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Beyond the Facebook fan page: 10 examples of digital technology applied to culture
Massimiliano Magrini, Founder, Annapurna Ventures
All over the world over 2 billion people are online (22 million of which in Italy). Thanks to a fast array of technology breakthroughs, in a relatively short period of time Internet has turned into one of the major information, communication and social network.
In my work experience I had the opportunity to witness the development and deployment of many of the current digital trends, from the advent of social networks to the mobile Internet boom. The lesson I learnt is that no industry is immune from innovation.
In this context the cultural sector has today a broad range of tools and technologies that creates new opportunities of communication.
I would like to briefly linger on some of the institutions that were able to take full advantage of the opportunities offered by these technologies, becoming internationally recognized best practices and paving the way to future developments.
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Francesco Alberoni - the evolution of art patronage in Italy since the post-war period
Francesco Alberoni, in his “pubblico-privato” column (Corriere della Sera, July 19, 2010), provides quite an interesting take to explain the evolution of art patronage in Italy since the post-war period.
Over the decades of the so-called economy boom, the industry was the driving force behind riches and the “enlightened” entrepreneur shared part of his or her wealth with the community by means of art patronage, whose signs and accomplishments are still visible in many parts of the Country.
More recently, remarks Alberoni, wealth is achieved mainly through finance and the show-business (entertainment, sports, etc.). This kind of wealth is often achieved rapidly, born on bits and “soft” competences, and that lives on the speed and on the ephemeral.
The new global business, fragmented and delocalized, dilutes that link between enterprises and the local environment that was so crucial to the development of art patronage in the Fifties and Sixties.
Today’s enterprises are ran by managers who do not nourish stable links with the local milieu, since the nature of their professional duties leads them to be “stray”.
All this is reasonable and easily confirmed to the eye of a trained beholder. Nevertheless a few questions are well-founded:
shouldn’t be the desire of those who accumulate wealth rapidly to invest in culture in order to leave a tangible mark of their actions?
in an economy system that is by its own nature driven by the intangible, doesn’t art patronage stand as an antidote to oblivion?
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SWG survey for Florens 2010 reveals interesting findings
A first fact that can arouse a thought-provoking debate is the answer to the question: “How much do you plan to spend in cultural activities (theatre, exhibitions, tickets to museums, parks, wildlife reserves, etc.) in the next five years?”: over 30% of Italians answered that their spending would increase, and about 55% answered they would spend the same amount of money. Only 10% stated they would spend less in cultural activities in the next 5 years.
So, this means that citizens “beat” all expectations and, despite the crisis, identify the consumption of cultural activities as the pole star of the future. Such farsightedness certainly deserves a proper response. Florens 2010 volunteered to boost the discussion…
As to the negative factors that deter people from taking part in cultural activities, Italians put the high cost at the top of the list. For 60% of citizens, the high price is the most off-putting factor. Other factors that deter people from taking part in cultural activities are queuing at the entrance (40%) and problems with transport, or finding a parking place near the destination of their visit (37%).
Therefore, general factors such as hospitality and services offered by cities and territories have to be considered along with those controlled directly by who supply cultural activities (e.g. price, entrance, etc.).
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