www.nationalgallery.org.uk/about-us/press-and-media/iphone-application-launch

2.53 C l o u d C o m p u ti n g
Cloud computing is an emerging model for digital content management where applications and storage are outsourced and located remotely. Information can be accessed anywhere with online connection rather solely at home or on an ofce computer. Cloud computing is low cost and saves on storage space, however, it lack fexibility, efciency and security. Combined with mobile technology, the ofce does not need to be fxed to a geographical location nor do colleagues need to be in the same continent.

[ Maybe need more sources re: mobile ofce or security issues]

Cloud computing allows consumers and businesses to use applications without installation and access their personal fles at any computer with internet access. http://www.wikinvest.com/concept/Cloud_Computing
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 The term 'cloud computing' encompasses many areas of tech, including software as a service, a software distribution method pioneered by Salesforce.com about a decade ago. It also includes newer avenues such as hardware as a service, a way to order storage and server capacity on demand from Amazon and others. What all these cloud computing services have in common, though, is that they're all delivered over the Internet, on demand, from massive data centers.
Many chief information ofcers remain concerned about the reliability and security of cloudbased services. In general, CIOs say cloud computing, whether it's software services or additional server or storage capacity, needs to improve a bit before enterprises will adopt on a larger scale. http://www.businessweek.com/technology/content/aug2008/tc2008082_445669.htm In cloud computing, a data centre holds information that end-users would more traditionally have stored on their computers. This raises concerns regarding user privacy protection because users must outsource their data. Additionally, the move to centralized services could afect the privacy and security of users' interactions [] In this context, we must investigate new dataprotection mechanisms to secure data privacy, resource security, and content copyrights. (Cloud Computing: Distributed Internet Computing for IT and Scientifc Research, http://www.cs.ucy.ac.cy/~gpallis/publications/journals/editorial.pdf) ..we have no desire to buy and maintain lots of computers and software. If we can let someone else worry about the basic technology, we can focus on the publishing. Any businessperson can see the logic of that. The fip side, though, is that you're dependent on someone else for your technology, and that can limit your fexibility and even your creativity. http://technology.timesonline.co.uk/tol/news/tech_and_web/article3874599.ece

E x a m pl e
Google Apps is a prime example of cloud computing that is freely accessible to the public. All applications and information and be stored and shared via an internet connection.

G o o gl e Ap p s Google's web-based messaging and collaboration apps require no hardware or software and need minimal administration... http://www.google.com/apps/ 2.6 S u s t ai nability
Sustainability of digital content becomes a major issue as new media and formats change and existing ones become obsolete. In archiving, digital content will continually need to be transferred into new formats, requiring a large amount of administration. Standardisation helps ease difculties in transferring formats, however, new higher quality formats are constantly emerging and replacing existing standards.

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In considering the suitability of particular digital formats for the purposes of preserving digital information as an authentic resource for future generations, it is useful to articulate important factors that afect choices. The seven sustainability factors listed below apply across digital formats for all categories of information. These factors infuence the likely feasibility and cost of preserving the information content in the face of future change in the technological environment in which users and archiving institutions operate. They are signifcant whatever strategy is adopted as the basis for future preservation actions: migration to new formats, emulation of current software on future computers, or a hybrid approach. http://www.digitalpreservation.gov/formats/sustain/sustain.shtml Digital content must be formatted in order to be usable. The datawhether text, image, sound or videomust be given a structure and stored in a fle. There are now vastly larger amounts of information created in a greater variety of formats than ever before, making it increasingly difcult for libraries to identify what is of value and ensure its longevity over time. http://www.digitalpreservation.gov/library/challenge/sustainability.html

C a s e S t u dy: F r e e M u si c Ar c hiv e
Right now all our content is high quality mp3, 192kbps or higher. We try to go for 256 standard. Were also trying to prepare for the day that theres a new format that becomes the standard format and its cheaper storage bandwidth and everything. A lot of people saying hey you should use Ogg Vorbis! or an open source format thats not proprietary, which would ft our mission but the fact is this is a content thats the most easily accessible to the greatest amount of people so were going with mp3 and were prepared for the day maybe a new format comes along and takes mp3s place. (Jason Sigal, Free Music Archive)

2.7 Ar c hiv e s
Archiving digital content and new media art has become a major concern due to issues of sustainability. Archives and online libraries act as tools for research, education and learning forming a public resource for knowledge. Archives organise masses of digital content including sounds, videos, texts and artworks allowing users to search and select materials as they desire. Metadata permits users search according keywords, tags, and categories. Open source archives provide free content for download and creative use. Sites like Archive.org allows for users to archive their own digital content that is freely available online opening up to new creative possibilities.

N e w M e dia Art Ar c hiv e s G a t e way t o Ar c hiv e s o f M e dia Art (GAMA) GAMA was presented at Ars Electronica 2009.
The aim is the establishment of a central platform to enable multilingual, facilitated and userorientated access to a signifcant number of media art archives and their digitalised contents.
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The archives show a range of provenances refecting diferent approaches and concepts with regard to archiving media art. The consortium includes archives from: ARGOS center for art & media (Belgium), Ars Electronica (Austria), C Center for Culture & Communication (Hungary), Filmform (Sweden), Heure Exquise! (France), Les Instants Vido (France), Netherlands Media Art Institute / Montevideo, and SC CA-Ljubljana (Slovenia) http://www.gama-gateway.eu/

N e t h erlan d s M e dia Art In s tit u t e / M o n t e vid e o , (A m s t er da m , N L) Montevideo is a major media arts institution based in Amsterdam. The host one of the largest video and media archives that attempt to address some of the issues of preservation.
In recent decades, artists have increasingly incorporated the use of media and technology into their artworks. This has presented a vast array of new preservation challenges, as exhibition formats and media rapidly become obsolete with evolving technologies. Without strategies for preservation, many of these art works will be lost to future generations Since video emerged as an artist's tool in recent decades, an explosion of media formats have served as the catalyst for a broad array of independent media and art. With each new artistic or technical development comes a preservation challenge. Exhibition formats and media rapidly become obsolete with evolving technologies and as the worlds of art and media change, the preservation and conservation worlds change with them. http://www.montevideo.nl/en/

R h i z o m e Art B a s e Founded in 1999, the Rhizome ArtBase is an online archive of new media art containing some 2504 art works, and growing. The ArtBase encompasses a vast range of projects by artists all over the world that employ materials such as software, code, websites, moving images, games and browsers to aesthetic and critical ends. http://rhizome.org/art/ F r e e an d O p e n S o u r c e Ar c hiv e s U B Uweb UBUweb is a renowned online resource for sound content that has become a highly regarded research and information site for sound practice and art.
UbuWeb embraces non-proprietary, open source media. As such, most of our newer fles are encoded in the more universally readable MP3 format. However, when a recording is still in print and available, we only serve it in streaming RealMedia; we don't wish to take whatever small profts might be made from those taking the eforts to gather, manufacture and properly distribute such recordings. Instead, we hope that by streaming these works, it will serve as an enticement for UbuWeb visitors to support the small labels making this work available. http://www.ubu.com/sound/index.html

F r e e M u si c Ar c hiv e The Free Music Archive is a new project launched in 2009 by underground radio station WFMU. It aims to provide free high-quality music that is selected by a growing community of curators. It

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aims to archive music that has fallen into the public domain and rare and exclusive music that is difcult to access. The Free Music Archive is an interactive library of high-quality, legal audio downloads. The Free Music Archive is directed by WFMU, the most renowned freeform radio station in America. Radio has always ofered the public free access to new music. The Free Music Archive is a continuation of that purpose, designed for the age of the internet. http://freemusicarchive.org/

Ar c hiv e . org Archive.org aims to archive the internet and is open to the public to upload and archive sounds, video and even every version and change of a websites.
Libraries exist to preserve society's cultural artifacts and to provide access to them. If libraries are to continue to foster education and scholarship in this era of digital technology, it's essential for them to extend those functions into the digital world. http://www.archive.org/about/about.php

2.8 Int ell e c t u al P r o p e rty

The internet has introduced a whole feld of debate in intellectual property with regards to digital creative content distribution. It has overturned the music industry with the main culprit of piracy and fle-sharing posing commercial concerns for distributors, labels and artists. Attempts to resist fle-sharing have proven futile as corporate bodies struggle to retain commercial viability. The nature of the internet supports freedom of content, opening up new gateways for knowledge and creativity . This section outlines some of the arguments over intellectual property from protectionist views to values in free and open source content. The following section, (See 2.9 Revenue Models) describes some new commercial possibilities ofered by the internet that simultaneously permits notions of free.

P r o t e c ti o ni s t Vi e w
There is now a growing expectation that content can be found and shared for free. There is a corresponding resistance to paying for content, or accepting that an inability to pay means an inability to access the content This has afected diferent sectors to diferent extents; music is most exposed. Film, games, broadcasters and the publishing industry are also increasingly being afected. (Digital Britain Interim Report, p.41) What worked in the physical world will often not work online, and rights holders must fnd new partners, and new ways of creating value from their Intellectual Property. (p.40) Copyright is vital for our content and communications industries. It is the framework through which people can protect their creations and seek reward. Our aim, in the rapidly changing digital world is a framework that is efective and enforceable, both nationally and across borders. But it must be one which also allows for innovation in platforms, devices and applications that make use of content and that respond to consumers desire to access content in the time and

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manner they want, allowing them to use it how they want, and at a price they are willing to pay. (Digital Britain Interim Report, p. 39)

What s h o u l d b e pr o t e c t e d ?
First, it is essential for economic dynamism to have some clarity about what is best protected and what should be freely available. As a rough guide, certain fundamental classes of knowledge need to be available to encourage invention, for example the sequence of the human genome. Other creative practices cannot survive unless their value is protected, for example, patents, books, flm, music and sport. (After the Crunch, p.18) The old models of exploitation and enforcement are utterly redundant. How can we force the pace to fnd new ways through? A stronger commitment from government? An open-source forum? Can we get government, fnance, academia, creative producers and consumers to work together for a solution? (After the Crunch, p.98)

C r e a tiv e C o m m o n s / F r e e C u l t ur e / F L O S S
The FLOSS (Free Libre Open Source Software) and Free Culture movement emerged in support of the freedom of digital content and creativity through values in the sharing of knowledge and collaboration beyond notions of authorship. A number of licenses have emerged such as Creative Commons and the Free Art License, which allows artists to specify usage and accreditation of their work rather than a blanket license which restricts all copying. This liberates content from restrictions from outmoded legislations opening up creative possibilities through remixing.

C r e ativ e C o m m o n s / F r e e Art L i c e n s e s We work to increase the amount of creativity (cultural, educational, and scientifc content) in the commons the body of work that is available to the public for free and legal sharing, use, repurposing, and remixing. encouraging the free sharing of creative work and content. Creative Commons licenses enable people to easily change their copyright terms from the default of all rights reserved to some rights reserved. http://www.creativecommons.org
French license, The Free Art License grants the right to freely copy, distribute, and transform creative works without infringing the authors rights. The Free Art License recognizes and protects these rights. Their implementation has been reformulated in order to allow everyone to use creations of the human mind in a creative manner, regardless of their types and ways of expression. http://artlibre.org/licence/lal/en/ The philosophy to "share ideas liberally" defes the age-old instinct to keep ideas secret. However, the creative person's tendency to jump from idea-to-idea-to-idea causes most ideas to die in isolation. Creative professionals should take every opportunity to communicate new ideas broadly, seek feedback, and develop a sense of accountability. http://www.behancemag.com/Tip-Share-To-Make-Ideas-Happen/5549

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F r e e C u l t ur e S t u d e n t s for Fr e e C u lt ur e Students for Free Culture (SFC) is a diverse, non-partisan group of students and young people who are working to get their peers involved in the free culture movement. A free culture is one where all members are free to participate in its transmission and evolution, without artifcial limits on who can participate or in what way. The free culture movement seeks to develop this culture by promoting four things: creativity and innovation; communication and free expression; public access to knowledge; and citizens' civil liberties.
http://freeculture.org/

F L O S S (Fr e e L i br e O p e n S o u r c e S o f t war e)

FLOSS is software that allows for access to the source codes, which permit users to adapt the tools. The tools are collectively produced and improved within a common domain, where knowledge is built and shared. Versions of the software are distributed freely online making the tools accessible to anyone with a computer. Commercial software require continual maintenance and expensive upgrades. The downside to FLOSS is that they often carry bugs from amateur coders and sometimes lack in sophistication in function and design to commercial software. FLOSS provides a free and egalitarian option in digital creation opening up possibilities in youth and community learning projects.

A u da city Audacity is free, open source software for recording and editing sounds. Audacity is free software, developed by a group of volunteers and distributed under the GNU General Public License (GPL). http://audacity.sourceforge.net/ P u r e : dyn e Pure:dyne is a freely downloadable bundle of FLOSS software that is continually updated. It provides a collection of free software from word processors to video editing, sound and coding software.
pure:dyne is an operating system developed to provide media artists with a complete set of tools for realtime audio and video processing. Simply boot your computer using the live CD and you're ready to start using software such as Pure Data, Supercollider, Icecast, Csound, Fluxus, Processing, Arduino and much much more. pure:dyne is developed by artists, for artists. Our primary users are people like us media artists who build all kinds of creative projects [] We use artist as a broad term for anyone who is doing or wants to do something creative using their computer. http://code.goto10.org/projects/puredyne/

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Ad ditio n al L i n k s
Free Culture by Lawrence Lessig http://www.free-culture.cc/ Free/Open Source Software, Open Content by Lawrence Liang http://www.apdip.net/publications/fosseprimers/foss-opencontent-nocover.pdf

F air U s e

Fair use of copyrighted material is considered when the work is used to encourage creativity or to enrich the general public. The work must be transformative rather than derivative of the original. Non-proft or educational uses of content can also be considered as fair use. http://en.wikipedia.org/wiki/Fair_use Educational or non-proft use of material can also be considered fair-use. Additionally, there are methods in the use of user-generated content through disclaimers and clear take-down procedures that constitutes use of online content as 'fair use'.

C a s e S t u dy: F r e e M u si c Ar c hiv e What we're trying to do by giving artists their own accounts is take the responsibility of of our shoulders and put it on the artists' shoulders saying 'you picked the content, [and] by checking this box you're certifying that you have the right to upload the material. But by doing things that way, we feel that we qualify for safe harbour under the Digital Millennium Copyright Act. It's the same thing that protects Youtube, Myspace and Last.fm.
You just put on your terms that you comply with the DMCA and you have a system for dealing with take down requests and just show that you are serious about taking down content as soon as somebody requests to take down the content. (Jason Sigal, Free Music Archive)

2.9 R e v e n u e M o d e l s
Alternative models of income generation are emerging as it is becoming generally accepted that digital content should be openly accessible or free. Commercial revenue models including e-commerce/web ticketing, content licensing, subscription models, to various third party means of income generation. This section outlines some of the emerging models as well as practices in the non-proft sector in online fundraising.

Ecommerce / Web Ticketing Models Content Licensing Models Subscription / Membership Models Cross Subsidies Models Third Party Models Social Business / Free Model
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Fundraising Models

E c o m m e r c e an d We b Ti c k e tin g M o d e l s
For most arts organisations, e-commerce is unlikely to be quoted as the primary purpose of their website. However, some are recognising that, as purchasing tickets is the preferred activity of the majority of their users, they need to focus the functionality of their site around this. (A Practical Guide to Developing and Managing Websites, p 73)

C o n t e n t L i c e n si n g M o d el s P h ila har m o nia Philaharmonia provide free high quality online video content that is partially supported by further back-end licensing of materials. Revenue from production is returned through royalties received for for the use of the flm.
We're doing a bit of licensing for our flm-making. If we make a flm about an artist, asking the artist agent to pay for some of that cost and then allowing them to use that flm to promote the artist [] Players give up their rights in return for royalties if we use it for anything that makes a proft. Players sign an agreement. They have a royalty payment if we manage to sell that footage [] There are kind of means to make a bit of money back, but it's not really self-sustaining. (Richard Slaney, Philaharmonia)

S u b s c riptio n / M e m b er s hi p M o d el s
The New York Times will stop charging for access to parts of its Web site, efective at midnight tonight. The move comes two years to the day after The Times began the subscription program, TimesSelect, which has charged $49.95 a year, or $7.95 a month, for online access to the work of its columnists and to the newspapers archives. The business model for advertising revenue, versus subscriber revenue, is so much more attractive, he said. The hybrid model has some potential, but in the long run, the advertising side will dominate. The Financial Times charges for access to selected material online, much as The New York Times has. The Los Angeles Times tried that model in 2005, charging for access to its arts section, but quickly dropped it after experiencing a sharp decline in Web trafc. (http://www.nytimes.com/2007/09/18/business/media/18times.html, September 2007)

Fre e miu m Freeimum / free: Web software and services, some content. Free to whom: users of the basic version cost increments for pro or premium versions. (Free! Why $0.00 Is the Future of Business, http://www.wired.com/techbiz/it/magazine/16-03/f_free?currentPage=all) E x a m pl e S p o tify Free: Financed by advertising, the free version of Spotify is the place where most people start.
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Simple to download and install, in no time at all youll enjoy having all the music in the world at your fngertips, instant access to whatever song you want with no restrictions, and the ability to create and share playlists with friends. Day Pass: 0.99/24hrs - No recurring fees. No advertising. Just you and your favourite music. You might be planning a romantic dinner for two, or partying with friends into the early hours of the morning. A day pass is ideal for the casual Spotify user who decides that all they want right now is music. Premium: 9.99/month is a Spotify Premium member you get unlimited access to a world of great music without advertising, plus the ability to stream at a higher bit rate of 320kbps, so you can listen to all your favorites in hi-fdelity. Premium members can be frst to listen to new albums before they go on open release, get entry into exclusive ticket lotteries and VIP competitions and take advantage of unrestricted travel access, meaning you can listen to all your music whenever you want, wherever you want. http://www.spotify.com/en

M e m b e r s hi p E x a m pl e R hizo m e Rhizome ofers two levels of engagement: Users: Free, Members: $25US/year. Membership gives access to archive resources, discounts and additional tools and information resources and voting privileges for commissioning projects. They also ofer Organisation Memberships ranging from $250US to $5,000US depending on the number of users and size of the orgnaisation. Membership is one of their main sources of income. http://rhizome.org/support/individual.php C r o s s S u b si di e s M o d el s C r o s s S u b si di e s What's free: any product that entices you to pay for something else. Free to whom: everyone willing to pay eventually, one way or another. Free music online, packed shows.
"You'd get one thing free if you bought another, or you'd get a product free only if you paid for a service." (Free! Why $0.00 Is the Future of Business, http://www.wired.com/techbiz/it/magazine/16-03/f_free?currentPage=all) Smart companies know giving away freebies is a great way to lure in customers. Look at Apple. They ofer iT unes software for free in order to build demand for the iPod and the iT unes music store. (http://gettingreal.37signals.com/ch12_Free_Samples.php)

E x a m pl e ' H o w C a n a C D b e F r e e ?' In July 2007, Prince released his CD to be bundled with the purchase of London's Daily Mail newspaper to help promote his upcoming performances. The partnership was mutually benefcial in that the free CD boosted purchase of Daily Mail. Prince received royalties from licensing his music to the newspaper, while making up the revenue in sold out performances. (http://www.wired.com/techbiz/it/magazine/16-03/f_free_prince, Feb 2008)
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T h ir d P arty M o d el s
Online content though seemingly available for free is often subsidised through third party means such as advertising, where clicks or views on a page help generate income for the site from advertisers. Websites can additionally sell data generated from user activity on the site for market research, which maintaining free access and use of services.

T h ir d P arty S y s t e m "A third party pays to participate in a market created by a free exchange between the frst two parties. (Free! Why $0.00 Is the Future of Business, 2008)
Advertising - What's free: content, services, software, and more. Free to whom: everyone. Investors pay-per-click, pay-per-transaction, pay-per-view or post. (Free! Why $0.00 Is the Future of Business, http://www.wired.com/techbiz/it/magazine/16-03/f_free?currentPage=all)

E x a m pl e G o o gl e Ad S e n s e Display targeted Google ads on your website's content pages and earn from valid clicks or impressions.
Allow your users to search your site or the web, and earn from ads on the search results pages [] Earn revenue by displaying targeted text and image ads in your feed content, wherever it's viewed. https://www.google.com/adsense/login/en_US/

Labour Ex c hang e Labor exchange - What's free: Web sites and services. Free to whom: all users, since the act of using these sites and services actually creates something of value. - Using a site generates values i.e. google411 - user information sold as market data (Free! Why $0.00 Is the Future of Business, 2008) S o ci al B u s i n e s s / F r e e M o d el s Z er o Mar ginal C o s t Zero Marginal Cost - What's free: things that can be distributed without an appreciable cost to anyone. Free to whom: everyone. - acceptance that art/music is a non-lucrative business. (Free! Why $0.00 Is the Future of Business, 2008)
Run on limited resources and you'll be forced to reckon with constraints earlier and more intensely. And that's a good thing. Constraints drive innovation. (Chapter: Fund Yourself) http://gettingreal.37signals.com/ch02_Fund_Yourself.php

Gift E c o n o m y Gift Economy - What's free: the whole enchilada, be it open source software or user-generated

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content. Free to whom: everyone. Freecycle, Wiki (for greater good) (Free! Why $0.00 Is the Future of Business, 2008) The Web has spawned a new breed of community-based networks creating social markets for goods and services. For example, nonprofts like worldwide 'gifting movement' Freecycle reduces landfll by connecting people who want to throw things away with people who are happy to take it of their hands. Or Channel 4 Landshare which links people who want to grow their own food to land they can grow it on. (All together now: from social media to social good, NESTA, http://www.nesta.org.uk/all-together-now-from-social-media-to-social-good-essays/) There is a new kind of business emerging which aims to do well by doing good from the start and generate a social as well as an economic return for investors. As a result, new kinds of cooperative resources can be found online that help support this growing sector. Xigi.net, which is building a database of emerging social capital markets and communities around social, ethical and environmental investment funds, is one. (All together now: from social media to social good, NESTA)

F u n drai sin g M o d el s
The internet ofers a range of possibilities in fundraising in the non-proft sector. Social media has become a way of facilitating donations giving access to a wide network and public. Online micro-donations can be an efective means of generating income by making it easy and accessible to donate. Gifts and prizes help generate interest in donation.

Mi cr o -d o n atio n s There are also emerging network-based models like the 'Twestival' event which recently mobilised Twitter communities around the world to host fundraising events in 200 cities where 10,000 people collected over $250,000 for charity, much of it donated on Twitter using the micro-payment service Tipjoy. (All together now: from social media to social good, NESTA) T h e C o m m u ni ty F o u n d atio n , ( De tr oit . U S ) Donors were to log on to www.cfsem.org and give from $25 to $10,000 to individual arts groups ranging from large institutions like the Detroit Institute of Arts and the Detroit Symphony Orchestra to grassroots organizations like the Northville Art House. The foundation would match 50 cents for every dollar, and the challenge was to end when the foundation money was gone. http://cultureshockpdx.blogspot.com/2009/08/money-idea.html C a s e S t u dy: R h iz o m e Every fall, Rhizome hosts a three-month community campaign or fundraiser that lasts until New Years. Each year they have target monetary goals. The community campaign is an online campaign. For higher level donors, artists are asked to make limited edition artworks. For instance last year.. we gave out ringtones to people who donated $50-$100.. each level of donation gets a diferent limited edition artwork. Hasty remarks last years community campaign email portion was very successful (Nick Hasty, Rhizome) C a s e S t u dy: F r e e M u si c Ar c hiv e WFMU independent radio station in New Jersey USA is funded and supported by donations from listeners. By providing good public service, WFMU have built a dedicated fanbase to support the station by an annual fund-drive. WFMU does just one week a year of fund-raising
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every year a million dollars [] But a big part of the incentive is we come up with a really unique gifts like every DJ makes their own premium item where if you donate a certain amount to that person's programme you get a special custom gift that's often actually a mix CD with rare hard to fnd material. (Jason Sigal, Free Music Archive)

K ey p oint s

Online community campaigns Micro-donations Gifts / Prizes

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3.0 H o w h a s t hi s aff e c t e d t h e art s ?

In section 2.0, we saw the growing role of the digital in policy and education as well as emerging trends in social media and mobile technology. The internet has changed business practices raising issues in content management, archiving, intellectual property and income generation. The following section looks at how these implications have impacted the arts in growth of new audiences, and outlines some of the emerging practices in digital delivery, marketing and funding.

3.1 A u di e n c e R e latio n s hi p s

Social media opens new possibilities to engage with new kinds of audiences. Audiences are now able to interact and participate in curating and content creation. The role of producer and audience are blurred allowing for new considerations of institutional practice. Relationships with audiences become a collaborative process that is fuid and on-going. Audiences now become active participants where every opinion, idea and vision contribute to a larger concept or project.

The role and concept of audience is changing Social media and digital devices create new opportunities for users to participate and collaborate User generated content (shaky camera content) is increasingly important alongside professional content. (ACE and NESTA - Seminar Summary, MTM London) The roles of artists or curators as authors is changing and it's very much more about a collaborative process with the audience. I think that it's again it's something that doesn't ft into the traditional cultural institutions' ways of working. It's a much more on-going and evolving process. The increasing variety of options for consumers to access media content has led to the multiplication of audiovisual services ofered and the fragmentation of audiences. New technologies have enabled improved consumer participation. The traditional passive consumption model has been gradually turning into active participation and control over content by consumers. (EU Broadcasting Communication, p.3-4) All the creative potential that comes from social media comes from gathering interesting people together to do interesting things regardless of what the tools are, the power is in the people themselves and their creative ideas and just making interaction easier so something that we're very excited about. (Jason Sigal, Free Music Archive) The power is just in getting the people the source material and reaching a lot of people with this fun little project and see what they do with it more than in the social tool itself. (Jason Sigal, Free Music Archive)

P u bli c a s C u r at or

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Web 2.0 refers to a perceived second generation of websites, one where the users are not just spectators browsing information created for them, but can participate by creating, sharing and curating content. (Web 2.0 for the Museum, http://www.sumodesign.co.uk/our-views/web-2-0for-the-museum.html) 'Gems of the Collection: Community as Curator' was 'curated' by local residents by answering a survey that the museum had produced. (Public as Curator, Michelle Kasprzak, http://www.curating.info/archives/16-Public-as-curator.html) The next generation of museum visitors are no longer happy to just consume content curated for them by experts; they want a museum experience that is relevant to them and their interests. This approach has been dubbed Generation C the generation who want to create their own content. For the museum sector, it would be more relevant to call them Generation Curator they want to be the Curator [] While the idea of Generation Curator might appeal to young people, this cult of the amateur raises an important question for museums about their role as trusted experts and how this can be balanced against the creative output of the masses. Though the Web 2.0 culture is one in which everyone can curate content, this does not replace professional curators nor the position of the museum as experts, but instead sits alongside professional content to compliment it where appropriate. (Web 2.0 for the Museum, Sumo Design)

E x a m pl e Tat e Tate strategically spring-boarding existing social networks to reach out to the public was their innovative use of photo sharing website Flickr for their 2007 exhibition How We Are Now. Tate Britian used Flickr to invite members of the public to contribute photographs which illustrated one of the four themes: portrait, landscape, still life or documentary. Over 6,000 images were entered through Flickr by over 3,000 individuals, of these 40 photographs were selected to be exhibited alongside work by William Henry Fox Talbot, Tom Hunter and David Bailey. As well as the 40 images selected to be part of the exhibition, all the entries were shown on screens in the gallery, giving anyone who participated the opportunity to see their work on display in Tate Britian. http://www.tate.org.uk/britain/exhibitions/howweare/slideshow.shtm K ey P o i n t s

The role of audience is changing to be more participatory and collaborative Amateur production and user-generated content becomes important in producing new forms of knowledge Audiences can now participate in decision-making and leading institutional practice Social media, polls, surveys and open calls allow for audience participation

3.2 L e ar ni n g an d P arti cipati o n

Social media, online participatory projects and competitions engage audiences in learning and creative practices with digital tools. Games can also contribute to learning with young people by developing skills and interest in digital art and music.

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The internet makes learning resources such as archives of audio/visual content, tutorials, and wikis widely accessible. This section outlines a few examples and practices of learning and participation with digital technology including professional development projects and interactive events. [Example of an educational game?]

Ga m e s
Console games may provide an entry point into music for young people who struggle to fnd the music that they love played or taught within the mainstream curriculum. (Why Console Games, p.12) Music-games can introduce young people to many of the skills required to play other instruments (such as dexterity, inter-limb co-ordination, hand eye co-ordination, pitch and rhythm), however, the transferability of these skills is currently limited. Console-based music tools are more successful at introducing transferable skills for music technology (such as sampling, step-edit sequencing and piano-roll arrangement).(p.12) New and up-coming innovations in music-games will greatly increase the potential of creative music making in gaming. (p.12) ..consoles could be a good way into music for young people with lower incomes and that music-based console games, or music-making tools may ofer something to young people whose interests were not widely served by mainstream music education. (p.15) ..games other than music-games can lead young people into having a greater enthusiasm for music. (p.17)

O nlin e R e s o ur c e s : P h ila h ar m o nia Philaharmonia has an online resource of flms that teach people how to play an instrument. We've got hours and hours of flm on how to play instruments from low level to high level. Like a library of resources and it's free to access [...]We also have a free library of sound samples that we give away. 17 000 individual notes. They can download it and use it royalty free. (Richard Slaney, Philaharmonia) C o m p e titi o n s: Ti ny S k e t c h Tinysketch is an open competition by Rhizome to engage young people in creating works with the programming language Processing. Artists and programmers are asked to create a work with a sketch code of 200 characters or less with a prize of $200US. http://rhizome.org/tinysketch P r o f e s si o n al D e v el o p m e n t: T h e D i gital Arti s t H a n d b o o k The Digital Artist Handbook, a project initiated by Folly, is an online resource of written articles of free and open source software. Articles in the handbook are written by experts in the feld internationally. As an online resource, the handbook will be continually added to and updated to maintain its relevance as software development is constantly changing. A programme of touring workshop sessions is developed to complement the handbook. Sessions tour across the country to introduce artists to work with these tools and show them how they can be creative with software or the computer, whether its for sound, moving image, games or coding. Workshops are free one-day intensive experiences that focus on a particular topic or area or digital. The handbook provides longer term support for learning and professional development. Programme Manager, Jennifer Stoddart explains that open source technology is very much community focussed, where people learn through sharing with each other rather than
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an instruction book. Stoddart says, It's not an instruction book it's about the why and the how you can go about it in terms of getting involved rather than instructions on how to use the piece of software. (Jennifer Stoddart, Folly) http://digitalartisthandbook.org

Int era c tiv e E v e n t s: P o rtal P ix el P laygr o u n d Portal Pixel Playground is very much a family friendly initiative and it's about getting families, young people, young kids involved in playing with physical/digital artworks. And that's a touring playground, but a playground which is made up of interactive art, which tours Lancaster and Cumbria and also gets invites to tour across the country as well [] It's a playground and it's about having fun and it's about getting involved with technology in diferent ways, more than trying to be the sort of exhibition that would go in a white cube. (Jennifer Stoddart, Folly) D ial o g u e
I think it's about breaking down some of the barriers the traditions that have always existed so where as before a gallery or museum would have a an exhibition programme, they would have an education programme, and they sort of co-existed but they would basically run separately . This doesn't really mean anything in the sort of work that we do. It's all one thing basically, so I think there has got to be a more crossover and not just a sort of a cursory 'ok we've got this exhibition on and we've got this education programme alongside of it. It's got to be a lot more together and integrated.(Jennifer Stoddart, Folly)

K ey P o i n t s

Games in learning Online archives and resources Online competitions Collaborative online platforms / Wikis Interactive events

3.3 K n o wl e d g e Tran s f er
Knowledge transfer is a means to bring knowledge and skills from academia into practical application in the professional world. Collaborations with art colleges and institutions opens up creative possibilities in research and education. Knowledge transfer initiatives ofer funding opportunities for projects that are mutually benefcial. Arts organisations can explore critical and emerging ideas in academia, while academics have a platform for their research. For the arts sector, knowledge transfer ofers opportunities to develop relationship and support structures for creative programming with academic institutions.

T h e T e c h n ol o gy S t rat e gy B o ar d "Our approach is summed up in the words connect and catalyse. Much of our work is in spreading knowledge, understanding policy, spotting opportunities and bringing people together to solve problems or make new advances. We also invest in and manage a range of delivery mechanisms and programmes to drive technology-enabled innovation. To guide our work we have identifed technology areas and application areas where eforts are focused, with Innovation Platforms targeting specifc areas of challenge." http://www.innovateuk.org L o n d o n C e n tr e f or Art s an d C u lt ural E x c h a n g e ( L C A C E ) London Centre for Arts and Cultural Exchange is a consortium of nine universities. It was established in 2004 to foster collaboration and to promote and support the exchange of
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knowledge between the consortiums partners and Londons arts and cultural sectors. http://www.lcace.org.uk/

3.4 D i gital D e liv ery M o d el s

Digital delivery can take the form of three basic models of content distribution: Broadcasting, Publishing and Social Networking. This section outlines a few key examples of each model. Often digital organisations will involve various levels of use and combination of each model.

3.41 B r o a d c a s ti n g M o d el s

Broadcasting involves streaming audio/visual content as online radio or television media without the need to download. With improving connection speeds, online audio/visual can be longer in length and higher quality. Broadcasted material can be archived online with interactive features for users to search, comment, favorite and share with others. Online broadcasting allows users to select materials and customise playlists, while popular or featured videos are highlighted on the main page. Podcasting allows for streaming of pre-recorded audio materials, which are sometime also available for download.

Vid e o S t r e a mi n g

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FA C T . T V Fact.TV is an online video platform for FACT Liverpool to present events, exhibitions and interviews in high defnition that can be shared and viewed via playlists. The page is simply searchable through channels, categories and indexes. The front page highlights feature videos and most viewed and popular videos. Ratings and comments are also integrated onto the site. http://fact.tv/ Tat e D i gital T V C h a n n el According to the Tate's media director, Will Gompertz, Tate Channel will have three main aims: to create their own programmes, allow audiences to contribute and respond to the channel and make accessible archive material that was not previously available.
The galleries are currently commissioning about 30 hours of content. They are approaching a number of the Tate's artists to work on programmes similar to Tate Shots, a series of videos on contemporary art, and Three Minute Wonder, last year's collaboration with Channel 4 in which the Turner prize fnalists talked about their works. "Ideally, we would make documentaries with every single living artist in our collection, from Chris Ofli to Louise Bourgeois," says Gompertz. "The trick is in getting the right people to make them." The project is funded by Tate Resources, in partnership with Arts Council England, Channel 4 and the BBC. Gompertz hopes that "the channel will be able to cover the arts in depth in a way that neither the BBC or Channel 4 can. (http://www.guardian.co.uk/artanddesign/2007/jun/06/art2 , The Guardian, 6 June 2007)

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Vi c e T V Started as a magazine nearly 15 years ago VICE has also evolved into a web broadcasting platform, producing videos and documentaries for their online platform ViceTV or VBS. The website features: Staf picks, Most popular, Archive and user-customization such as playlists and favorites as well as comments and ratings for the videos. There are several categories including: Culture, News, Music and Sports that are closely linked with the magazine and blog.
VBS is an online broadcast network that streams free original content 24 hours a day. We carry a mix of domestic and international news, pop and underground culture coverage, and the best music in the world. http://www.vbs.tv/

R a di o S tr e a mi n g an d P o d c a s tin g LastFM LastFM functions as an online radio as well as social networking site, where users can listen to music from particular artists and play tracks from similar or related artists. Users can select stations by artist or by genre and favourite or share artists with friends. Artists can also create a profle and upload music to the site. http://www.last.fm R e s o nan c e F M ResonanceFM live radio streams online and also features podcasts with a number of channels and programmes to choose from. According to MTM London, Resonance.fm is an example of a new generation of low cost, cross-platform public service content providers. http://resonancefm.com Art C a s t ArtCast is folly's platform for public access to new and innovative art, exploring the creative potential of the podcasting medium. This platform is a place especially for the podcasting of art itself, acting a little like a virtual gallery space, as an alternative to the many interviews, reports and documentaries which are podcasted by other arts organisations and entertainment web sites. Released at intervals throughout the year, since folly frst experimented with podcasting in 2006, six podcast series are now available to stream or download. http://folly.co.uk/artcast

3.42 P u bli s hi n g M o d el s
Traditional printed media i.e. newspapers and magazines are moving online with articles, video, podcasts, and blogs that allow users to comment, share and favorite content. Other media remain entirely online with articles and content that are regularly published. Blogs allow for a proliferation of amateur publishing.

C a s t Yo ur Art Berlin-based online publication featuring blogs/articles, videos and podcasts that can be freely downloaded to your iT unes or mobile phone.
CastYourArt produces and presents podcasts about art and art-related themes. In our podcasts, we would like to create access to museums, galleries, and festivals; to artists and players in the art world, for people who are inspired by and interested in art. http://www.castyourart.com/en/

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Ti m e o u t Timeout is a printed magazine, but also has an extensive website for event listings and tips for shopping, sport, travel, fat hunting and more. F ri ez e Ma g azin e Frieze is a printed magazine but also hosts a blog, archive of articles with video and images that can be accessed via subscriptions. N e w s pa p e r s Newspapers are moving online i.e. New York Times features video streams, podcasts, slideshows and special annotated and transcribed videos of important speeches (i.e. Obama inauguration etc). Now includes interactive graphs or timelines, comments for audience feedback, blogs from writers, share features etc. http://www.nytimes.com/ O nlin e M u si c P u bli s hin g D u s t e d Ma g azin e Dusted Magazine runs features, reviews and charts and information on labels for independent and new music. Dusted magazine is updated daily and is run on a voluntary basis. http://www.dustedmagazine.com/ P i t c h f ork M e dia Began as an online publication of review of independent music and has been credited to the success of particular indie, and post-rock artists. The website has grown to include online podcasts ('forkcasts') and Pitchfork TV. http://pitchfork.com/ Blogs Music blogs have become a major resource for new music. Amateur writers and music critics can easily setup and publish their own reviews and discoveries often posting up downloads and samples of music. Blogs can easily link to other blogs, sites and media, which begin to form a network and a chain of pathways to other similar artists or labels. E x a m pl e 20 Jazz F u n k Gr ea t s 20 Jazz Funk Greats is a Brighton-based music blog that has gaining an international following for underground music from psychedelic, noise, rock, to electropunk. Blogs are short features on artists or rare vinyl discoveries and provide downloads or steam of a track for listening. http://www.20jazzfunkgreats.co.uk 3.43 S o c ial N e t w orkin g M o d el s

Social networking platforms are used to build online communities and connect people together through shared interests. They allow for the sharing of work and generating feedback and dialogue. Social networking models can be used for both seeking out business as well as fnding new friends or collaborators. They can provide a space to engage within a community of like-minded creatives.

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C e n tral S t atio n Central Station is a space where artists, flm-makers and designers can talk about their process, showcase their work, share tools and tip, access resources.
Members are part of an online community . They have their own showcase area including unique web address, plus the opportunity to get involved in events, projects and discover hidden gems in the collections part of the site. Our target users are creative people who are looking for a place where they can talk to their peers, share work and resources, access information and profle themselves. Central Station will also appeal to people who are interested in the arts, flm and design. Central Station aims to broaden, deepen and widen engagement with contemporary art, flm and design. The project encourages creative people to use online technology and share their work with each other and new audiences. We hope to encourage cross-discipline, collaborative practice. We hope to give people the space to discuss process, share resources and profle what they're making in a safe and easyto-use environment. http://www.thisiscentralstation.com

S h o o tin g P e o pl e Shooting People is a social networking platform for supporting and promoting independent flmmakers primarily in the US and UK to get advice about work in the industry, to video shorts and music videos, to fnd out about deadlines for festivals and funding opportunities, to present and show your flm online. Internet ofers a cheap platform to get work out to the world. http://shootingpeople.org

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Vi m e o Vimeo is a amiable alternative to Youtube for a niche community of artists and creative practitioners to share their work. The site is also a social networking site for artists, but aims to provide a platform for video content, and self-created video artworks.
Vimeo is a respectful community of creative people who are passionate about sharing the videos they make. We provide the best tools and highest quality video in the universe. http://www.vimeo.com/

D i gital R e s e ar c h P r o gra m m e : Art s C o u n c il E n g la n d

Arts Council England has commissioned MTM London to produce a series of reports for their digital research programme. The research examines digital practices in Regularly Funded Organisations (RFO) proposing a number of case studies and examples of good practice. The documents categorise and analyse the various use of websites by RFOs and highlighting various levels of website usage. Currently most RFOs have basic marketing websites, which more advanced organisations have multiple platforms.

The digital research programme is part of the Arts Councils digital opportunities programme. It is a three-year investigation of three core areas: - the impact of digital technology on how the public perceive, understand and engage with the arts - how digital technology is transforming art and artistic practice - the implications for content creation, distribution and ownership http://www.artscouncil.org.uk/about-us/research/digital-opportunities/ Digital is increasingly breaking down many of the traditional barriers to distribution, such as geographical location (ACE and NESTA - Seminar Summary, MTM London) MTM London outline four categories of websites used by RFOs that range from Basic Marketing Site (most widely used), Rich Marketing Site, Multi Platform Cultural Institution, Online Specialists (least used). Web platforms now often combine broadcasting, publishing and social networking on the same site. Public service content include: Short and long-form programming for example: a museum producing and distributing a weekly video podcast

Interactive resources and applications for example: an e-learning tool focused on the history of a particular artist or art movement online Collections and archives for example: an art gallery making its collection available Net art, digital art for example: works of digital art primarily created for the web

(ACE - Digital Content Snapshot presentation, MTM London)

3.5 M u si c In d u s try

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Digital technology has had a large impact on the music industry changing the way in which content is created and distributed. While labels and physical distribution is declining, audiences are listening to music online through podcasts, downloads and online radio. Music is distributed from online shops like iT unes and Emusic and social media sites such as Myspace, LastFM and Muxtape allow for sharing and discovering of new music. Anyone can now create and share their work online, resulting in an increase in available content. Audiences are no longer buying music, but are rather streaming or downloading music online that can be listened to on the computer, ipod or mobile phone. Since digital content is often free, trends appear to be moving towards a subscription model, where users pay a rate for unlimited access to music.

Artists are now engaging with their fans directly through the Internet. In 'A Study of Artists' Online Presence' artists are using their websites, blogs, myspace, twitter and youtube to interact with their fans and building a fanbase and sustaining following online. By maintaining transparency and direct engagement, artists are able to maintain an interactive relationship via comments and sharing. (A Study of Artists' Online Presence, http://berkleecasebook.blogspot.com/)

D ial o g u e s K ud o s R e c ord s
The music industry is changing. Rather than hundreds of thousands of people being coerced into listening to one artist, theyll be able to choose and select from an immense and broad range of music that is all immediate available online. (James Birchall, Kudos Records) On the one hand if you can put up with some adverts, you can legitimately enjoy free music online. If you dont want adverts and if you still possess that desire to own music to be a bit of a archivist, then the only way to do it for free is illegally. (James Birchall, Kudos Records) For example theres a Virgin thing thats about to launch, the cost of unlimited music will be bundled into broadband fee. So instead of it being 12.99/month, it will be 15.99 a month, and youll get unlimited free music. It wont be like a bolt-on service, its less transparent than that. You dont have the chance to not have all the music you want, and reduce the price of your broadband. Its the idea of it feels like free. Its going to be the big thing. (James Birchall, Kudos Records) Digital is growing slowly every month, not growing as fast as physical is declining.(James Birchall, Kudos Records)

Diog en e s Mu sic
Diogenes is an aggregator rights focused on for experimental labels i.e. avant gard, jazz, noise, electronic, folk So we take the content, we digitize it, we do the metadata, which is basically any digital product into metadata, image and sound. So we package things up and then we do the press related to it and we deliver it to specifc shops, music services. (Eric Namour, Diogenes Music) It's not about going against the free but it's actually how you're going to work with it. As major labels are doing T-shirts and taking the rights to do live and merchandising, and experimental and niche labels it's also that. We're just fnding the coherence. So the coherence goes with live via the events, via the digital, physical... (Eric Namour, Diogenes Music)

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I believe in a subscription model. I've been a subscriber for eMusic for two years and that's it. I think that's the ways it's going. Subscribe to specifc packages 6 pounds you get this, 8 pounds you get that, 16 pounds you get this. (Eric Namour, Diogenes Music)

D i gital M u si c S t a ti s ti c s

7% of online consumers in the UK listen to podcasts at least monthly. [Source: Forrester, May 2008] (Internet Stats Compendium) The average podcast user subscribed to 3.6 podcasts in April and May this year and spent just over one hour per week listening to them. [Source: RAJAR via eMarketer, July 2008] (Internet Stats Compendium) A report from the Digital Media Association (DiMA) suggests that the use of online music services leads to a widening of listening habits and an increase in listening and exploring new music. [Source: DiMA, January 2007] (Internet Stats Compendium) 60% of those surveyed were listening to more music since they started using an online service. (Internet Stats Compendium) About 25% reported having discovered a lot of new artists, while more than 60% of those surveyed say they have discovered some new artists. (Internet Stats Compendium) Half of digital music consumers are spending more than $200 per year on music, and nearly 30% are spending more than $300. (Internet Stats Compendium) The digital music business internationally grew by an estimated 25% to $3.7bn in total sales. [Source: IFPI Digital Music Report 2009] (Internet Stats Compendium) Digital platforms now account for around 20% of recorded music sales, up from 15% in 2007. (Internet Stats Compendium) The number of people who have listened to radio via the internet, (either live or listenagain services) had increased to 14.5 million by May 2008, up from 12.0 million six months earlier. And listening online was a weekly activity for 9.4 million people by May 2008, up from 8.1 million in November 2007) [Source: Ofcom, Aug 2008] (Internet Stats Compendium) Audiences are increasingly accessing and interacting with art through new mediums and devices ipods, podcasts, etc. (ACE and NESTA - Seminar Summary)

3.6 Mark e tin g

Digital marketing includes e-newsletters, mailing lists, advertising as well as social media, which has become a major tool for marketing in the arts. General etiquette of social media such as Twitter and Facebook suggests distributing useful and enriching content rather than simply using it to sell or market an event. Social media is about sharing and transparency allowing for a more personal and close engagement with audiences.

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C o r p orat e S o c ial M e dia G uid elin e s Key principles of practice: Be Transparent, Get your facts right, Acknowledge mistakes, Be constructive, Respect the law, Of-limit material or information (i.e. company information and explicit material), Appropriate behavior. (Corporate Social Media Guidelines, Econsultancy)
Share your knowledge with the world: When a teacher appears as a contestant on Jeopardy, Alex Trebek often comments that it's a "noble profession." He's right. There's defnitely something wonderful and rewarding about sharing your knowledge with others. And when the subject you're teaching is your app, it serves a dual purpose: You can give something back to the community that supports you and score some nice promotional exposure at the same time. (Getting Real, http://gettingreal.37signals.com/ch13_Ride_the_Blog_Wave.php) Popularity of particular social media applications change quickly. It is important to choose the ones appropriate for the organisation and to keep up with trends and its various uses. (Creating a Social Media Plan for a Museum, http://www.museummarketing.co.uk/?p=151#comments)

B l o g gin g a s Mark e ti n g Blogging can be more efective than advertising (and it's a hell of a lot cheaper): Advertising is expensive. And evaluating the efectiveness of various types of advertising can wind up being even more expensive than the advertising itself. When you don't have the time or money to go the traditional advertising route, consider the promote-via-blog route instead. (Getting Real, 37 Signals, http://gettingreal.37signals.com/ch13_Ride_the_Blog_Wave.php) S o c ial M e dia an d P arti ci pat ory O nlin e C u lt ural P r oj e c t s a s M ark e tin g Social networking has become a major tool for marketing. External applications such as Twitter, Facebook and Flickr, Youtube, Blogger are used simultaneously to engage the public through various outlets. Popularity of social media sites are rapidly changing as new platforms are developing or get spoiled by excessive mass usage and spam. Currently The most popular platforms are Twitter and Facebook. (Creating a Social Media Plan for a Museum, http://www.museummarketing.co.uk/?p=151#comments) Self-perpetuating marketing through online collaboration in cultural projects is my prediction for the Next Big Thing. This is because the medium of the internet lends itself so well; because audiences are ready for it; and because its an efcient marketing model in these economicallychallenged times. Of course the exponential efect of viral marketing on the internet is nothing new, but its the addition of user content (a key part of Web 2.0), and the resulting commitment to the project, which move the model forward. (Participatory Online Cultural Projects, Sumo Design http://www.sumodesign.co.uk/our-views/participatory-online-cultural-projects.html) D ial o g u e s
Rhizome sees social media in the non-proft world as invaluable and necessary. Hasty says, we get a lot of trafc from facebook, and always advertise events, programs etc via these channels. Social media boosts audience awareness, he says they result in a strong, I'd say 1025% increase, in visibility. (Nick Hasty, Rhizome) When using social media, there is no point in simply jumping on the bandwagon and signing on to every application out there, but rather be selective to the ones which would be most benefcial to the kind of work that you do and your audience. (All Change or Business as Usual?, LSO Digital Symposium) What you usually see on Twitter is something which you can see for free. Look at here, have a look, there's a link. Rather than there's a specifc thing like a concert and you should really come to it. It's just having a presence there and just talk to the audience so they know what you think.. and they quite like that. But it is quite time-consuming. (Richard Slaney, Philaharmonia) I can't stand twitter and all these things I only use Facebook for art things so feeds on pages and people say yeah it's great but they don't buy, so at the end of the day, who cares. I'm not
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going to add more things just so people can read about it [] We have to focus on making them and getting them on a site that allows them to buy it. Social marketing means free normally. That's Web 2.0. It's freedom of content. (Eric Namour, Diogenes Music) I guess I'd just put myself in the position of the receiverare they getting cool updates on artwork from our twitter feed? Or are they just getting pleads for donations or 'agenda pushing'? Because if it's the latter, they won't stick around [] the majority of stuf [one should] announce should be informative and worthwhile and mission specifc, because it becomes quickly obvious if you're just using them for marketing. (Nick Hasty, Rhizome) I think people need to see evidence of other peoples' user activity needs to be featured more prominently than it is right now and that's the network efect. Once you get a lot of people, it snowballs from there. (Jason Sigal, Free Music Archive Twitter is generally used for marketing since it is limited to 140 characters. Myspace is becoming 'seedier' and over run with spam, though it remains a primary tool for artists and musicians. (Jason Sigal, Free Music Archive)

3.7 C o n f er e n c e s an d S y m p o si u m s

The digital has become a major area of interest in the arts and cultural sector in the UK. A number of research initiatives have emerged including, AmbITion, Art of Digital and LSO's Digital Symposium that have resulted in conferences and symposiums addressing issue of digital development in the arts. Events provide a platform for organisations to share and gain new insight into digital practices. Some of the research from these events continue to be available online, while other programmes are on-going.

A m b I Ti o n (Jan 2007-A u g 2009) AmbITion is a change programme for the arts and cultural sector helping organisations achieve their 21st century sustainability ambitions through implementing integrated IT and digital developments.
AmbITions vision is to generate a critical mass of arts organisations that proactively consider digital development as key to business, operational and artistic growth and sustainability. AmbITion is a change programme for the arts and cultural sector funded by Arts Council England and running as a pilot from. http://www.getambition.com/

Art of D i gital Art of Digital is a partnership project between Arts Council England, FACT (Foundation for Art and Creative Technology) and folly helping to promote the use of digital tools within arts organisations.
The programme comprises a series of Learning Labs focusing on cultural, organisational, personal and global aspects of digital technology and a conference on the theme of Digital for the Arts Sector. Events will take place throughout the North West region. http://artofdigital.crowdvine.com/

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L S O D i gital S y m p o s i u m All Change or Business as Usual? A Symposium on the Impact of Digital Technology on the Arts, LSO St Luke's, 11 September 2009
The London Symphony Orchestra, with the support of The Paul Hamlyn Foundation, is curating a Digital Symposium to look at the opportunities and challenges for Arts organisations brought about by digital technology. The LSO, like many other organisations, has been piloting new initiatives and experimenting with ways in which it can bring the Orchestra and its work to new and wider audiences. http://twitter.com/AllChange_LSO

Link I T 4 Art s Efective use of IT in the arts

About 70 arts organisations participate in IT4Arts. Its an eclectic mix, large and small, across a wide variety of art forms including the National Theatre, the Royal Opera House, the V&A and the Tateand even an organisation whose artist-in-residences job description includes running IT. We meet quarterly for workshops on researched topics. Between workshops, the network remains active; members circulate questions, for example, How do you structure your web team? or Can anyone recommend someone to provide support for our servers and network? http://www.it4arts.org.uk

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4.0 N e w C r e a tiv e H o riz o n s

In Section 3.0, we looked some of the impacts the digital development in the arts sector. We saw a shift in audiences and institutional practice where audiences are playing a more active role in creating and curating. Creative programming becomes an on-going dialogue with audiences where education and learning is embedded within the practice. Digital opens up to possible collaborations with academic institutions through Knowledge Transfer. We then looked at various models of digital delivery and some emerging practices and research within the arts. Lastly, we looked at the impact of the digital on the music industry and marketing. In this section, we will try to map out Digital and Media Art practices to provide a scope to the kinds of emerging art practices involving digital technology. In general, there has been increasing cross-over in the arts through various levels of collaboration with other art forms. Digital and Media Art has carved a unique history and practice though it is becoming entwined within a wider feld of multidisciplinary and contemporary art. Here we will look at the diverse practices with digital technology in an exploration of creative possibilities.

4.1 D i gital an d M e dia Art S c e n e

It is important to note a distinction between the uses of the terms 'Digital Art' and 'Media Art'. In general, 'Digital Art' refers to a broader feld of creative industries including graphic design, animation and 3D, which is generally associated with advertising and commercial production. 'Media Art' on the other hand, refers more specifcally to artistic and experimental practices with technology ranging from video art, sound art, computer art to robotics and interactive art. This section provides a short overview of some of the practices that have emerged in Media Art.

4.11 N e t Art
Net Art is art that emerged at the advent of the internet that uses web applications and programming to create online artworks. Net Art often plays with the aesthetics of old computer systems, default colours, codes and languages. Net Art also includes hacking and spreading computer viruses as art. Experiments with codes, glitches and errors and loop-hole behaviours becomes a medium in Net Art. Net Art often values the low quality aesthetic of old and obsolete computer systems. In some sense, Net Art was the beginning of online Media Art practices, which has now stemmed into Networked Art and Participatory or Social Media Projects.

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Jo di. org Internet artist collective Jodi.org manipulates HTML source codes, and are inspired by games, computer glitches and viruses to explore chaotic efects and possibilities on the web. http://wwwwwwwww.jodi.org/ 0100111110101101. org Eva and Franco Mattes is a couple for restless European con-artists who use non conventional communication tactics to obtain the largest visibility with the minimal efort. Past works include staging a hoax involving a completely made up artist, ripping of the Holy See and spreading a computer virus as a work of art. http://0100101110101101.org/ R hizo m e Rhizome.org began as a platform and community for net art in the early days of internet art. The Artbase archive now hosts a number of original and early artworks from a pioneering generation of net artists. 4.12 N e t w ork e d Art

Networked Art explores possibilities of web and network technology to derive information from diverse sources across distances, spaces and geographic locations. Networked technology allows for the interlinking of distant sources opening possibilities to communicate with and bring into participation an extended space. Networked Art, if experienced online can also be considered Net Art.

F ra g m e n t e d Or c h e s tra by Jane Grant, John Matthias and Nick Ryan The Fragmented Orchestra is a huge distributed musical structure modelled on the fring of the human brain's neurons. The Fragmented Orchestra connects 24 public sites across the UK to
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form a tiny, networked cortex, which will adapt, evolve and trigger site-specifc sounds via FACT in Liverpool. Each of the sites has a soundbox installed, which will stream human-made and elemental sounds from the site via an artifcial neuron to one of 24 speakers in FACT. The sound will only be transmitted when the neuron fres. A fring event will cause fragments of sound to be relayed to the gallery and will also be communicated to the cortex as a whole. The combined sound of the 24 speakers at the gallery will be continuously transmitted back to the sites and to each of the 24 sites. http://www.thefragmentedorchestra.com

T ur b ulan c e / N et w or k e d M u s i c R e vi e w T urbulence is a project of New Radio and Performing Arts, Inc. (NRPA). Turbulence has remained at the forefront of the feld by commissioning, exhibiting, and archiving the new hybrid networked art forms that have emerged. http://www.turbulence.org
Launched in April 2007, Networked_Music_Review (NMR) focuses on emerging networked musical and sound explorations made possible by computers, the Internet, and mobile technologies. http://turbulence.org/networked_music_review/

N et b e h avi o ur NetBehaviour - is an open email list community engaged in the process of sharing and actively evolving critical approaches, methods and ideas focused around contemporary networked media arts practice. [] NetBehaviour - is a place where creative minds can share contemporary ideas and concepts, without either the censorship or endorsement of a centrally imposed hierarchical canon, stunting their creative interests. All disputes are settled by all subscribers in the public forum of the email list. http://www.netbehaviour.org/ Link N e t w ork e d A (networked book) about (networked art) We invite you to comment, revise and translate these chapters. Networked has been designed to incorporate your ideas into the existing chapters. Patrick Lichtys chapter, Art in the Age of DataFlow: Narrative, Authorship, and Indeterminacy, is a wiki. If you want to change or add to it, simply click on the Edit Page link at the top/bottom of every page. The text will appear in an editable window. When you save your changes, the page will immediately refect them. Readers can then compare the various versions of each page, as one can on Wikipedia. http://networkedbook.org/ 4.13 P ar ti cipat ory O nlin e P r oj e c t s

Media Art is moving away from a focus on the technology itself and exploring the collaborative and social possibilities. Social media and online platforms allow for users to participate in the artistic production. Participatory Online Projects uses the internet to explore new meaning derived from responses from the public. Many projects involve applications such as Flickr or Youtube to invite the public to submit photos or videos. Others are simple forms or questions posed online or a series of tasks. In this kind of work, the artwork is created by multiple authors exploring possibilities in collaboration and collective production of knowledge and ideas. One key example of a Participatory Online Project is Miranda July's 'Learning to Love You More'.

L e ar nin g t o L o v e Yo u M o r e
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Learning to Love You More is both a web site and series of non-web presentations comprised of work made by the general public in response to assignments given by artists Miranda July and Harrell Fletcher. Yuri Ono designs and manages the web site. http://www.learningtoloveyoumore.com/ "Learning To Love You More is a collaborative public arts project run by two artists, and a compelling example of the power of the web for enabling people to engage with and participate in the arts. The artists set out-of-the-ordinary tasks for the general public to perform: users who accept the assignment follow a set of simple instructions to complete the work, and submit documentation of the output online (this might take a variety of forms, such as a photograph, or audio or video recording). The output is then published on the site as a report. (ACE Digital Content Snapshot, MTM London)

S e c r e t L if e o f C u m b ria The Secret Life of Cumbria is a book written by the people of Cumbria. A collection of stories about escape, love, grief, and favourite T-shirts! Anyone who lived, worked in or visited Cumbria in 2008 could write their own pages by sending a text message or visiting this web site. The pages of the book are all collected here. Cumbria is a big place, both in the world and in our imaginations, with as many paths through it as there are people who live in or visit it. You can read Cumbria's Secret Life by fnding your own way through this site, moving from place to place. http://secretlife.org.uk 4.14 In s tallatio n

Media Art Installations can be experienced within a space or in a site-specifc location. Works can involve diferent kinds of digital technology and can be interactive, sonic, audio/visual or sculptural. Installations are usually setup as an exhibitions that are open to the public for a period of time.

P e n t a p h o ni c D ar k E n e r gy by Florian Hecker Superimposed onto the existing gallery structure, Pentaphonic Dark Energy creates an environment in which body and architecture intersect. Across fve loudspeakers sonic sequences combine to create the impression that space is being sculpted. Also in the show is another abstract sound piece made of short cycles interspersed with perceived silences, contrasting with Pentaphonic Dark Energys almost narrative fow. Using super directional speakers the sound is superlatively focused. Elsewhere on the foor, in stark contrast to the two other sound pieces, sits a monochromatic cube made out of a coarse, cyan foam that is more usually used as part of a microphone, a device for absorbing the sound of wind, but also suggestive of a minimalist sculpture and Hecker's rigorous engagement with Conceptual practices of the 1970s. http://www.sadiecoles.com/forian_hecker/index.html P e t e r Vog el Peter Vogel is a pioneer in the feld of interactive electronic sculpture. He was formally trained in Physics, but has explored technology's intersection with dance, musical composition and visual art since the late 1960s.
Vogel's interest lies in both interactive and musical structures. His is an active art that encourages viewers to discover communication structures through repeated interaction. Red, green, and blue light-emitting diodes, wire, photo cells, bare speakers, resistors and capacitors are the raw materials with which Peter Vogel crafts audiovisual constellations. The interactive sensitivity of Vogel's constructions utilizes photocells and microphones that react to spectators, creating an experience of seeing and hearing unique improvisations triggered by light and shadow. Merging form and function, the delicate electronic circuits in Vogel's artworks are
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elegantly arranged. Electronic logic of each sculpture is determined through circuitry, but the reactions may sometimes feel random because of their sensitive dependence upon the time patterns of input. http://www.artnet.com/artist/17298/peter-vogel.html

Int era c tiv e Volu m e by The United Visual Artists A luminous interactive installation has transformed the V&As John Madejski Garden this winter. Volume is a sculpture of light and sound, an array of light columns positioned dramatically in the centre of the garden. Volume responds spectacularly to human movement, creating a series of audio-visual experiences. Step inside and see your actions at play with the energy felds throughout the space, triggering a brilliant display of light and sound.
United Visual Artists are a British-based collective whose current practice spans permanent architectural installation, live performance and responsive installation. Research and development is a core part of our process - enabling us to constantly explore new felds, as well as re-examining more established ones. http://www.uva.co.uk

S i t e -s p e c ifi c

Site-specifc artworks are works that relate to a particular site, place or space. They are intended to be experienced in a particular setting or environment outside of a gallery context. Site-specifc works can be public artworks that engage with people in the surroundings. Site-specifc works can be both installation or performances.

A S o u n d a nd L i g h t Tran sit by Hans Peter Kuhn A Sound and Light Transit is a site-specifc installation and regeneration project of a busy Neville Street in Leeds, a busy and noisy trafc way. The project uses the tunnel space to improve the

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noise and experience of the motorway, which is used by hundreds of local residents daily. The project is a light and sound installation that engages with everyday urban experience of a city.

Links
Sound in Context: A documentary on Sound in the Visual Arts World - Part 2 Environment http://www.soundandmusic.org/activities/samlabs/soundincontext Book: 'Surface Tension: Problematics of Site', Brandon Labelle. Errant Bodies Press: August 2003.

4.15 E l e c tr o ni c M u si c
Electronic Music has evolved with the development of new technologies and has come to involve experimentation with sound and technology. Electronic Music as Media Art includes instrument-making, coding, digital synthesis and live performance. Emerging practices include using programming software such as Max/Msp, PD and open source software as well as circuit-bending, and hacking of electronic devices and toys to create new sounds. Various sub-genres of Electronic Music include computer music, glitch, 8bit, noise, experimental, electroacoustic, ambient, IDM, drone and others.

Null sl e e p aka Jeremiah Johnson Nullsleep creates powerful romantic pop using repurposed low-bit electronics in a relentless search for new ways to circumvent their limitations. Bittersweet melodies and driving, rhythmic pulses are coaxed out of small plastic devices to produce a surprisingly intense sound. In 1999 Nullsleep cofounded 8bitpeoples, a collective of artists interested in the audio-visual aesthetics of early home computers and video game consoles. Based in New York City, Nullsleep has performed extensively throughout North America, Europe and Asia, including the 20-date International Chiptune Resistance world tour in 2006. http://www.nullsleep.com/ http://www.8bitpeoples.com/ Ti m H e c k e r Tim Hecker is a Canadian-based musician and sound artist, born in Vancouver. Since 1996, he has produced a range of audio works for Kranky, Alien8, Mille Plateaux, Room40, Force Inc, Staalplaat, and Fat Cat. His works have been described as structured ambient, tectonic color plates and cathedral electronic music. More to the point, he has focused on exploring the intersection of noise, dissonance and melody, fostering an approach to songcraft which is both physical and emotive. http://www.sunblind.net/ K la u s F ilip Klaus Filip is the inventor and never sleeping developer of the open-source software "lloopp", a musical instrument on the computer to provide open structures for live-improvisation, used by many well-known electronic musicians. Open Lab Openlab is a loose collective of artists centred around London, UK, who use and develop open source software and technology for music, art, noise, performances, and just about anything else they feel like doing with it. Openlab organises performances, talks, workshops, events, and beer-y meetings across the UK for like-minded individuals to share and exchange ideas and let loose their creative inner demons. http://www.pawfal.org/openlab/ N e ta u di o Netaudio is an international festival dedicated to the sounds of the Internet celebrating the creative output of networked musicians and online communities with talks, workshops,
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showcases and performances. Started in Switzerland and hosting festivals in Germany and Spain, Netaudio also has a chapter based in London. http://www.netaudiolondon.cc

4.16 A u dio / Vi s u al

Audio/Visual work includes practices in Video Art, Experimental Film and Vjing. Often Electronic Music performances include visual elements, which can be live or prerecorded. Audio/Visual works can be experienced as an installation, screening or performance. Similar to Max/Msp programming software like Jitter allow for live video modifcations. Live coding events project what is happening behind the computer screen as a visual interpretation of the performance, where the code and interface becomes part of the artistic process. (See 4.17 Software Art)

Vid e o Art / E x p eri m e n tal F il m Kill Y r Ti mi d N oti o n: F e s tival f or S o u n d a n d I m a g e Paul Sharits Epileptic Seizure Comparison: A deeply empathetic interpretation of epilepsy, far beyond anything as crass as voyeurism, Sharits flm puts the structural developments of experimental cinema to surely their most compassionate end; interpreting the brainwaves, groans and convulsions of two epilepsy suferers in direct and allegorical cinematic terms, in an attempt to help us all understand their emotional and physical state. A bold, moving and astonishingly emotional work of art. http://www.arika.org.uk/kytn VJ p erf or m a n c e s V-Atak Founded in 2002, V-Atak is a label dedicated to audio and visual art. Made up with a hybrid mix of Vjs, movie makers and musicians, our label grew year after year and developed an edgy identity on the Audio/Video live scene. When performing video/audio live art and producing music clips as well, our crew is at its best by taking risks. Our services and products (installations, Vjing, DVDs) refect that constant questioning we have on manner and matter, playing with the ever-changing digital technology and its limits. http://www.v-atak.com Or ga ni s ati o n s No . Wh er e Formed in 2004, no.w.here is an artist run space in London. no.w.here opens a space where the place of the moving image within contemporary art can be explored and expanded. Whether supporting artists and the development of their work, or critically engaging audiences, artistic practice lies at the core of no.w.here, and is fed by innovative projects, events, facilities, workshops and education programmes. http://www.no-w-here.org.uk LUX LUX is an arts agency which explores ideas around artists' moving image practice through exhibition, distribution, publishing, education and research. http://www.lux.org.uk/ 4.17 S o f t w ar e Art / C o d e a s Art

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Software Art is artwork created through experimenting with code and programming. The programming language itself becomes an aesthetic medium where sometimes the codes and symbols are used for their graphic appeal. Software Art can also include hacking, viruses and experimenting with errors and defaults. They can be simple applications that can be games or generative artworks (where the work is generated when the application is executed) or algorthmic artworks (where the work experiments with diferent algorithms to execute diferent functions). Software art can be purely conceptual where the art lies in the activities of the code that may have no visual or actual result. Live coding is a way of revealing the art of the interface or code of an application in a sound or music performance.

T h e Wi s hi n g Tr e e

The Wishing Tree is a commissioning project by Folly in 2006, created by German group Boredom Research. The project is a software application, which allows visitors to the site to cast wishes on the tree, while simultaneously being able to read other peoples wishes. This is an on-going project that exists as a permanent online art piece. This online wishing tree is inspired by the Lam Tsuen Wishing Trees in Hong Kong, where visitors make a wish by writing it on yellow paper and tying it to an orange to hang on a branch. If your wish hangs in the tree it will come true, if not the myth claims that your wish is too greedy. boredomresearch are Southampton-based Vicky Isley and Paul Smith. They interrogate the creative role of computing, producing beautifully crafted software art that presents a fresh approach to our technologically fraught lives. http://folly .co.uk/wish

f L OW - ambient soundscape generator by Karlheinz Essl fLOW is an audio computer program running on Apple Macintosh machines. It generates an ever-changing and never repeating soundscape in real time that flls the space with fooding
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sounds that resemble - metaphorically - the timbres of water, fre, earth, and air. This ambient sound scape generator adjusts itself through various parameters and controllers that are represented in real time on your screen. http://www.essl.at/works/fow/download.html

G e n erat or.x Generator.x is a curatorial platform exploring the use of generative strategies and software processes in digital art, architecture and design. It focuses on a new generation of artists and designers who embrace code as a way of producing new forms of creative expression. http://www.generatorx.no R u n m e . or g Runme.org is a software art repository, launched in January 2003. It is an open, moderated database to which people are welcome to submit projects they consider to be interesting examples of software art. http://runme.org L iv e C o di n g T o plap Toplap is a London based collective whose practice includes the writing of software while it is being executed, allowing programmers to improvise music and visuals live before an audience as well as conduct exploratory research with live source code. http://www.toplap.org 4.18 E m e r gin g T e c h n ol o gi e s

Emerging technologies follow developments in scientifc research. Major recent developments include mobile and satellite technologies, biotechnology, nano technologies, sensors, AI and robotics. Interests have been focussing on sustainable design, networks, and social applications of technology. Leaders working at the forefront of research and development include institutions such as MIT Media Lab (US), ZKM (Germany) and festivals such as Ars Electronica (Austria).

M o bil e Art

Mobile art includes experimenting with a range of mobile technologies including mobile phones, GPS, RFID, mobile tags, radio and other portable devices. Mobile art uses mobile technologies including communication devices and tracking systems as a medium for art and experimentation.

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M o bil e Ta g gin g ..the QR code (quick response code), a twodimensional barcode. This QR code is the visual depiction of coded text, pictures, and sounds. Accordingly, in QR code a tag (key word) is encoded that is either the information itself, or is linked to the information and relays it. If your cell phone photographs this code, and you have the appropriate software for decoding, you see texts or images, or hear sounds. QR code allows you, with your cell phone, to go beyond the spatial and temporal borders of the medium paper and the medium museum.
With this new tag solution, you can communicate with the museum and use it as a platform also outside of opening hours, i.e., not bound to a certain time, and without being physically present in the museum, i.e., not bound to a certain place. http://on1.zkm.de/zkm/e/projekte/mobiletagging

M o bil e F e s t , ( Brazil) Composed by technical and cultural activities, MOBILEFEST - International Festival of Mobile Art and Creativity includes an international seminar, qualifcation workshops, international exhibition and recognition awarding for the best mobile works and applications. http://www.mobilefest.com.br/default_eng.aspx A. R . T M o bil e L a b ( Banff, C A N) The A.R.T Mobile Lab is a research initiative of the Banf New Media Institute at The Banf Centre. The lab was created in 2005 to enable research into mobile and location-based media design, art, technology and cultures of use. http://www.artmobilelab.ca/ T h e R ei nv e n tio n of Nat ur e Ars Electronica 2009 We are entering a new age here on Earth: the Anthropocene. An age defnitively characterized by humankinds massive and irreversible infuences on our home planet. Population explosion, climate change, the poisoning of the environment and our venturing into outer space have been the most striking symbols of this development so far.
But to a much more enormous extent, the achievements of genetic engineering and biotechnology are the truly indicative markers of this transition to a new epoch. Now, were not only changing our environment; were revising the fundamentals of life itselfeven our own human life. http://www.aec.at/humannature/en/

Links
Journal of Mobile Media: http://wi.hexagram.ca/ Mobile Sound blog: http://mobilesound.wordpress.com/
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5th International Mobile Music Workshop w/ Atau Tanaka 2008, Vienna http://mobilemusicworkshop.org/

L e a d er s of In n ovatio n MI T M e dia L a b The MIT Media Lab applies an unorthodox research approach to envision the impact of emerging technologies on everyday lifetechnologies that promise to fundamentally transform our most basic notions of human capabilities. Unconstrained by traditional disciplines, Lab designers, engineers, artists, and scientists work atelier-style in close to 30 research groups conducting more than 400 projects that range from neuroengineering, to how children learn, to developing the city car of the future. Lab researchers foster a unique culture of learning by doing, developing technologies that empower people of all ages, from all walks of life, in all societies, to design and invent new possibilities for themselves and their communities. http://www.media.mit.edu ZKM As a cultural institution, the Center for Art and Media (ZKM) in Karlsruhe holds a unique position in the world. It responds to the rapid developments in information technology and today's changing social structures. Its work combines production and research, exhibitions and events, coordination and documentation. http://on1.zkm.de/zkm/e/

Links
Sound in Context web documentary http://www.soundandmusic.org/activities/samlabs/soundincontext Mind Map by Mike Stubbs, FACT mapping out the territories of the art of digital http://www.mindmeister.com/16973663

4.2 C o llab orati o n b e t w e e n Or ga nizati o n s

I think that collaboration is going to be increasingly important when there's probably going to be less funding available and when we're trying to reach as many people as possible. New ways of collaborating is going to be increasingly important in the end and organizations can't just sit by themselves and deliver what they want to deliver. They've got to work together to make the best things happen. (Jennifer Stoddart, Folly)

NE S T Conne ct NESTA Connect is underpinned by the core belief that collaboration = innovation. In other words: successful innovation is fundamentally collaborative; diferent perspectives make problem solving easier; and good ideas are easy; productive relationships are harder. Were campaigning for more space, licence and opportunity to collaborate and exchange ideas across silos, organisations, sectors and disciplines. Collaboration is the key to solving global challenges. We think our public and private institutions have become over-specialised and siloed, leading only to incremental improvements in

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productivity. This narrow approach is inadequate in dealing with the big global challenges, which we think require collaborative solutions. Access to information is getting easier. But that means organisations can no longer compete on the basis of their knowledge. Instead, trusted relationships will be increasingly critical to successful innovation. We believe our governments, businesses and universities need to be more democratic, collaborative and open to exploring new ideas outside of their usual networks. http://www.nesta.org.uk/collaborative-innovation/

C a s e S t u dy: F r e e M u si c Ar c hiv e WFMU has a curated section of the website and our other curators also have their own curated sections. So we really think the projects' strength is in it's collaborative nature. And all these organizations are already producing all this really great content and we're just trying to become a hub for curated audio and each curator ofers something very diferent. (Jason Sigal, Free Music Archive) 4.3 C o m m i s s i o ni n g

There are a number of funding and commissioning bodies that support various new media and new sound/music practices. Contemporary art funds also support a wide range of work including commissions involving Media Art. For arts organisations, digital technology opens up for audiences to participate in commissioning where decision-making can take a more egalitarian and open process. Rhizome provides an example of how members can participate in selection of commission online.

F or ma Forma is one of Europes leading creative producing agencies, working with British and international artists to develop and deliver new projects across the world. Established in 2002 in Newcastle upon T yne, and now based in London, the company is widely acclaimed for its high quality, contemporary, cross art form productions. Encompassing exhibitions, concerts, performances, flms, public art works and publications, Formas programme is presented in collaboration with major venues and festivals across the globe, and reaches a large international audience. http://www.forma.org.uk/ B a n g o n a C a n: T h e P e o pl e ' s C o m m i s s i o nin g F u n d Bang on a Can is dedicated to commissioning, performing, creating, presenting and recording contemporary music. With an ear for the new, the unknown and the unconventional, Bang on a Can strives to expose exciting and innovative music as broadly and accessibly as possible to new audiences worldwide. https://bangonacan.org/peoples_commissioning_fund/join Art C o m m i s s i o nin g F u n d s
Outset - http://www.outset.org.uk Art Angel - http://www.artangel.org.uk

C a s e S t u dy: R h iz o m e
Last year, Rhizome gave out ten commissions. Eight were chosen by a jury and 2 were chose by
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members. To submit a work for commission projects, users have to sign up for a free account where they can register and enter a proposal for a project. Projects submitted require a webpage, which can be hosted on the site at Rhizome. They support a wide range of work. Technical Director Nick Hasty states we're open to any project that engages technology creatively . When submissions are closed they go through two rounds of voting. Last year, Rhizome received 800 submissions in which 50 are selected and presented to the jury. An online voting process with members is used to select the other two commissions. The goal of the Rhizome Commissions Program is to support emerging artists by providing grants for the creation of signifcant works of new media artCommissioned works can take the fnal form of online works, performance, video, installation or sound art. Grant amounts range from $1,000 to $5,000 and can be applied to any aspect of the work, including labor costs, technology, or materials. The Rhizome Commissions Program is supported by the Jerome Foundation, the New York City Department of Cultural Afairs, the New York State Council on the Arts, a state agency, the Rockefeller NYC Cultural Innovation Fund, and Rhizome members. http://rhizome.org/commissions

4.4 D i gital Art s F u n di n g

There are a number of education and youth funding programmes to support projects that aim to engage young people and promote creative learning with digital technology. These programmes seek to develop skills and digital literacy with young people providing opportunities for collaboration in the arts.

M e diab ox Mediabox is a fund that ofers disadvantaged 13-19 year olds (up to 25 if they have a disability) the opportunity to create their own media projects. We enable young people to gain new skills, express themselves and get their voices heard. We ofer a variety of grants ranging from 500 to 40,000 for the creation of youth-led media projects. Hundreds of organisations across England have already benefted from the scheme, impacting the lives of thousands of young people from a diverse range of backgrounds." http://www.media-box.co.uk/ Fir s t L i g h t M ovi e s First Light funds and inspires flm projects with fve to 19-year-olds throughout the UK.Since launching in 2001, we have enabled over 12,000 budding young flmmakers to write, act, shoot, light, direct and produce over 800 flms. Working with flmmakers and organisations, First Light flms cover a diverse range of topics and genres, and make use of accessible digital flm technology. http://www.frstlightmovies.com No mi n e Tr u s t We are a charity that provides funding to innovative projects which strive to improve and encourage the safe use of the Internet for educational, inclusion and other charitable purposes. We will give grants to organisations that can convince us that their innovative IT-related projects can make a positive diference to the groups listed below - in the UK, developing countries and around the world. http://www.nominettrust.org.uk 4.5 R e s i d e n c i e s

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Artist-in-Residency programmes aim to provide artists time and resources to develop their work and practice. Today residencies often do not necessarily require artists to produce a new work or exhibition. Rather artists are given time, space and resources to nurture their creative practice. They also given opportunities to network or collaborate with other artists, or gain experience in a new cultural environment. Sometimes residencies are unfunded where artists are given access to an organisations' resources and network to develop their work. Residencies allow for developing long-term relationships with artists and opening up to future collaborations.

L a b C u l t ur e , P VA M e dia L a b PVA MediaLab has established itself at the heart of artist led activism in the UK, working directly with artists and new technologies. The studio aims to engage artists from all backgrounds in the production of new work supported by a fexible resource that facilitates the production of sound, music, video, interactivity, live performance and online projects. PVA MediaLabs strategic role in the UK is to encourage a broad and diverse range of participants and audiences to take part in creative activities that involve new technologies. http://www.labculture.org/ B a n ff C e n tr e : Residencies, Associateships, work study program Our mission is Inspiring Creativity. In our powerful mountain setting, exceptional artists and leaders from around the world create and perform new works of art, share skills and knowledge in an interdisciplinary environment, explore ideas, and develop solutions in the arts, leadership, and the environment. http://www.banfcentre.ca/music/audio/programs/ G a s w ork s Established in 1994, Gasworks is a contemporary art organisation based in South London, housing twelve artists' studios and ofering a programme of exhibitions and events, artists residencies, international fellowships and educational projects. Nine studios are rented to London-based artists and three are reserved for an International Residency Programme for nonUK based artists. http://www.gasworks.org.uk/ C a s e S t u dy: F olly For their residency scheme, Folly partners up with Lantern House and work in collaboration to support artists in their work. Residencies are fexible and are adjusted to accommodate each artists particular needs. Stoddart explains: It's also an open-end process in that we're not saying that you come here for three months and at the end we want an exhibition out of it. It's a chance to explore new ideas, new collaborations, new ways of looking at things without being actually commissioned to produce a specifc thing at the end, although what we hope through that open-ended process lots of changes will arise through work with these artists in the future and to commission work and do exciting things with them in the future. Generally, Folly hosts 34 residencies a year. They are unpaid residencies that do not result in the production of a new work. At the moment we call it an unfunded opportunity for the artist. We ofer them accommodation, time and space and our expertise. Both organisations collaborate to bring in resources to support the artists with equipment, network and skills. 4.6 F e s tival s S o u t h by S o u t h w e s t In t era c tiv e (Texa s , U S A) South by Southwest (SXSW) is a set of interactive, flm, and music festivals and conferences that take place every spring in Austin, Texas. SXSW frst began in 1987 and is centered on the downtown Austin Convention Center. Each of the three parts runs relatively independently, with diferent start and end dates.
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"SXSW Interactive Festival ofers fve days of keynote presentations, panel sessions, book readings, Salons and Core Conversations that provide hands-on training as well as big-picture analysis. In addition to the business opportunities at the Trade Show & Exhibition and the handson gaming fun at the ScreenBurn Arcade, SXSW Interactive provides an array of exciting evening events including the SXSW Web Awards Ceremony ." http://sxsw.com/

Ar s E l e c tr o ni c a (Linz, A U S ) Ars Electronica is an organization based in Linz, Austria, founded in 1979 around a festival for art, technology and society that was part of the International Bruckner Festival. Herbert W. Franke is one of its founders. It became its own festival and a yearly event in 1986. Its director until 1995 was Peter Weibel. Since 1995 Gerfried Stocker has been the artistic director of Ars Electronica. In addition to running the yearly festival, Ars Electronica maintains a media center and museum, the Ars Electronica Center, which opened in 1996 and ofers tours and courses and hosts a technology lab. Starting in 1987, the organization also began hosting the Prix Ars Electronica, awarding prizes and generating publicity for outstanding cyberarts innovations. Codirector (together with Christine Schpf) of the Festival is Austrian artist Gerfried Stocker.
With its specifc orientation and the long-standing continuity it has displayed since 1979, Ars Electronica is an internationally unique platform for digital art and media culture consisting of the following four divisions: * Ars Electronica Festival for Art, Technology and Society * Prix Ars Electronica International Competition for CyberArts * Ars Electronica Center Museum of the Future * Ars Electronica Futurelab Laboratory for Future Innovations

F u t ur e E v e ryt hin g (Man c h e s t er, U K) FutureEverything is an annual urban festival of art, music & ideas. It features a freeform mix of art and music events in 30 diferent venues and spaces across Manchester, and an acclaimed conference, the Social Technologies Summit.
Annually, FutureEverything commissions new artworks that engage in contemporary issues and experiment with emerging technologies. FutureEverything also operates an open call for submissions, which receives applications from around the world including artworks and social and technological innovations. http://www.futureeverything.org

AV F e s tival (N. E . E n glan d , U K) AV Festival is an international festival of electronic arts featuring visual art, music and moving image. A biennial event, the festival takes place in the urban centres of Newcastle, Gateshead, Sunderland and Middlesbrough in the North East of England. Tran s m e dial e ( B erlin, G E R ) transmediale was founded in 1988 as VideoFilmFest, a side-project of the Berlin Berlinales International Forum of New Cinema. The co-founder and artistic director Micky Kwelly intended to ofer a platform to electronic media productions not accepted at traditional flm festivals such as the Berlinale.
transmediale is now an international festival for contemporary art and digital culture. Located in Berlin, it presents advanced artistic positions refecting on the socio-cultural impact of new technologies. It seeks out artistic practices that not only respond to scientifc or technical developments, but that try to shape the way in which we think about and experience these technologies. transmediale understands media technologies as cultural techniques which need to be embraced in order to comprehend, critique, and shape our contemporary society .

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The festival includes exhibitions, competitions, conferences, flm and video programmes, live performances and a publication series called 'transmediale parcours'. Moreover it cooperates with club transmediale (CTM), which deals with electronic music and club culture. http://www.transmediale.de/

C a s e S t u dy: AN D F e s tival
AND is a yearly urban festival in collaboration with Folly, FACT and Cornerhouse. The festival will alternate each year between Liverpool and Manchester. Folly's role is to be host distributed events throughout the North West and North Hampshire and Cumbria. The festival will happen in the fall (October) of each year with distributed events in the spring (April). Programme Manager of Folly, Jennifer Stottard says, It's a totally new model for what a festival should be in the sense that's not all happening in one place over one weekend it's something that happens across a whole region and in rural areas as well as more urban areas. It's something we're interested in terms of what we are committed to deliver across the North West rather than in one geographic location. And it's something that the Internet and online means and technology can really facilitate in a way that we wouldn't be able to with other art forms. In this way, Folly can engage the entire region with the festival and reach a larger amount and more diverse people in a way that an urban setting doesn't always allow. She remarks, by doing it through this way, that means by reaching out across the community and the whole region and spreading out using online sources and engaging much more people at a level that is meaningful to them and the way that they live their lives. Abandon Normal Devices (AND) is a new festival that welcomes audiences to experience the best in new cinema and media art in a celebration that spills from the screen and galleries into the landscape and imaginations of the North West. http://www.andfestival.org.uk

C a s e S t u dy: Ar s E l e c tr o ni ca
Ars Electronica was started in the same year as Sonic Arts Network (EMAS as it was then called). This festival of art, technology and society spotlighted the emerging digital Revolution. It started as a meeting of science and art, most notably through electronic music. Within a few years, Ars Electronica developed into one of the worlds foremost media art festivals. And its growing success was paralleled by the expansion of its annual lineup of events. The 1979 festival proudly presented 20 artists and scientists; in 2008, no fewer than 484 speakers and artists from 25 countries were in attendance. For nearly three decades now, this world-renowned event has provided an annual setting for artistic and scientifc encounters with social and cultural phenomena that are the upshot of technological change. Symposia, exhibitions, performances and interventions carry these inquiries beyond the confnes of conventional conference spaces and cultural venues and take them out into the public sphere and throughout Linz. In this process of pervading public spaces and staging festival activities in interesting and appropriate physical settings, Ars Electronica has consistently displayed extraordinary imaginativeness. From the harbor to the mines, from factories to outlying monasteries, unusual locations have repeatedly served as sites of performances and interventions, and

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have, in turn, been reinterpreted by them.

What c a n w e l earn ?
Much of what Ars Electronica does can be found, most signifcantly, in the Expo festival. Expo is, if you like, a DIY version of the festival - and one that takes the form of the city or town it lands on, rather than having an ongoing relationship with just one. What is interesting in the context of Sound and Music is that 75% of the activity is related to sound and/or music - but avoids being a music festival. Instead it is most defnitely rooted in art and technology, and even when dealing with issues such as genetic engineering and physics, it has at least one foot rooted in the critical discourse of art. It is also notable that the music industry isn't present. In a symposium about Digital Music's there was not the usual roll out of people talking about itunes or myspace but people talking about what digital sound means and what interactivity means in that context. There is also a bold and unabashed support for activist and media art. Prizes are regularly given for activities that might fall outside of the law (for example the Pirate Bay) in recognition that in order to create vital discourse in art you need sometimes to take into account moral civic disobedience rather than the legal - consumerist led framework. There is a notable lack of support from major institutions in the UK for this kind of discourse (maybe because of the pressures around IP that flter down from government, to arts council to organisations). However, Ars Electronica is now a major institution itself, with a major new 30 million pound centre so it provides an interesting case study to see how to resist these pressures. It was also the presence of Ars Electronica that proved vital to Linz being European Capital of Culture 2009. A question that always seems to be on the lips of UK based visitors to Ars is - 'Why isn't there something like this in the UK?' It could be argued that AV and FutureEverything are attempting to achieve this and I certainly think that a Regional approach is the only way it ever could. I think Ars Electronica uses Linz as its playground and the town (seemingly) is on the whole very much behind it. In London, I feel this would be impossible but from our experiences in Plymouth and Leeds with Expo, these major but secondary cities embrace these opportunities more fully. With this said however, I think there is a London institution that could provide the kind of Arts / Science Discourse and that would be the science museum. My frst instinct would be a collaboration between Science Museum / Sound and Music / Nesta / Wellcome / Tate / with a fringe built around State 51 / Cafe Oto / Resonance FM /etc. I'm not sure I would recommend a full on Ars copy but perhaps a series of events or a season centred around an exhibition. Indications of an interest in sonic art has been expressed through the Science Museums purchasing of the Oramics machine and it's commissioning of work by the likes of Troika. http://www.aec.at - David Rogerson (Sep 09, Linz)

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5.0 N o t e s a n d F u r t h er R e a din g
P o li cy
'Digital Britain: The Interim Report', Department of Culture Media and Sport, and Department for Business and Regulation and Enterprise Reform, Surrey: January 2009. Available at: < http://www.culture.gov.uk/images/publications/digital_britain_interimreportjan09.pdf> 'Digital Britain: The Final Report', Department of Culture Media and Sport, and Department for Business and Innovation and Skills, Surrey: June 2009. Available at: < http://www.culture.gov.uk/images/publications/digitalbritain-fnalreport-jun09.pdf> 'Internet Stats Compendium', Econsultancy, London: 6 June 2009. Available at: < http://econsultancy.com/reports/internet-statistics-compendium> 'After the Crunch', John Holden et al. Creative & Cultural Skills and Counterpoint. MLG Edinburgh, Edinburgh: July 2009. Available at: < http://www.creativechoices.co.uk/upload/pdf/v2arts_in_a_recession__2_.pdf>

Ga m e s
'Why Game Consoles Are Bigger than Rock n Roll', Andrew Missingham, 13 October 2007. Available at: < http://www.youthmusic.org.uk/assets/fles/Console%20games%20and %20music_1207.pdf> 'Play for a Change -Play, Policy and Practice: A review of contemporary perspectives', Play England, September 2008. Available at: < http://www.playengland.org.uk/Page.asp? originx_1743bk_24295533902553h24p_20081110818i>

S o c ial M e dia
'Web 2.0 for the Museum', Heritage365 magazine, Jim Richardson, May 2008. Available at: <http://www.sumodesign.co.uk/our-views/web-2-0-for-the-museum.html> 'Corporate Social Media Guidelines', Econsultancy, May2009. Available at: < http://econsultancy.com/reports/corporate-social-media-policy-guidelines-digital-marketingtemplate-fles> 'Creating a Social Media Plan for a Museum', Jim Richardson, 26 June 2009. Available at: < http://www.museummarketing.co.uk/?p=151#comments>

R e v e n u e M o d el s
'Free! Why $0.00 Is the Future of Business', Chris Anderson, Wired Magazine, 25 February 2008. Available at: < http://www.wired.com/techbiz/it/magazine/16-03/f_free?currentPage=all> 'All together now: from social media to social good', NESTA, Andy Hobsbawm. Available at: < http://www.nesta.org.uk/all-together-now-from-social-media-to-social-good-essays/>

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'A Money Idea', Culture Shock, Portland: 19 August 2009. Available at: < http://cultureshockpdx.blogspot.com/2009/08/money-idea.html>

A u di e n c e
'Public as Curator', Michelle Kasprzak, curating.info, 14 September 2006. Available at: < http://www.curating.info/archives/16-Public-as-curator.html>

Mar k e tin g
'Getting Real', 37 Signals, Available at: < http://gettingreal.37signals.com/ch13_Ride_the_Blog_Wave.php>

D i gital M e dia an d t h e Art s

'Digital Opportunities Research Programme', MTM London, Arts Council England, London: July 2009. Available at: < http://www.artscouncil.org.uk/about-us/research/digital-opportunities/> Arts Council England Digital Content Snapshot, MTM London, 15 May 2009. Available at: < http://www.artscouncil.org.uk/media/uploads/downloads/MTM-snapshot.pdf> Engage 24, 'Digital Doorways', ed. Raney, Karen, Rich Mix, London: Sept 2009. Available at: < http://www.engage.org/publications/seebook.aspx?id=1920> (Inside - Article: by Jennifer Stoddart, Folly)

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Ap p e n dix 1:
C a s e S t u di e s

These case studies were collected throughout August October 2009. They provide an overview of digital practices from local, nation and international organisations covering a scope from media and digital organisations, orchestras to music distributors. These case studies look at both internal management, digital delivery, content production and creative project development that have formed a backdrop for much of the research in this report and expressing some emerging practices and ideas in digital media and the arts.

F o lly Jennifer Stoddart, Programme Manager www.folly.co.uk

Folly one of UKs leading digital arts organisations working regionally in North West England. As with other digital and media art organisations, their approach towards artistic production values an open and collaborative process with the artists and organisations they work with. Folly operates as an agency and does not have a physical space or gallery. Resources are shared through partnerships such as with their artist residency programme which is a collaboration Lantern House where they pool resources such as space, equipment and staf to support the artists during their stay. Folly is also closely networked with other media art organisations and individuals working in the feld through cross collaborations. They have developed a number of online participatory projects and commissions that engage the public in the creative process. They have produced public education projects within shopping malls such as the Portal Pixel Playground, which tours throughout the region. Overall, Folly has an impressive body of programmes including residencies (normally three to four per year), The Digital Artist Handbook), Portal Pixel Playground, Digitclub, Commissions (The Wishing Tree), Online Digital Content (Podcasts) and Festivals such as the AND Festival and others. Together, the programmes provide an approach that supports artists, engages a broad public and fnds a way of collaborating that brings more people together to engage with technology in meaningful ways. For Folly, the challenge in working in the feld of Digital and Media Art is that technology is seen as an end it itself rather than a means of bringing new meaningful experiences and creative possibilities. Programme Manager Jennifer Stoddart says, It can be a challenge to make sure that you're not just being see as showing of fancy new technology. This is art that we're trying to be doing to engage with people and it's meant to see the World diferently. And it's important not to lose that and to position yourself as sort of a digital agency producing digital projects. It's important not to lose the Art side of things. Folly wants to see education programmes more integrated with the overall programming of an organisation rather than seeing it tagged on as something extra. She sees a need for collaboration amongst art organisations not only in a time of recession, but to develop a healthy artistic community and to extend creative possibilities. For this, Sound and Music can see opportunity to engage with an open, networked and collaborative environment of the digital and media art community . It is a means of sharing resources, knowledge and to build a network for supporting the arts across disciplines and sectors. There is a need to build long standing relationships with organisations such as Folly, FACT and MUTE and others working within the

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feld and to participate in this world of collaborative and open source practice with a particular niche within sound and music.

What c a n w e l earn ?
Sound and Music can also beneft from looking at more distributed approaches to programming like the AND Festival (which is a collaboration with FACT and Cornerhouse). Activities within rural and urban areas bridges a connection with a wider audience and forms a more cohesive and diverse community. 'Digital' has become a trendy word in the use of business and policy and it is important to recognise the intrinsic values and uses of it beyond simply exploring what the medium can do. For Folly, it is not about having fancy labs and equipment, but engaging more people with technology in meaningful ways for themselves within their lives.

K ey P o i n t s

Open and collaborative approach with community partners Integrated programming digital commissions, residencies, professional development, education programmes, festivals Distributed events throughout the region urban and rural Clear set values and position on open source/open culture, art and technology, and local community and learning

F r e e M u si c Ar c hiv e / W F M U
Managing Director, Jason Sigal http://freemusicarchive.org The Free Music Archive is a sister project of WFMU, a highly respected independent radio stations for underground and new music in the US. Based in New Jersey and New York, The Free Music Archive was launched earlier in 2009 as an online resource for free high quality and legal music. Currently FMA is supported by WFMU and New York State Music Fund. WFMU is funded by an annual week-long fundraisers which raises 1 million dollars to support the station for the year. WFMU is run by a team of dedicated volunteers and is perhaps equivalent to Resonance FM in the UK. FMA is currently applying for additional funding to implement video embedding features. Currently FMA is a free and open archive of quality music with a select community of curators and new music specialists who are allowed to upload music the archive. FMA does not have to clear the rights since it is assumed the user has the right to upload the content. Similarly to Youtube, artists may ask to have their work removed if there is any dispute. Content in this case is qualifed as 'fair use'. FMA has teamed up with Creative Commons to support and promote their work. FMA must foster a strong community of curators and contributors who are dedicated to promoting top quality content (and not simply self-promoting their own work). All curators and content editors for the website are volunteers from partner organisations and labels and other radio stations. FMA are also collaborating with galleries such as Issue Project Room in Brooklyn to produced events. FMA is also working with a number of festivals and venues to archive performances including much of WFMU's on-air performances. The FMA website includes profles and the ability to create playlists. Users can search by curator and by genre of music. FMA aims to be an online resource and archive for rare and exclusive music. By working with a select group of curators and building a strong network from WFMU's partners and supporters, FMA is built by a community and strives to become a unique resource of quality material similarly to UBUweb. FMA is currently run by a single Managing Director (Jason Sigal) with support from the technical management of WFMU. The organisation becomes largely run by the voluntary contributors and editors which Sigal manages to contribute content daily, weekly to bi-monthly articles. This form of organizing editors and handling digital content
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can be useful for Sound and Music's website. A tight network of curators and editors can be used to build the site into a top quality resource. The role of the organisation is not to produce content but to facilitating to voluntary bodies. FMA becomes a valuable resource where a community can be consolidated.

K ey P o i n t s

Managing curators and editors Community Partnerships i.e. Issue Project Room Supporting high quality curated content Managing volunteer contributions Fundraising: gift prizes, annual fund drives Creative Commons, free content/free culture Online community building and digital resource development

K ud o s R e c ord s
Digital Manager, Kudos, James Birchall www.kudosrecords.co.uk Kudos Records has been a music distributer for over 15 years and has evolved to include digital distribution along with physical distribution. The shift in their practice is a result of emergence of digital technology and online fle sharing. The music business is for Digital Manager of Kudos Records, James Birchall Digital is growing slowly every month, not growing as fast as physical is declining. Currently, digital brings in 20 percent of the turnover. For Birchall, digital is more versatile than physical distribution. It also saves space on storage space though digital storage in large quantities can also come with a price. In digital, music can be packaged in multiple forms and users can be more selective about what they listen to. For Sound and Music, it is important to observe the shifts in the distribution of music and the ways in which people are now listening and accessing music. At the moment the industry is experimenting with multiple formats from streaming music to selling individual tracks i.e. iT unes. Still only 15% of music online is monetized, while fle fle-sharing/piracy, legal free downloads, social media (i.e. MySpace, SoundCloud), online streaming (i.e. LastFM) represent the other 85%. Birchall remarks " Rather than hundreds of thousands of people being coerced into listening to one artist, theyll be able to choose and select from an immense and broad range of music that is all immediate available online. Birchall believes the industry is moving towards what he calls a 'feels like free' model which is a subscription model where users pay an extra monthly fee to have unlimited access to music. Alternative cross-subsidy models also fall under what 'feels like free'. Third party advertisers reap benefts from clicks, which access to music for the user is seemingly free.

Diog en e s Mu sic
Managing Director, Diogenes Music, Eric Namour www.diogenesmusic.com Similarly, Diogenes Music run by Managing Director, Eric Namour is a new digital music aggregator, acting as a hub for experimental labels to package and distribute their content online. Diogenes retains the rights to the digital copies of the music and passes 80% of the royalties to the labels. He collaborates with a Technical Director based in Finland and a web developer in Columbia. As a digital organisation, his collaborators can be located across the gloab. For Namour the music industry today is about developing the tools for labels to allow artists to setup their own shop (DMS - Digital Music Store). So we take the content, we digitize it; we do the metadata, which is basically any digital product into metadata, image and sound.
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So we package things up and then we do the press related to it and we deliver it to specifc shops, music services. For Namour, it is about mixing formats and models of income generation and to fnd a broader coherence in the way people are experiencing and consuming music today. He says, It's not about going against the free but it's actually how you're going to work with it. As major labels are doing T-shirts and taking the rights to do live and merchandising, and experimental and niche labels it's also that. We're just fnding the coherence. So the coherence goes with live via the events, via the digital, physical.. Additionally to music distribution, Namour also does consultancy and promotes live events that are bundled with coupons for digital downloads to sustain his business. Namour also believes the subscription model for digital music will become the standard. Namour believes social media does not translate to sales. He states, Social marketing means free normally. That's Web 2.0 its freedom of content." Often information shared on social media is expected to be a gift, where audiences lose interest when money or sales is involved. The digital music industry is emerging as developing the tools to help artists and labels distribute their music online. There are numerous ways in which one can access music online and the job of music aggregators like Kudos and Diogenes is to develop systems that make it easy for them to do so. The tools constantly need to be updated and improved to move with changing technology. In order to support artists online, Sound and Music can learn from the music industry in the way audiences are listening and engaging with music and the way in which artists are remunerated for their work online.

K ey P o i n t s

Revenue models: subscription model, feels like free Multiple formats: CD/vinyl/digital bundled with live events Audience engagement through streaming, downloads and social media Shift focus to development of efective tools and systems for distribution

P h ila har m o nia

Head of Digital, Richard Slaney www.philharmonia.co.uk Philaharmonia is UK's National Orchestra based at the Southbank Centre in London. They boast a fully-fedged Digital Department with four to fve full-time staf including: the Head of Digital, a Digital Developer, a Web Developer and a Digital Assistant. They do most of their digital work inhouse and collaborate with a freelance flmmaker to produce the flms which production is supported by the Digital Assistant. Philaharmonia invest in acquiring all the equipment resources to support in-house production. This saves on borrowing equipment costs and also retains the rights to the materials that are shot and produced. Philaharmonia's Digital Department has grown immensely in the past fve years. The department has become well-integrated with the other departments of the organisation where they work through various levels of collaboration. Currently, the Digital Department is grouped under the Audience Development Department, which also includes the Education Department and Marketing Department. Together the three departments discuss and negotiate their roles on their diferent projects. Sometimes the Digital Department also serves as a service department for the other departments. They will assist with technical support and setup equipment for events and programmes. They will also perform the task of documenting events. The Digital Department also facilitates workshops in Education programmes that engage audiences with digital media creatively .

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The Digital Department acts as a creative department by producing flms and video content that are licensed to artists and other DVD productions as a source of revenue. The department is launching their frst major project that requires support from all the other departments. 'Re-Write' is a large scale video installation that involves 29 projections and rooms to showcase a diferent instrument during a performance. It is a creative project lead by the digital team that involves education and marketing support. The project is independently funded by the Paul Hamlyn Foundation with equipment support from corporate sponsors. This is the frst large-scale creative project lead by the Digital Department. At the moment, the department is at the stage where they need to secure economic sustainability of their projects through partnerships and sponsorships. Overall, Philaharmonia has efectively developed their Digital Department within the organisation where the departments have found a balance in collaboration. Head of Digital, Richard Slaney says that in departmental collaboration it is important to allow each department to work out their own role within a project. He says, Everyone wants a piece of the digital party and there's a lot of people who want to do a project with a digital element and it's important that we specify what the digital element is. Rather than saying oh yes, and there will be something digital work it out later and not really budgeting it properly or thinking about it properly.

What c a n w e l earn ?
Departments can take leading and supporting roles on diferent projects to work towards building cohesion within the organisation. Projects and work between education and programming and marketing are interwoven requiring close collaboration amongst all the departments. Philaharmonia provide an example of facilitating production in-house, which can be a pricy initial investment, yet benefcial in the long run. The equipment they have acquired provides a major resource for the organisation to support projects.

K ey P o i n t s

Large digital department Collaboration across departments through supporting roles and leading roles on projects In-house production, acquisition of resources Revenue from managing digital rights and distribution of flm content Online ticketing and shop

R hizo m e Technical Director, Nick Hasty

www.rhizome.org Rhizome is a leading online resource and community for media art since 1996. The organisation supports the creation, presentation and preservation and critique of emerging practices in media art. It is operated by a small team of four at the New Museum of Contemporary Art in New York. The team consists of a Director, two editorial staf, and Technical Director, Nick Hasty. Rhizome over the years has established itself as a major resource for artist, practitioners, and researchers in the feld internationally. They have a community platform for opportunities/open calls, jobs, portfolios/profles, archive, regular newsletters and message boards. Rhizome is a an audiencelead organisation where resources are built by an international community of members. A main source of income for Rhizome is their membership scheme, which is ofered at $25USD for a one-year subscription. Rhizome additionally hosts an annual three-month community campaign. They have a range of level of donations as well as micro-donations online. Each year they also host a one-night fundraiser and auction in which high profle artists are involved. Both fundraising programmes have been widely successful despite a down-turned economy .

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Rhizome has an online archives artworks in their Artbase which are partially accessible for free and fully accessible by members. Artworks can be either cloned on the Rhizome server or linked. Rhizome gives out 10 commissions per year which are selected from submissions to an open call. Eight commissions are jury selected, while two are audience selected. Commissions are supported by the Jerome Foundation, the New York City Department of Cultural Afairs, the New York State Council on the Arts, the Rockefeller NYC Cultural Innovation Fund, and Rhizome members. Rhizome began with a focus around Net Art. The organisation has since expanded to all diferent art forms of Media Art including from performance, and object-based artworks. They have a broad fan base and seek to nourish emering practitioners as well as maintain relationships with pioneering artists in the feld. Tiny Sketch is an example of an online participatory project which engages young people and the public in a programming competition in Processing. Beginning frst as an online platform, the organisation has grown to support commissions and exhibitions locally in New York.

What c a n w e l earn ?
Online platforms can be a space for the building of an online community and resource for content and information. Members at Rhizome are dedicated to the organisation and form part of a global network. Relationships with artists and audiences are long-term and on-going where members can participate in commissioning. Rhizome has successfully maintained its original fan base while growing new fan base from emerging practitioners. Rhizome also provides a successful example of online fundraising projects through micro-donations and a strong community base.

K ey P o i n t s

User-lead organisation International online community and network Fundraising i.e. auctions, online community fundraisers, gift prizes Commissions Jury and audience selected Local engagements (exhibitions and fundraisers) and global online platform

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