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Play your cards: time for the tech

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With the basic game mechanic selected for the re-worked scene, we were able to move onto how to technically realise this.

The task is to build a system that will sense the placement of a playing card onto the table at one of the points of the clock face, and trigger the playing of an appropriate sound file.
To tie in with the game mechanic, we only want the sounds to play when the numbered playing cards are placed in their correct position on the clock face (so a 3 of diamonds at 3 o’clock, for example), rather than just anywhere.

For the playback part of the system we are using QLab, a piece of commercial software used widely by theatre lighting designers for programming and running lighting cues for conventional theatre productions. David Haylock has found this to be a reliable off-the-shelf solution when he’s used it on other projects.

David is writing a bespoke programme to process the inputs from the sensing system and communicate them to QLab.

We haven’t yet finalised what kind of technology we will build the sensing part of the system with, but here are the two options we have explored so far.

From some preliminary research David suggested using RFID tags and readers to build the system. RFID (Radio Frequency Identification) is commonly used in the retail sector for theft prevention, and so the components are cheap and easily available. You’ll also be familiar with RFID if you use an Oyster Card on London’s transport system. Our plan is to put tags inside the playing cards, and mount small readers under the surface of our card table.

techblog1

We bought a few tags and readers, and David built a small test system. In its favour, RFID is quite stable and reliable. This is an important consideration if you’re relying on it to work, because it would spoil the immersive fiction if a technician had to come and help fix something during the scene. There is one major drawback though, in terms of it working with card games. Most card games (including our collaborative solitaire) involve stacking or creating piles of playing cards as part of the game play. RFID can’t really understand stacking (there are some complex workarounds, but basically stacking is out for our purposes). The RFID reader can only read the tag that is placed immediately on top of it. All tags piled on top of the first tag are blocked from being read, and so have no effect.
We think that this is a deal-breaker, so have looked around for other solutions.

David’s current avenue of investigation is image recognition, using a camera. David has recent experience of developing this kind of system from his work on the Playable City winning project ‘Shadowing’. He proposes using a PlayStation3 camera, which we will need to mount above the table looking down (with a birds-eye view of the card table). This part is relatively easy, we will just need to design our bespoke card table with a suitable structure above it to hold the camera. It is the recognition and processing of the images where the real work comes in.

A google search turned up several Open Source projects exploring this area, but after some investigation David has begun to write his own recognition programme. The recognition is a 2-stage process: 1 – the computer needs to recognise that it is seeing a playing card (markerless object detection); 2 – once it knows its a playing card, it needs to work out what number and suit the card is, by comparing the image it can see with the ones it has in its library and finding a match (Template Matching).

BlackTonicCameraTest

BlackTonicv2Camera

The potential down-sides of image recognition is that the system is very sensitive to differing light levels, but we propose to create a reliable lighting state by mounting a downward pointing lamp next to the camera above the card table to eliminate this issue.
The positives for our purposes are that the camera and system together behave more like the human eye – the camera sees the card on the top of the pile, and will be programmed to respond to that by triggering a sound. We will also be able to use a standard cheap card deck, rather than having to make or have manufactured a special card deck with RFID tags inserted.

There’s a lot more still to discover and test before we build the final system. Then there will be lots more testing! We’ll then build all of this into a specially constructed card table, which will conceal all the technology hardware, keeping the interface as close to the experience of a ‘normal’ card game as possible.


Black Tonic 2015 Pledge

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If you missed the chance to pledge to our Black Tonic 2015 Kickstarter, you can still get involved.

You can buy our £10 reward below, and receive the same benefits as our Kickstarter backers:

£10
LAUNDRY CUPBOARD –
We’ll send you a neat little thank-you video + We will credit you on our website in our list of project backers.

Black Tonic 2015 Tour Dates

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Black Tonic is back!

Our 2015 tour is as follows:

Birmingham Repertory Theatre: week commencing 14th September 2015
Watershed, Bristol: week commencing 28th September 2015
Theatre in the Mill, Bradford: week commencing 5th October 2015

Tickets will be going on sale soon.

The Other Way Works is seeking an Executive Director

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The Other Way Works is seeking an Executive Director

About the Company

The Other Way Works creates playful theatre that immerses our audiences in the story.
The intimate scenarios we create allow our audiences to explore places and perspectives anew, provoking them to change the way they live their lives.
We believe that the depth of an experience is as valuable as the breadth of people reached.
We are part of a new wave of theatre makers re-inventing the way people engage with culture, utilising new technologies and creating theatre out in the real world.

It’s an exciting time in the development of the company, we are about to re-tour our successful 2008 production ‘Black Tonic‘. Projects in development include ‘Agent in a Box’ a narrative game, and ‘Afterlife’ a creative retreat, and an expansion of our ‘Bandstand’ project.

A key aim for our organisation at this time is to speed up the rate of output and increase the reach of our work, by developing an effective, sustainable, and appropriately resourced operating model to enable this.

To make this happen, The Other Way Works is creating the new senior management role of Executive Director.

About the Role

You’ll work alongside Artistic Director Katie Day to lead and manage the company, working on strategy, organisational development and fundraising, as well as market development and administration.

We’re looking for an ambitious person who loves to make things happen, who supports and champions artists, who is looking for a new challenge at a company where they can effect change and growth, and who enjoys the variety of a workload that goes from strategy and networking to bookkeeping and answering emails. We want someone to join us, who wants to grow with us and build a future for the company that has them in it.

We have some money earmarked to support the role in a freelance capacity for the first few months, but we are clear that the key deliverable will be fundraising to support the Executive Director Role and finding a way to make this role sustainable in the long term.

Key Responsibilities as the role develops

– Building a package of income to deliver activity and support core staff fees/wages over the next 2 years, from mixed sources including Arts Council England, Trusts & Foundations, Research Councils, Consultancy, and Fees & Commissions;
– Opening up new markets for our work including: international touring & co-production; working with brands and other partners; expanding our consultancy offer;
– Taking responsibility for the good running of the Company, enabling it to be risky, ambitious & bold with its theatre work, and freeing up the Artistic Director to spend more time making theatre, delivering workshops, speaking, and mentoring.

Person Specification

Ideally, you will have:

– An interest in interactive and immersive theatre, and the integration of theatre and new technologies;
– 5 years experience of working in the UK Theatre sector, or wider creative sector;
– Experience of writing successful funding bids;
– Experience of driving strategic development in similar organisations;
– Demonstrable experience of setting and managing budgets;
– Good organisational skills;
– Ability to represent the company locally, nationally & internationally.

At the beginning we are flexible about how this role works in terms of location and number of days per week worked, but in the long term we would like the role to be mostly based in Birmingham.

Application Process

Application is by CV and 1-2 page cover letter. We’d like to hear why us and why now, how you work and what motivates you, and what you think you could do with and for us.

Email to: info@theotherwayworks.co.uk
Subject: Executive Director Application

Deadline: 5pm 10 July 2015

The next stage is likely to be an informal meeting with Katie the Artistic Director.

This might be followed by a more formal interview with the Board of Directors

If you have any questions, or would like to clarify any points, please do drop Katie an email to info@theotherwayworks.co.uk.


Information you might find helpful……

The Other Way Works is a company limited by guarantee, with a non-executive board of directors. Founded in 2001, based in Birmingham UK, and led by Artistic Director Katie Day, supported by a team of loyal and talented freelance artists and production staff.

Mission Statement
The Other Way Works creates playful theatre that immerses our audiences in the story.
The intimate scenarios we create allow our audiences to explore places and perspectives anew, provoking them to change the way they live their lives.
We believe that the depth of an experience is as valuable as the breadth of people reached.
We are part of a new wave of theatre makers re-inventing the way people engage with culture, utilising new technologies and creating theatre out in the real world.

The Other Way Works Strategic Objectives 2015-2018

1. Develop an effective, sustainable, and appropriately resourced operating model;
2. Deliver excellent theatre experiences;
3. Create work that develops and re-imagines the theatrical form;
4. Explore how technologies can be used to help us deliver and scale our work;
5. Build a strong national and international reputation for the Company’s work.

Opportunities to see our work

Black Tonic 2015 Tour in September & October to Birmingham (REP), Bristol (Watershed) & Bradford (Theatre in the Mill) http://www.theotherwayworks.co.uk/portfolio/black-tonic/ ;

Bandstand – http://www.theotherwayworks.co.uk/portfolio/bandstand/ – get the app, or download the MP3s from http://www.bandstandaudio.net/bandstand-mp3-files/

Video documentation of shows and projects can be found on our website www.theotherwayworks.co.uk, and longer filmed versions of Black Tonic & Avon Calling can be accessed online with passwords – please email for these.

Download this as a PDF

Sharing our learning about crowdfunding

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I was asked to give a presentation about how to run a successful crowdfunding campaign recently, and thought it would be a good opportunity to share some of the learning I’d accumulated through running our Black Tonic 2015 campaign earlier this year, and the research I did that fed into the campaign.

I thought I’d share a PDF of the slides here, so others could take a look too.

Successful Crowdfunding Presentation PDF

Evaluation Report (2009)

Black Tonic 2015 Credits

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Directed by Katie Day
Text by Clare Duffy
Video by Chris Keenan
Sound by Mark Day
Scenography by Xristina Penna
Card Game Designer Holly Gramazio
Stage management by Xanthe Parker
Creative Technologist David Haylock, Watershed
Producer Thomas Wildish
Identity Design by Sebastian Harding
Scientific Collaborator Professor Debra Skene

Performed by Ali Belbin, Angela Clerkin, Rochi Rampal, Graeme Rose, and Magdalena Tuka

2015 Tour funded by Arts Council England, The Sir Barry Jackson Trust, and our Kickstarter supporters. Supported by Watershed, Theatre in the Mill Bradford, and Birmingham REP. Official 2015 hotel partners: Radisson Blu Birmingham & The Bradford Hotel.

Originally commissioned by Camden People’s Theatre, and funded by a Wellcome Trust Arts Award, Arts Council England, Birmingham City Council and the Sir Barry Jackson Trust, with support from Contact Theatre, CPT and mac.

Our thanks to the creative team and casts who played key roles in developing the original production in 2008.

Our wonderful Kickstarter Supporters

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We’d like to say a big thank you to everyone who backed our Black Tonic 2015 Kickstarter Campaign.
Thanks for helping to make Black Tonic 2015 a reality.

So, in alphabetical order by first name, our thanks to ….

Alexander Kelly
Aly Fielding
Amy Dawson
Ana Stefancic
anonymous
Backer Name
Bianca Winter
Carol Attfield
Catherine Allen
Catherine Pitt
Chris Unitt
Claire Porteous
Clare Reddington
David and Janet Walden
Debra Skene
Delia Garratt
Derek Nisbet
Fiona Handscomb
Flo Swann
Florence Raynaud
Gavin Inglis
Helga Henry of Creative Shift
Ian and Helen Burn
Jacky Tivers
Jane Packman
Janet Vaughan
Jason J Crouch
Jenny M
Jess Pearson
Jill Dowse
Jo Gleave
Joel Love
John McGrath
John Sear
Johnathan Stephen
Jonathan Williams
Jorge Lizalde
Josephine Arendt
Julia Boyle
Julian Horne
Karen Miller
Katherine Maxwell-Rose
Katie Keeler
Kaye Winwood
KILN
Lachlan Smith
Lara Ratnaraja
Laura Gimson
Laura Grady
Lisa Meyer
Liz Porteous
Lou Platt
Ludic Rooms
Luke Neve
Mark & Kim
Mark Ralph Tattum
Matt Ball
Matt Mark Hill
Matt Patterson
Michael Day & Jean Scott
Michelle M Rafferty
Mick Diver
Mikal Saltveit
Nardia Lloyd-Ashton
Paul Burns
Paul Gilligan
Paul Maxwell-Rose
Peta Murphy
Pippa Frith
Rachael Griffin
Renata
Ric
Rich Hurley & Billy Reading
Ruth Paterson
Sarah Ellis
Sarah-Jane Watkinson
Stephen Wilson
Steve Harding
Steve Johnstone
Steve Lawson
Tamara von Werthern
Tamsin Mosse
The Shells 2015
Tom Levitt
Tomas Wright
Tony Kennick
William Porteous


Radisson Blu is Black Tonic’s Official Birmingham Hotel Partner

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We are delighted to announce that the stylish Radisson Blu Birmingham will be our Official Hotel Partner and performance venue for Black Tonic’s Birmingham performances.

Check them out on Twitter & Facebook

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The Radisson Blu Hotel, Birmingham soars above the cityscape in an impressive 39-storey structure that’s located near the business district, convention centre and shopping complexes. Designed by Matteo Thun, the 211 superb rooms and suites showcase exceptional accents and furnishings. Delicious dining options include Filini, an award-winning Italian restaurant, and guests can order their drink of choice at one of two on-site bars.

Black Tonic 2015 Birmingham Tickets on sale at Birmingham REP

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Booking is open for Black Tonic 2015 in Birmingham.

In Birmingham Black Tonic is presented in partnership with Birmingham REP, and performed at Radisson Blu Hotel, our Official Birmingham Hotel Partner.

Wed 16 – Sun 20 Sep
6.30pm | 7.45pm | 9pm
Tickets: £45 (one ticket admits two people)

NB: Tickets for Black Tonic are very limited, with only 2 tickets per time slot.

Book now via Birmingham REP
Online or call the Box Office on 0121 236 4455

Black Tonic Bradford tickets on sale at Theatre in the Mill

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Booking is open for Black Tonic 2015 in Bradford

In Bradford Black Tonic is presented in partnership with Theatre in the Mill, and performed at The Bradford Hotel, our Official Bradford Hotel Partner.

Wed 7th – Sun 11th October
6.30pm | 7.45pm | 9pm
Tickets: £20 (one ticket admits two people), Concessions available

NB: Tickets for Black Tonic are very limited, with only 2 tickets per time slot.

Book now via Theatre in the Mill
Online or call the Box Office on 01274 233200

Black Tonic Bristol tickets on sale at Watershed

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Booking is open for Black Tonic 2015 in Bristol

In Bristol Black Tonic is presented in partnership with Watershed, and performed at The Grand Hotel, our Official Bristol Hotel Partner.

Tue 29th September – Sat 3rd October
6.30pm | 7.45pm | 9pm
Tickets: £45 (one ticket admits two people), Concessions available

NB: Tickets for Black Tonic are very limited, with only 2 tickets per time slot.

Book now via Watershed
Online or call the Box Office on 0117 927 5100

Black Tonic 2015 ‘Making Of’ Discussion Events in Birmingham & Bristol

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We are producing two ‘Making Of’ events to accompany the 2015 tour of Black Tonic.

These informal Q&A events provide an opportunity to find out more about the making of Black Tonic.

 

The making of Black Tonic: The science behind the show (Birmingham)

Discussion event: Friday 18th September 4-5pm
Meeting point: Birmingham REP foyer, by the Box Office
Free entry (but pre-booking is essential): through Eventbrite

Join Katie Day, the Artistic Director of The Other Way Works, and Elise Facer-Childs, Doctoral Researcher working at the University of Birmingham on circadian rhythms and human performance, in a discussion of the scientific concepts behind the show, and discover why the subject matter is even more relevant as we re-tour the show in 2015.

 

The making of Black Tonic: Where technology meets a theatre adventure in a hotel (Bristol)

Lunchtime Talk: Friday 2nd October 1-2pm
Venue: Pervasive Media Studio, Watershed, Bristol
Free entry, more details here

In this Lunchtime Talk, Artistic Director of The Other Way Works and Pervasive Media Studio resident Katie Day will take us behind the polished hotel exterior and spill the beans on what its like to create and produce an interactive theatre production in an operational hotel.
Katie has been collaborating with Watershed’s Creative Technologist David Haylock to build a magical card table interface for the 2015 tour, and we’ll discuss the research, design and implementation of this and other technologies employed in the production.

Black Tonic featured as a ‘Top Ticket’ in this week’s The Guardian Stage picks

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We are thrilled that Black Tonic has been featured in this week’s The Guardian Stage “Top Tickets”

“The Other Way Works are touring the very intriguing Black Tonic to hotels around the country starting in at the Radisson Blu hotel in Birmingham.”

We open the show this Wednesday in Birmingham at the Radisson Blu Hotel, in association with Birmingham REP, before heading off to The Grand Hotel Bristol in partnership with Watershed, and ending our tour at The Bradford Hotel in partnership with Theatre in the Mill.

The Other Way Works announces appointment of first Executive Director

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The Other Way Works is delighted to announce the appointment of new Executive Director Mary Helen Young. Mary Helen will support Artistic Director Katie Day, leading on business development and fundraising for the company.

Mary Helen will bring to the role almost 15 years of diverse experience working in the US and UK in the performing arts and international working sectors. She has a strong background in fundraising from EU funding programmes, having previously worked as a consultant on Creative Europe and Erasmus+ bids, and as Information Officer for the UK Cultural Contact Point. She is also Operations Manager for Visiting Arts, working to expand their professional development offer and build stronger links to multipliers in the sector. Mary Helen drove the re-launch of VA’s international networking site and leads on user experience and creating value and resources for the sector to thrive, overseeing the addition of over 15,000 members and profiles. Additionally, she previously managed sales and business development for the Louise Blouin Foundation. Her arts management career began as a theatre box office manager in 2001 at The Shakespeare Theatre in Washington, DC.

Of her new role, Mary Helen said “I am excited to collaborate with Katie Day on the rich creativity of The Other Way Works to create a sustainable future for this inspiring company. I am very much looking forward to returning to work directly with a performing company after having worked widely across sectors for a number of years. TOWW already has a strong reputation for creating and developing progressive immersive theatre and technology to bring experiences to audiences in new ways. I will be looking to platform this ground-breaking work nationally and internationally, and along with the TOWW team, re-invent the way people engage with culture.”

Katie Day, Artistic Director of The Other Way Works, said “I am excited to have Mary Helen on board for this phase of development of the company. Building on the momentum of our sold-out 2015 tour of Black Tonic, we are looking to expand our capacity to create, produce and present new work and to broaden our reach. Mary Helen will bring the experience and structure needed to TOWW to allow us to be flexible, responsive and ambitious with our future artistic goals.”


‘The Rooms’ Sitting Room Session – When to say no to an idea

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I was asked to speak about our REACT-funded project for 5 minutes as part of the Sitting Room Sessions at the Private View of REACT’s excellent ‘The Rooms’ festival in early November 2015.

Here is the text of the talk (minus the live asides of course, which made it a bit less dry!):

“I’m going to leave it actually.

Yes, its a great idea.
Yes, it seems there would be a market for it. The Funeral industry would be the most obvious place to start.
Yes, no-ones doing it yet, well they’ve started trying in a way, but their attempts are pretty poor quality, most people would agree with that.
Yes, I think there would be quite a lot of avenues to pursue in terms of start-up support and finance.

So, yes, I thought of it, I looked into the feasibility of it, I’ve got ideas about how it could work, what it could look like, who the partners and customers might be. I’ve even worked with people to explore exactly how we could produce it.

But I’m going to leave it there. I’m not going to take it forward.

These aren’t words I use a lot.
In fact, it took me a while to make the decision.
At first it definitely felt like a failure.
But now I know it was the best decision.
A positive exit from the project.
Better to say a considered no, than struggle on with something against your better judgement out of some kind of misplaced sense of duty, until it grinds to a bitter and messy halt. (a bit of melodrama there… did I mention I’m a theatre maker…)

In the Spring of 2014, with REACT Feasibility funding, I undertook research into the feasibility of building a software engine that automatically creates a video life story from an individual’s social media content. The project was called Protagonist.

Protagonist was an attempt to make sense of our vast stashes of personal data online in a human, emotional, narrative way. Using their own social media content, we wanted to create a short film memoir of an individual – with the output feeling meaningful and personalised. And we wanted to see if we could create this using an automated process.

Our ambition was that the Protagonist service would be a commercial, stand-alone, direct-to-consumer product.

I found that the construction of narrative from online data poses an extremely complex computing problem. Who knew?! Well I didn’t. As someone from an arts background its sometimes tricky to guess which seemingly impossible problems can be solved relatively simply by technology (or already have been) and which are actually basically impossible.

This particular area of algorithmically generated video is only just starting to be explored (with very limited success) by digital giants such as Google and Facebook.

So here’s why I’m saying no to this idea:

It would be very difficult to compete in this marketplace currently, if Google & Facebook with all their resources are struggling to make anything worth watching;
I’m a theatre maker, not a software engineer;
Life is short: I don’t want to spend at least the next 3 years setting up a software start-up, that won’t use my skills well;
I’ve got other ideas for other projects I want to make, so I’m going to use my skills and energy where they’ll be making the most impact, and get on with making those.

You can see what we’re up to at www.theotherwayworks.co.uk
I’m Katie Day, and I’m Artistic Director of The Other Way Works.
We’re a Birmingham-based theatre company making playful theatre that immerses our audiences in the story.”

Creating a Kickstarter Campaign – by Seb Harding

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It’s been just over a month since we made our crowdfunding target for the 2015 tour of Black Tonic and since then we’ve had a bit of time to reflect on the successes of the campaign and consider what we’d change if we could do it all again. Overall the process has been complex, but ultimately, very rewarding.

We thought we’d share our experience by creating a quick four step run down of the factors we found most important in creating our campaign.

Doing the Groundwork

Many of the companies and individuals we spoke to whilst researching the campaign warned of the perils of beginning a hastily planned fundraiser.

We began seriously planning our campaign in November therefore giving ourselves around four months in which to develop a series of rewards, create a quirky campaign video, plan a marketing campaign (with video and written content) and organise a low key launch event.

Regardless to say we were of course working on all of this right up until we launched the campaign. It’s definitely possible to produce a campaign in a much shorter amount of time, and our obsessive attention to detail probably doesn’t help, but we can’t stress enough how many hours go into creating a slick successful fundraiser.

Make sure you have budgeted for everything!

We’re pretty sure someone is reading this and thinking “Surely a Crowdfunder is about raising money, not losing it” but the reality can be quite a very different picture.

To begin with, lets consider the rewards. Admittedly you won’t have to physically create anything before you make your target but once you do you’re effectively tied down to deliver all you’ve promised. The reality of how much you may have to spend (don’t forget person hours) could take a large chunk from the amount you raise if you have failed to factor in all the costs.

As our production of Black Tonic has relatively small numbers of audience members we couldn’t just give tickets away in the lowest, and most popular, tiers. This meant we had to devise attractive rewards that linked to the show but could also stand alone as attractive offers to any indecisive backers.

If, on the other hand, most of your rewards are a direct result of the project you’re fundraising then you may think it’s a relatively simple affair. Though don’t forget if, for instance, you give away 50% of tickets to your show but are also relying on high ticket revenue you could end up losing money overall.

Don’t underestimate how much content you will create for Social Media 

Before you begin any plans for marketing your campaign it’s worth bearing in mind that your audience will possibly have to come into contact with your project at least three times before they actually part with their money. The sheer amount of Social Media content that successful campaigns have to create is pretty much uncontested but the route you take to present your message can be incredibly inventive. For our campaign we created content such as Video endorsements, behind the scenes videos plus an in depth blog on the research process behind the production we were trying to fund.

See it as a project in itself and enjoy it!

The process of creating a crowdfunding campaign is very similar to that of creating any small public facing project. Therefore it is important to see the campaign as an extension of your creative output and not separate to it. If you can think creatively about the project video, campaign visuals and backer rewards your audiences are far more likely to get on board. Try to invest as much personal interest in the campaign and the whole process will hopefully become both more attainable and enjoyable.

There’s so much we could write about concerning our crowdfunding experience but we’ll stop before we bore you! Hopefully these tips might come in use if you’re thinking about creating your own fundraiser, and if so, we’d love to hear from you. 

If you haven’t done so already why not follow us on Twitter or like our Facebook page.

Is the use of digital technology by the theatre and cultural sector really declining? A (ranty) response to the 2015 Digital Culture 2015 Report

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Nesta, AHRC & Arts Council England have just released the findings from this year’s survey into Digital Culture.

Download it here:
http://artsdigitalrnd.org.uk/wp-content/uploads/2015/12/Digital-Culture-2015-Final.pdf

The Stage (https://www.thestage.co.uk/news/2015/digital-technology-in-decline-in-theatre-sector-claims-report/) have jumped straight in the claim that digital technology is in decline in the theatre sector. But what does this actually mean?

I’ve completed the previous two years of surveys on behalf of The Other Way Works, but this year the request languished in my inbox unopened. So much of the content is focused on ‘digital’ systems and marketing, with narrow and oddly specific questions on particular areas. I didn’t feel that the data I would be contributing would be reflecting our work and relationship with technology in the way I think is important or interesting.

The summary suggests that “digital technology has become seemingly less important to certain aspects of arts and cultural organisations’ work”. They may well have a point, but I wonder how much this is just a case of much of today’s administration and marketing work just being ‘digital’ by default and not considered to be in a special category anymore worthy of particular note?

Surely its no longer news to talk about the fact that your arts organisation has a Twitter account, a Facebook page, a Website, sends eflyers, e-newsletters, emails, uses Skype or Hangouts, cloud-based databases, uploads content to video & audio streaming sites. Isn’t that just the way that individuals and organisations operate these days? This isn’t ‘digital’ anymore, its just work. And its definitely not ‘digital innovation’. When there’s a free, consumer service, that as individuals we use on a daily basis for communication and leisure, just using it to help you run your arts organisation isn’t really worthy of note.

The Stage’s claim that Digital Technology is in decline in the theatre sector specifically highlights the stat that ‘only’ 8% of theatres live-stream their performances. So what? That’s just one (albeit one overly focused on by the funders, see The Space & Nesta R&D fund) use of digital technology. And a pretty dull one at that. I think its disappointing or maybe even embarrassing to judge a live artform’s engagement with digital technology with so much focus on this metric.

The report quotes representatives from some of the funders pointing fingers at the sector for ‘stepping back’ from investing in digital technologies. This seems a bit rich to me. The focus of investment in specific areas by organisations is surely heavily influenced by the funders own priorities and the funding streams they create. And it is these that are perhaps exacerbating the problem.

Nesta/AHRC/ACE’s Digital R&D fund decided to make large grants to a few to act as ‘examples’ for the rest of the sector to follow. The responsibility to succeed and the fact that larger more ‘reliable’ organisations were selected meant that the levels of possible ‘innovation’ within these restrictions were questionable. The money flowed to the few rather than the many. And to buildings more than to independent producing theatre companies, making the future even more unevenly distributed. And don’t get me started on The Space (in fact you can hear me making my points to the panel on the video of the 2nd Q&A session at their recent information seminar – https://www.youtube.com/watch?list=PLrRq4FeMUe-fYjtA7we1rI9ms-3ymR1EP&v=Pe1sCXHEGj0 at 11:50 in).

Their own metrics paint a picture of their pet funds’ failures to seed digital innovation in the wider cultural sector.
And on the bright side? Well maybe there is one…

The potential positive outcome of this report could be that it makes the case for the funders to be able to make more money available for digital experimentation, ideally with a focus on the independent sector and to creative exploration within the artform itself rather than in the marketing of it. And to make more, smaller grants to allow a much larger number of organisations to get involved, try things out, make more things, make better things, to engage experimentally with digital technologies as new tools with which to create their work – essentially to innovate in this area.

Funding awarded for Agent in a Box Prototype!

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We’re really pleased to announce that Arts Council England have awarded us a grant to support the development of a prototype of our new project: Agent in a Box.

Currently at concept stage, Agent in a Box will be a new kind of spy-themed narrative game. Players provide back room support to an agent live in the field, on the brink of closing a tricky case. The paper fragments enclosed in the box together with a cheap mobile phone that accesses an automated interactive sms, voice call and message system deliver the hour-long narrative experience.

Artistic Director Katie Day will be collaborating with John Sear, an experienced game designer and software developer to create this new kind of narrative game.
We’re excited to be developing the project at BOM Lab, as an R&D Residency there over the summer.

The first port of call for us will be the Caravan Showcase in Brighton later this month, where we’ll be pitching Agent in a Box to a selection of top international promoters, alongside ‘England’s most exciting artists’.

April in Amsterdam (at IETM!)

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We were lucky enough to be invited to speak about how we work with technology in our theatre practice at the IETM Meeting in Amsterdam in April.

As long-time members of the IETM (an international network of performing arts organisations), we’ve attended many of their Plenary meetings in cities around Europe, but its always especially good to be contributing, as it helps with meeting people who share your interests from the 600+ attendees.

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