As arts organizations consider post-pandemic pathways to organizational success, there are persistent, unresolved questions about the role of digital experiences. What, if anything, did we learn from the pandemic about engaging audiences through digital programs? A large majority of the organizations that barreled into digital programming at the onset of the pandemic have barreled out again, reverting to “IRL” (in-real-life) programming models. Meanwhile, digital experiences of all sorts continue to proliferate in the commercial entertainment arena, enabled by rapid advancements in technology. The cultural diet of nearly all adults is now a mix of live and digital experiences, and more and more that are intertwined.
Our goal in offering this session was to surface the assumptions that need to be challenged, and the research questions that need to be answered, to guide artists, administrators and policymakers in rethinking the role of digital programming in cultural life. We have a small amount of data from various surveys to contribute to the conversation, which we’ve just released into the Audience Outlook Monitor Public Dashboard. This information will serve as a jumping off point for probing underlying issues, such as:
Is any attempt to mediate, or digitally replicate, live experiences ultimately inferior and, therefore, futile or even counterproductive from an impact standpoint?
Are the “real” benefits of arts programs the exclusive domain of those who can buy tickets and show up in person?
During the pandemic, most people were consuming digital content on laptops and mobile devices using native (built-in) audio. What does this say about the quality of the experience? What digital experiences do consumers actually want in their homes? If premium digital experiences were offered, would people pay?
Why have the numerous arts-specific streaming services (i.e., content aggregators) not been more successful? What happens when people have too many choices?
Have we been wrong to think that the home is the primary venue for experiencing digital content? Have we overlooked the possibility that people will gather in social groups to enjoy curated digital content? If so, what kinds of spaces are needed?
Have we overlooked important opportunities to bring a wide range of arts programs to rural and other underserved communities via digital programs?
What will happen to demand for streaming content when VR technology is more affordable and VR content is more widely available? Should we “skip over” 2D streaming content and instead focus on the next generation of immersive VR/audio experiences?
Following this session, we’re considering how some of these questions might be addressed through collaborative research, and what partnerships will be necessary to make it happen.
Discussants included:
- John Kieser, President and CEO, Honens
- Justin Trieger, Senior Producer and Sound Designer, New World Symphony
- Alan Brown, Managing Principal, WolfBrown (moderator)
You can find options in the Vimeo recording to access automated closed captions. Would you like a separate Word version of the automated transcript or a PowerPoint of the presentation? Would you find other accommodations helpful to make these recordings more accessible to you? If so, please write to Annick Odom at annick@wolfbrown.com, so we can do our best to make necessary arrangements to ensure you are able to access these session recordings.