Dr Paul Dwyer Digital Transformations 2013 -
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Transcript of Dr Paul Dwyer Digital Transformations 2013 -
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DIGITAL TRANSFORMATIONS IN CREATIVITY
Paul DwyerUniversity of WestminsterEMMA Bournemouth 2013
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“unless an eye is always kept on reaching a wide audience, a museum risks drifting into complacency, irrelevance and even elitism. “
Museums Association (2012) Museums 2020
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Web- small scale, limited traffic,A few provide high-quality, engaging online experiences30% of Facebook profiles >100 friends and no message posted in previous month
Source: MTM (2009) Digital Content Snapshot Arts Council England
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Noble (1970) “collection, preservation and study (provenance) of cultural and natural objects”Bourdieu (1984) “cultural intermediaries” are market actors who collect (aggregate) and identify “legitimate” cultural goods. Business Model: state funding – art market
Curators
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Professional knowledge – provenanceauthentic
Habitus – personal taste
Framing – legitimate, value
Curators and Creativity
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Popular Culture
“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act”.Marcel Duchamp
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Increasing audience reach. Ticket charging (V&A 1988)Cultural organisations generate revenue by selling tickets to exhibitions of the collections and providing ancillary products and services (cafes, shops, merchandising etc.) Best practice of NESTA (Bakhshi and Throsby 2010) and the Arts Council England (ACE, 2010).
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The Space used digital technology to increase audience reach – transform the secondary role of curators– exhibition and display of collections –make ‘long tail’ arts content produced for Olympic year available as catch-up to those unable to attend the live events
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Jake Berger – The Space
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Commissioning and distribution
Audience Reach & Engagement
Framing - popular
Curators and Creativity
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Social Curation – online communities can create value by identifying cultural goods which are “legitimate” within an online community or “fan culture”.
Machine Curation – ‘platforms’ create value aggregating content and users who can be reached by ‘targeted’ advertising.
Participatory Culture
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Henry Jenkins – University of Southern California
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Personal or enthusiast knowledge
Habitus – personal taste
Framing – legitimaterelevant
Social Curation – Radical Trust?
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http://talesofthings.com/collections/?page=4
http://talesofthings.com/collection/33/
Video – Teddy Bears in WWII
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Community Curation and Value
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Professional knowledge
Habitus – audience taste
Framing – legitimate
Social Curation – Radical Trust?