DIGITAL TRANSFORMATIONS IN CREATIVITY

Paul DwyerUniversity of WestminsterEMMA Bournemouth 2013

“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

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

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

Professional knowledge – provenanceauthentic

Habitus – personal taste

Framing – legitimate, value

Curators and Creativity

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

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).

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

Jake Berger – The Space

Commissioning and distribution

Audience Reach & Engagement

Framing - popular

Curators and Creativity

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

Henry Jenkins – University of Southern California

Personal or enthusiast knowledge

Habitus – personal taste

Framing – legitimaterelevant

Social Curation – Radical Trust?

http://talesofthings.com/collections/?page=4

http://talesofthings.com/collection/33/

Video – Teddy Bears in WWII

Community Curation and Value

Professional knowledge

Habitus – audience taste

Framing – legitimate

Social Curation – Radical Trust?