“[Tedi] Asher’s initial one-year appointment is part of a broader strategy at the Peabody Essex [in Salem, Mass.], which over the next five years will completely redesign its galleries, incorporating neuroscience to devise multisensory exhibitions, unexpected gallery spaces, stories, and interactive features to heighten audience engagement.”
Category: AUDIENCE
Designing An Online Tool To Demystify Contemporary Dance For New Audiences
Audience engagement researcher Ben Walmsley writes about his project called Respond, “a responsive online platform … [which] attempted to break down cognitive barriers to dance by showing and explaining the rationale behind certain choreographic decisions and giving audiences demystifying insights into the rehearsal and development processes.”
Stanford Live Director: How Audiences Are Changing
“I think we’re hitting a point, particularly with the younger generations, where they feel the need to reclaim a level of informality. Of course, that means going through an interesting transition period, because there are still those brought up in the old ritualized style now clashing with those who want a very different experience.”
The Future Of Dance, Or Maybe Of Workouts: A Virtual Reality Dance Film?
That’s right, with virtual reality, the watcher can move along with the dancers – or just enjoy experiencing more of the dancers’ full dimensionality. Director and choreographer Lily Baldwin: “Virtual reality can puncture what we think is real and return us to our body in a way that flatty cinema can’t.”
How To Make Sure Going To The Museum Is Not ‘Like Going To The Dentist’
With panic about a large drop among museum-going among, especially, Millennials, it’s time to engage with technology. “Museums must find new ways to engage and excite visitors. The growing slew of digital entertainment options wrestling for our attention may be part of the problem for museums, but for many institutions, digital technology also offers a potential solution. Charged with the crucial task of preserving our past, museums must now navigate the future.”
Five Lies Hollywood Tells Itself, And The Ways Those Lies Are Starting To Unravel
Among the tired tropes of backchannel Hollywood is that diversity doesn’t sell overseas and that women can’t open comedies (or anything, really). And then, of course: “It’s a mystery why Hollywood won’t cater more to baby boomers, especially given the success of the two ‘Best Exotic Marigold Hotel’ films, which had seasoned casts and a combined $222 million in sales.”
Here We Go: The Met Files A Request To Charge Non-New-Yorkers Required Admission To The Museum
And it’s all about the money, of course: “The Met’s current ‘suggested’ admissions fee, $25 for adults, generated about $39 million in the fiscal year 2016, or 13 percent of the museum’s overall revenue. A mandatory fee would be likely to generate tens of millions of dollars more a year.”
Ticket-Pricing Strategies? The Scottish National Orchestra Has Figured It Out To Audience Goals
“Working in a multi-city and multi-venue environment requires an approach to pricing that is adaptable in the different marketplaces in which we operate. Pricing is therefore viewed as a flexible tool that helps us achieve the central and multiple imperatives of the organisation: generate revenue, encourage attendance, reach new audiences, offer new experiences and promote the artistic reputation of the Royal Scottish National Orchestra. To translate these imperatives into tangible tactics, our pricing strategy focuses on the simple question: How do we want our audiences to behave? We have identified five behaviours.”
The “Miracle” Of The Shakespeare Globe’s £5 Tickets
“At the heart of the Globe are, for me, two things. First the £5 ticket for the yard. Over the last twenty years that single fact has given over five million people an extraordinary experience for less than a sandwich costs. They have seen Mark [Rylance] in his pomp, Gemma Arterton’s Rosaline, Gugu Mbatha Raw’s Nell Gwynn, Roger Allam’s Falstaff, Eve Best’s Beatrice and Cleopatra, and countless others for only £5. It is a miracle.
Biggest Podcast Ever? ‘S-Town’ Has More Than 40 Million Downloads In 30 Days
For comparison, the previous titleholder, S-Town‘s older sister Serial, averaged 4 million downloads per episode in the same time frame, and its studio grandparent, This American Life, gets around 2.2 million downloads each week.