Let’s Get Real Conference ‘Is your content fit for purpose?’

The programme so far … more coming soon…

We are *really* pleased that our keynote this year will be from the brilliant and talented Shelley Bernstein whose work at Brooklyn Museum is internationally recognised for its creativity, community value and openness. Shelley rarely travels to speak outside of the USA so we are *very* lucky to have her. Talking about failure is going to be a big theme for us this year with a compelling keynote from Michiel van Iersel entitled ‘Learning from failure’ drawing parallels between disfunctionality in architecture and digital systems. Plus a series of provocations to challenge and get your thinking. There will also be a separate evening event for those of you that are in town called ‘Church of Fail’.

There are 99 earlybird tickets available on a first come first served basis at the price of £99.

Find out more and book now.

A think piece on digital

This is the longer version of a think piece on digital that I did for the new Audience Finder project. It was published to coincide with a whole set of extremely useful new (free) resources that were produced by Culture24 and address some of the most commonly shared digital sticking points such as: mobile change, SEO, Google Analytics segmentation and social media evaluation. They were commissioned by The Audience Agency as part of their Audience Focus project. Get them here.

*    *    *    *    *    *    *    *    *    *    *    *    *    *    *    *

I am a digital immigrant and I am fluent in webtalk.  I love sci-fi, nerdy conferences and Lord Of The Rings. I have an online presence on Twitter, Foursquare, Facebook, Flickr, Linkedin and edit five different WordPress blogs. I daily use Basecamp, Dropbox, Google docs, iplayer, spotify, photoshop and skype.

I am also a woman and I am fluent in my own ideas.  I love sushi, conceptual art, and Italian architecture. I go to a gym, a bookclub, a singing group, flamenco classes and I know how to edit super8 film. I talk to my friends, my kids, my husband, my colleagues at work, around the UK and overseas, my family and random strangers in the street who I think look interesting.

I have a laptop, a desktop computer, an ipad and an iphone. I have a bike, a bank account, an office and my feet. I live one life, am one person and don’t really have an online or an offline Jane anymore. It is just me, doing what I need to do and trying to do it the best that I can and I dip in and out of the digital world without thinking about it anymore.

I’m not saying I am always online, or that I have sorted my work life balance (not!) but just that it’s become a fluid thing. This realisation has been dawning on me for the last few years as my interaction and behaviour with technology has become integrated and impossible to separate from what I used to call my real life.  I haven’t decided if I like it, or even if it is a good thing but nevertheless it is true and I don’t think there is any going back for me – or you.

This article is a think piece on how this fundamental shift is touching everyone and in particular the impact it is having on cultural organisations trying to understand, adapt and embrace the change. Don’t think I am suggesting that I have all the answers but I hope that you will agree I have some of the right questions.

Let’s talk about digital

Digital is not really something separate.  No one under the age of 20 even talks about ‘digital’ anything anymore. It is simply a part of everything – communications, transport, retail, manufacturing, entertainment, education, medicine etc. So why when it comes to cultural policy, the arts and heritage sector and building its digital capacity are there separate strategic policy areas and funding strands? As the Arts Council are now moving to integrate arts and museums, why not digital too?  Wouldn’t it be better if instead of a digital strategy, a gallery or museum thought about the use of digital tools, channels and technologies simply within its wider mission, existing content, exhibition, touring, education and audience development plans? Could you even go further and start with digital?

If we look at the development of the Guardian newspaper they moved from setting up a new media lab in 1995 and a separate supplement called OnLine, to an online branding as Guardian Unlimited separate from the newspaper, before in 2008 integrating and rebranding everything under one name guardian.co.uk, followed by guardian.com as they became increasingly international.  They went further in 2011 announcing their plans to become a digital-first organisation, placing open journalism on the web at the heart of its strategy. Their evolution has been a fight for survival and also a response to changing consumer behavior and expectations.

I wonder what a digital-first museum, gallery or arts venue would look like? I’d like to see that. In fact I’d like to run it!

The fluidity that has evolved in my personal life in recent years and that digital natives take for granted, is I believe, largely missing in the organisational development of the cultural sector.  To quote my introduction of the second Culture24 Let’s Get Real report:

For many cultural organisations the online world and digital tools are still unfamiliar and unknown. They are aware of the knowledge gap between them and those (often younger) individuals who feel fluent in this new language. This tension is made worse by the fact that although digital technologies are understood as tools that need to be used and shaped to a purpose, they also change the very nature of their users’ behaviour – allowing access to information on the move, facilitating connections between sets of previously separate data and offering a multitude of opportunities for sharing and participation.

As such, the shift needed for an organisation to feel confident in understanding these changes in user behaviour and then to integrate the use of digital tactics into their overall strategic mission in useful ways requires a significant shift in internal thinking at all levels. The time, space and commitment needed to do this well cannot be under-estimated.

Many cultural organisations also face a raft of internal pressures sparked by expectations such as: 

  • Online developments will significantly improve audience reach
  • Online developments will provide access to new audiences (especially younger ones)
  • We need to be seen to be using digital tools and not getting left behind
  • Senior management (directors/trustees) wants us to build a big, shiny new showcase digital ‘thing’ that will show everyone we are cool (app, kiosk, game, etc.)
  • Digital will help us earn more money
  • Digital will increase participation  

These expectations are often unrealistic and are strategically the wrong starting place for thinking about any new business development of any kind, but especially any using digital technologies. The starting point should, instead, be the mission of the organisation and the needs of the target audience. You need to know what you want to achieve and who it is for. A useful entry point for each cultural organisation to explore how their organisational missions can connect with the needs of their target audiences online is to examine the question ‘what is digital engagement?’

Let’s talk about engagement

Engagement is fundamentally about attention, inspiration or connection. For the arts and heritage sector this means our public and their relationships to our stuff.  Trying to understanding this public and reach them is not a new problem. The reality of inventing, making or producing something that other people don’t relate to, value or understand has been something cultural producers and organisations have faced forever.  It sits alongside the other big audience issue of the supply (this is what I have) vs. demand (this is what you want).

Audiences for anything can be broken down by demographics (where people live, how old they are, how much money they have and what gender they are).  But you can also look at peoples motivations (what they want to know, what they need to buy, where they want to go) and their behaviours (searching, browsing, facilitating, learning, watching, contributing).

When looking at digital engagement behaviour is a key factor as the very nature of many digital platforms, channels and devices fundamentally changes the users behaviour. Mobile technology is accelerating this rate of change at a pace that is now unstoppable as we keep moving between screens, books, websites, shops, tv, exhibitions, apps and cafes in a seamless and continuous online and offline dance. The touch points for our experience/information vary based on our motivation at any one time or the serendipity of our curiosity. Understanding these consumer experiences as a whole is crucial to curating our messages to our audiences.

Statistics tell us that people in the UK are spending as much as 21 hours a week online, more if you live in the USA and up to 40 hours if you are aged 18-24. But what are they doing? Isn’t the internet just full of rubbish? Of course it is, but that is a human issue not a technological one. For all the pornography, gambling and trivia, there are many well documented stories of community empowerment, educational revolution and world changing projects that were only possible because the technology facilitated people to behave in a different way and do something different.  Projects such as the Ushahidi Platform, Tedx in a box, change.org,  Flickr Commons[8], or kickstarter. They all plug together communities of users.  Writer Clay Shirky defines the channeling of this community capacity as Cognitive Surplus or “the shared, online work we do with our spare brain cycles which means while we’re busy editing Wikipedia, posting to Ushahidi (or even making LOLcats), we’re building a better, more cooperative world”. The cultural sector is only on the very edge of exploring how they might do this for the arts.

There is also a new generation of vloggers and bloggers out there, independent voices that are original and intelligent.  People like charlieiscocoollike who is sharing his love of ‘fun’ science with an absolutely huge fanbase of over nearly 2million subscribers he has built from nothing. If you are ever wondering where all this obsession with things like YouTube is going then check out Jamal Edwards at the 2013 TedX Houses of Parliament asking if the next prime minister could come from YouTube? Possible.

As cultural institutions we need to be one of those voices, sharing what we have, exploiting the depth of our knowledge and – crucially – our authenticity. This, along with our creativity, are our two greatest assets as a sector.

Let’s talk about evidence of engagement

While I am writing this 23 people, one of whom is in Madrid, are looking at the culture24.org.uk website. Three are reading a new article about how a master perfumer is recreating the fragrance of Jacobean London, two are looking at the address of the Pankhurst Centre in Manchester (one of them on a mobile phone), one is reading an oral history shared memory of the Scotswood Road in Newcastle, another is searching for museums in Tunbridge Wells. I could go on…

Anyone with a Google Analytics account can do this and watch in real-time as people leave a digital footprint from their visit to your website in your GA software. It is very compelling and ultimately quite satisfying as you actually see for yourself something happening live online.  But what does it tell me about the level of engagement on our site?  How can I know if people are even finding what they want?  Google Analytics will allow me to measure the degrees of engagement but not the ‘kinds’ of engagement (see Avinash Kaushik’s books and blog Occams Razor). The truth is that the right kind of engagement  is the one that meets your own business outcome and so will be slightly different for everyone. There is no one size fits all with analytics.

Identifying the outcome you desire, in a way that is measurable, is not as simple as it sounds. Sometimes it is hard to even know the questions to ask to start asking the right questions.  The Let’s Get Real action research work I lead has focused on these issues with a range of UK cultural organisations over the last three years and the two reports published are a good place to read case studies of how a range of cultural venues have approached this challenge.

The Tate talk about their work in this area and say: Understanding our audiences and evaluating the impact and value of their digital experiences is a vital element of Tate’s digital transformation. One of the aims is to establish a digital culture within Tate that is audience centred, responds to the audience needs and that is also iterative and evaluation lead”. Part of this work has been the creation and sharing of a digital dashboard template that offers a useful starting point for others to format their data into meaningful shapes. Other cultural dashboards can be found online at the Museum of East Anglian Life and the IMA.  What I like about both of these is that they mix off and online statistics that have been chosen as they represent what the organisation values, not simply a collection of what they are able to measure in any one platform.

Getting this right inside your own organisation is a process that takes time and it is a long way from the kind of top level digital metrics that are collected by Arts Council from their National Portfolio Organisations (NPO’s). These are almost useless without applying some relevant audience segmentation, benchmarking your stats overtime and a contextual framework for defining success against your mission.

Let’s talk about content

A good question to ask yourself is  – is your content fit for purpose digitally?  Are you using the analytics from your current digital activities to better understand the success and failure of your content to engage? Are these insights being used to drive internal change? Are you approaching this with honesty and openness? Do you have confidence in your content and knowledge? Can you try and think differently about what you have and then do differently? Maybe you could try a small scale action that combines examining a quantitative (metric) with qualitative (ask the user) evidence? Perhaps this might help you to consider ways to adjust your editorial strategy or content plans? Could you fail fast and get better faster?

The very talented team at the GOV.UK have produced some excellent Content Principles as a style guide for their site. These combined with their Design Principles make an excellent set of reference points for improving your own digital output.

Remember that online everything is content, your site architecture, navigation, headers, alt text metadata and URL’s and they all play a key role in maximising your SEO (search engine optimisation) and therefore the discoverability of your stuff with audiences.

Sadly at the moment, the cultural sector does not have the attention share online we deserve. We are not good at big. Michael Edson, Director of Web and New Media Strategy for the Smithsonian Institution talks about the fact the world has changed in three ways: scope, scale and speed and that some GLAMS (Galleries, libraries, archives, museums) haven’t noticed yet. In his brilliant Age of Scale presentation he makes it clear that there is lots of room at the top. He asks “Can we supersize our mission? Can we go to 11?”.

It can happen. Look at the phenomenal 23,000% boost in DVD sales that Monty Python received when they choose to giveaway all their TV shows on YouTube for free. Or the 1.3 billion views of the Gangnam Style music video with its 8 million dollars of advertising revenue, made possible by ignoring all the copyright infringements and rip-offs. This is scale, but not as we know it in the cultural sector yet.

The Rijksmuseum are perhaps the closest with their recent step of offering downloads of high-resolution images of their collection at no cost. Through the new online Rijksstudio, the public are encouraged to copy and transform the museums artworks into stationery, T-shirts, tattoos, plates or even toilet paper. The ultra-high-resolution images of works can be freely downloaded, zoomed in on, shared, added to personal ‘studios’, or manipulated copyright-free.  The scale of this use is yet to be seen but the ripples have been noticed.

All of these examples share a very progressive open approach to content ownership that I believe the cultural sector should watch and learn from.  Let’s set our content free.

To conclude

Personally, I am a culture addict who loves the physical experience of walking into a gallery, watching a live performance or handling an object but my digital experiences are gaining momentum as digital tools become more useful and support me.  I wonder when, if ever, digital culture will hold my passion on its own? Perhaps only with a relentless focus of quality and a commitment to turning our organisations relationship with the audience, inside out.

A few caveats:

This article takes the word digital in terms of the web based platforms, channels and digital collections of non-profit museums, galleries, heritage sites and arts organisations.  There is a bias towards cultural venues who are content holders such as museums. It does not address digital art or the use of digital technologies as an online creative medium in its own right.  That would be a different story.

In Conversation at The Guardian with Melissa Denes and David Sabel

The Guardian culture professional network is a year old this September and yet it feels somehow like they have always been here. They slipped so neatly into the online hole in the sectors own communications and networking activities that it was a natural fit.

That’s why when the super dynamic Nancy Groves asked me to step up and be interviewed onstage by their ‘mainframe’ arts editor Melissa Denes I said yes without hesitation. I am also a fan of David Sable’s work with NTLive and being onstage chatting with both him and Melissa seemed like a pleasure.

The conversation touched on several ideas that I’ve been pondering recently and thankfully came together into a rather interesting discussion. Here are my reflections of what we talked about:

  • there is little or no instructional memory now in the Arts Council. The leaking and plundering of staff has left then forgetting the lessons of their own failures and having to learn them all over again.  Anyone remember ArtsOnline…? Reminds me of that wonderful line that Merlin utters in the movie Excalibur ‘it is the doom of men that they forget’.
  • the ongoing lack of attention share online for cultural institutions (the actual branded sites from museums and galleries etc) does not automatically apply to artistic rich sites where there is no ‘brand’ between the audience and the stuff. They seem to have a more immediate relationship with the content that is outside of any institutional identity and is based on shared passions and interest. I wonder, are institutions ultimately hamstrung by their own internal need to justify themselves and build brand? If you are not a popular brand (NT, Tate etc) then can you ever break through this? I would love to do some deeper research into the successes of artist sites in the same way we have done for museums in the Culture24 Let’s Get Real work.  Lois Keidan from the Live Art Development Agency had some great comments to make on these issues.
  • as the funding cuts slowly destroy and undermine the arts funding infrastructure, they will not necessarily destroy creativity or creative output. Individual institutions may close but I believe that by far the biggest problem will come from having a political culture that is risk adverse and fails to value education and learning. As time passes, this is where we will fail to achieve the spaces for free thinking,  provocation and genuine debate.  Without those maintaining sustainability and relevance in any sector is pretty hard.
  • there is nothing wrong with being an institution and having an internal need to justify your existence and build your own brand – if – you can be up front about that and stop trying to couch your online activities in a language of participation.
  • trying to imagine the future is impossible as we can only ever construct it out of our understanding of the past. As such it is always a shiny, bigger version of what we had yesterday and can never be the fundamental behaviour changing experiences that we will in fact come to know.  Check out the seriously mindblowing podcast of James Burke talking at dConstruct 2012 conference and read the transcript of Warren Ellis’s talk at the equally awesome Inspiring Reality conference entitles ‘How to see the future’.

There is a great Marshall McLuhan quote that sums it up “We look at the present through a rear-view mirror. We march backwards into the future”.

Thanks to Nancy, David and Melissa for a great evening and to the audience for being so friendly.

Take-homes from btween09 digital media forum, Liverpool

Just spent a great two days in Liverpool with a very interesting mix of creative types (entrepreneurs, developers, thinkers, social media start-ups, agencies and broadcasters) as part of the btween09 digital media forum. Well done to Katz Kiely and her team at just-b.


I was one of only a handful of people from the public cultural sector and probably one of the only people who doesn’t have the successful monetising of their offer at the heart of what drives their service. Not that I am saying that the task of justifying the spending of public money is not something that should be quantified and considered as ROI but that the mindset of being driven by a remit to promote learning and engagement for its own sake puts you in a different box to commercial companies.

For me there are a number of key take-homes and formation of early ideas.

1. I was struck by how clever commercial agencies are getting in their manipulation of social media. Ogilvy talked about Brands not just using social media, but being social. But the methods within this new marketing 2.0 seems sometimes counter intuitive in some ways to traditional marketing methods. For example, you don’t talk about yourself within networks, you talk about other people or you support networking and ideas shaping events such as this one in order to make sure you are on the right wave. I guess no one would be surprised to hear that I am deeply cynical about agencies in general and about this kind of clever intrusion into the heart of social networking but, as the revenue streams generated support the sector that I hold dear, I have to bite my tongue. Also, hats off to the people at Ogilvy who are seriously smart (love the brainZ internal problem solving solution, read a post from the people that built it here). I would love to see this kind of intelligence applied to arts, heritage and education!

2. Charles Leadbeater’s analysis of the switch between traditional media and what he calls ‘mutual media’ is excellent. It’s a very clear visual image of the shift between mutual media as the moon orbiting around the huge sun of traditional media (the model of the past), and the future trajectory that he predicts will see the positions switch. He talked around many of the ideas present in his books, such as the breakdown of people activities into three categories – Enjoy, Talk, Do. You can get his essay with a lot of other good stuff in the recently published “After the Crunch” book by CCSkills and British Council here).

3. The three speakers from my session (Will Gompertz, Peter Buckingham and me) were presenting and discussing the issues faced by different aspects of cultural sector as funded by three different government funded agencies – Film Council, MLA and Arts Council – three different organisations but all clearly arriving at the same place at the same point in time with regard to the potential of digital services to transform user engagement. All looking for the holy grail of what this should mean in terms of policy development. But the really cool bit was that Leadbeaters introduction couldn’t have provided a better platform or introduction to the issues we were discussing. It was not planned, it was just all true. True and very reassuring that our observations and thoughts about what is possible and the value of real collaboration put us on the right track, Very comforting when weighing up the price of all the blood, sweat and tears or trying to get people to see the links between all these things.

4. It was really inspiring to see FACT thriving as a venue and as an organisation. Looking really good with projects like FACT TV and Abandon Normal Devices. They were contemporaries to the organisation I used to run before Culture24 called Lighthouse, who roots came out of the independent film and video workshop initiatives in the 80’s and who have both blossomed through the careful and clear advocacy of the role of creative activities and industries in economic development and reform at a local level. The original key player in FACT, Eddie Burg, is now at the Southbank and soon to join the Culture24 board. Very nice and looking forward to working with him.

5. I have learned that five and a half hours on a bus that was sold to you as a techbus, but actually lacked much actual ‘tech’, not really enough beer and a huge traffic jam, can actually be really fun if you are travelling with a group of truly free minds (thanks to Alfie Dennen and Adam Gee for the stories). Charlie Leadbeater called the people who are pushing to find the meaning of the new digital spaces (socially and culturally) “pirates and renegades”. I say ‘yes’ to that.


Check out the little blue buy who blows bubbles when you tweet!

Altermodern at Tate Britain; badges, global culture and all of us

Above my desk is a poster that says “all artists are cowards”, it is an exhibition poster for an artist called Bob and Roberta Smith and every time I look at it I smile.

Bob and Roberta Smith are one of the many new rising talents who have been chosen by Nicholas Bourriaud to be part of the Altermodern exhibition at Tate Britain. The conceit of the show is based on his naming what he sees as the next movement in contemporary art that replaces post-modernism. A post-post-modernism, that encompasses the global, networked, intercultural existence many of us now live in and some of us are immersed in.

The show is funny, clever, curious and encapsulates something about the 21st century that has a real resonance. The wall paintings in Franz Ackermann’s installation are like looking at a networked digital space from the inside. They seem to map some strangely familiar visualisation of online spaces and the cyber journeying that takes us between digital information and its interactions.


This idea of the (alter)modern journey comes also into Walead Beshty installation of Fedex boxes. These large glass cubes that bear the marks of their travels between the artist and a variety of destinations, are like the scars of environmental damage or the dangers of too much travelling on the human soul. The corners are cracked, the glass is broken and they seem sad, lost and rather beautiful.


Loris Greaud installation (wires attached to boxes that resonate and vibrate the physical architecture of the room in time to flashing blue lights) seems to take you deep inside his head. But unlike the Ackermann paintings that seem to portray an internal digital space in a very public domain, this work takes you into the very intimate personal space of the artist’s own thoughts and brain waves.

Bob and Roberta Smith is adding a new piece of work to the show each week. It’s creation starts with a conversation with the curator at 11am on a Monday morning which is then developed to becomes a new work to be placed somewhere in the gallery. Each new piece stays insitu for a week before being moved to a public storage area – a kind of art lost property area – where each piece can be moved aside. Each of the works possesses the same humour and cut-the-crap satire that I have come to know and love from my office poster. One expresses the regret “ I wish I would have voted for Barack Obama’ another simply states next to its found object sculpture consisting of a trumpet and megaphone ‘I was up all night making this’.


There is a lot more worth seeing – the quietly breathtaking moonscapes by Darren Almond, Simon Starling’s replica desks that encapsulate the loss of detail and signal that comes over distances. You need at least two hours to do the show justice, of which at least 20 minutes is needed to watch Lindsay Seers ‘quasi-documentary’ about her own life as an artist and the impact that not speaking until she was eight had on her artistic development. In particular her time spend as both a human camera and projector. I left her projection space totally unsure if any of it was true but full of big questions about the nature of communication and seeing both inside and outside of us.

You can also for an extra 65p buy a badge and be your very own Bob and Roberta Smith. I did and am.


Ocarina iPhone app by Smule and exploding interface design

My iPhone has shifted into a new space with the download of a very cool little application, that is simultaneously totally useless and completely wonderful.


The ‘ocarina’ app developed by smule allow me to play my phone. To quote their website:

“Ocarina is sensitive to your breath, touch and movements, making it even more versatile than the original. Unlike other musical applications, there are no pre-compiled riffs so musicians will find unlimited opportunities for self-expression. Advanced options allow you to choose between diatonic, minor and harmonic scales. Or channel your favorite video game adventurer with Smule’s Zeldarian mode.”

This is rather groovy and all good fun but the bit that I like the best is the interface to view the music of other iPhone players around the world, which are geocoded and visualized onto a rotating image of our planet. The effect is magical and reminds you of how small our world is, how insignificant our individual voices but yet how meaningful to us as human beings.

This kind of visualisation of data that is being collected for ‘other’ reasons is I believe the start of something big. Exploding interface design is the thing that will finally transform the way technology can touch our lives in unexpected ways. This kind of mash-up thingy, useless exploration, is on the right track.

If you have an iPhone, I suggest you try it and look at the user generated sheet music that you can play.

It is called Ocarina as the sound is like the real world instrument, as in the picture below.


Poet Andrew Motion to chair MLA

What great news, Poet Laureate and Professor of Creative Writing Andrew Motion has been selected to be the new chair for the new MLA (Museum, Library and Archive Council)

This has got to be a good thing that signifies a recognition of the need for the organisation to more closer to the kind of innovation, passion and creativity that is the domain of those who create and curate.

He says Bout himself on his website “I see myself as a town crier, can-opener and flag-waver for poetry as well as wanting to write poems about various events that seem suitable to me”

He was appointed Poet Laureate in May 1999 and has done a lot to raise awareness of poetry through school and festival visits and improve assess to work online through the The Poetry Archive which he co-founded – a web-based collection of poets reading their work.

“Part of my interpretation of the role is to demystify it and prove that no matter how sophisticated the language, poetry latches on to very primitive human pleasures of reflection and association – which we forget as we grow older at our peril.”

His appointment comes at the same time as Culture Minister Margaret Hodge announces plans to strengthen DCMS engagement in regional policy through a new, simplified and improved way of working.

This basically means (finally) “For the first time, the Department’s four key agencies in the regions – Arts Council England, Sport England, English Heritage and the Museums, Libraries and Archives Council – will have a duty to work together to jointly deliver a core set of shared priorities across the culture and sport agenda.”

I feel certain that Andrew appointment, and the fact that he was previously a member of Arts Council England and Chair of the ACE Literature Panel, will be a great help in making sure this new shared agenda and duty has any hope of being a reality.

Well done MLA.

Public Sector Broadcasting? Arts Council consult for Ofcom

When you hear the words public sector broadcasting you tend to think of the BBC and when you read the current consultation document prepared by Ofcom to generate debate and collect advice about where to go next with their regulations, you would be hard pressed the think of a lot else.

The document still expresses the debate within the terms of reference of the traditional broadcaster. It is all about inspiring and stimulating, there is little talk about actual participation, interactivity or collaboration – the kind of stuff that defines the way people actually use online technologies today.

I was not the only one at the meeting (which was filled mostly with other publicly funded media agencies, publishers and content holders) who felt that the old school broadcast language and tone of the document was symptomatic of the fact that they are basically missing the point of the online revolution and changing user behaviour.

If I were at art school now I would be writing my dissertation on the death of TV. Even the BBC has broken their own mould with the launch of the iplayer. I wonder who still only watches programmes within the TV schedule that just simply can’t get their head around their remote control (my mum basically)? Broadband is not the issue it was ten years ago and the wide scale take up has changed the UK media consultation habits forever.

The key question now is what are the new models for public sector publishers (I think publishing is a more appropriate work then broadcasting) that can encompass this change? They may broadcast but they will also need to aggregate, broker, listen, add value, provide context, host, distribute and mediate.

The possible answer to this question seems to have preoccupied me as Culture24 tries to find a way to describe itself within these new terms of reference. Surely public sector broadcasting is about access to publicly funded stuff? So me, this means not just the interpretative arts documentaries of BBC4, or the contemporary arts shows on Channel4, but the Tate on YouTube, the V&A podcasts, digital artists sites, commuinity gaming, the British library online catalogue etc..

Surely museums, galleries, archives, artist workshops, libraries, science centres, heritage sites should all be part of what public sector broadcasting/publishing should encompass?

Lets hope that the Arts Council are able to feedback these thoughts to Ofcom and that they are willing to hear them.

These notes relate to the Public Service Broadcasting Review Seminar, run by the Arts Council Visual Art Department and held at the Bluecoat Arts Centre in Liverpool on the 2 June 2008. John Wyver chaired the meeting.

‘VoiceThread’ tool for group conversation

Voicethread is a useful, fun and simple tool for playing around with images, text and audio in ways to add and share meaning(s) with others.

They describe it as follows:

:A VoiceThread is an online media album that can hold essentially any type of media (images, documents and videos) and allows people to make comments in 5 different ways – using voice (with a microphone or telephone), text, audio file, or video (with a webcam) – and share them with anyone they wish. A VoiceThread allows group conversations to be collected and shared in one place, from anywhere in the world.

At the moment it is free and you can see it would be very useful for any of the educational style, participatory community/local history projects that museums do so well. Also, for teachers, museum educationalists or kids just playing around.