Bit more news from us in the pre-Christmas rush.
Last 2 weeks have seen further work under the hood, meaning backend platform changes. In order to drive the app content and user profiles, we need a set of API calls (such as “Get Ticket info #23ac for user ID #6567, in simple terms) and this function list is now finalised and being coded.
The app user interface has moved to design stage, and early January we’ll post some screens here.
When we have a minute here at KODIME, we like to play with new tech (sad isn’t it). And with this NESTA project, there is some cool stuff happening such as NFC which is “near field communication”. If you’ve used a contactless credit card or Oystercard, you’ve experienced NFC. It allows a device to “ping” its identity to another device “over the air”, and the actual NFC chip can be very tiny and almost flat – hence the use in credit cards and of course mobiles.
Google think this will be massive, especially for mobile payment, so it’s certainly worthwhile exploring for the rest of us. To create NFC applications, you need sample cards, software, mobiles, all available as part of a development kit, see photo. YES it involves hardware, which gets us software guys reasonably excited. NO we DON’T suggest you give one of these to someone for Christmas!
Have a peaceful festive season and a fantastic 2012!
Welcome to the Dero monthly blog
This is our first blog post for the Dero project.
Background to the Project
The Arts Council and NESTA have launched a Digital Access Fund designed to increase audiences and participation with cultural venues through the use of digital technology. The DERO project has adopted a cross platform approach to performance which would explore these relationships through a live project.
The DERO project explores extending the audiences for Orchestral and Ensemble projects using simulcasts, nearcasts, livestreams and downloads through partners including regional venues, the Guardian online, and the partners Websites.
The DERO project will see a series of concerts performed live to dispersed audiences and then publicised and made available to buy and/or download after the event.
A concert performed would be:
- Recorded and stored by VideoJuicer and Aframe
- Webcast and nearcast live to rural cultural venues including The Maltings, Alnwick Playhouse and The Gala Durham
- Streamed live on both a free and/or a pay per view basis online, from the Guardian online
The project will explore:
- How a concert can be enjoyed by new and different audiences using different channels and media
- Revenue share relationships for content published by multiple partners through multiple portals
- The income potential of such an approach for the partners involved
- Rights issues surrounding such an approach
After quite a lot of debate, we have settled on a schedule as follows:
|Reverb: Love Song for the City : Aurora Orchestra25 February 2012 7:30pm
R Strauss Metamorphosen
Michael Gordon Gotham
Bernstein (arr. Iain Farrington) Symphonic Dances from West Side Story
Featuring Nicholas Collon (conductor)
As part of the Camden Roundhouse’s 2012 Reverb Festival, Aurora presents Love Song for the City, a characteristically eclectic programme charting a course from violence and destruction to rebirth and the vibrancy of urban life. The desolate post-war German cities of Strauss’ Metamorphosen give way to the dizzying growth of modern New York as imagined by Michael Gordon in Gotham, Bill Morrison’s breathtaking black-and-white film enriching a visceral contemporary classic.
The programme is completed by the Symphonic Dances from Bernstein’s West Side Story in a virtuosic new chamber arrangement by Iain Farrington evoking the flavour of the original West End pit-band instrumentation.
| LIVE for Maltings / Gala
Nearcast on 21 April at Alnwick
|Portrait of Love28 April 2012 7:30 pm
RNCM Concert Hall, Manchester
Webern Langsamer Satz (Slow Movement)
Brahms arr. Herman Liebeslieder Waltzes Op. 52
Dvorak arr. Matthews Love Songs Op. 83
Tchaikovsky Souvenir de Florence
A portrait of works by composers struck by the love bug including Brahms, Dvorak and Tchaikovsky.
|LIVE for Gala / Maltings.Nearcast Alnwick on date TBC|
|Northern Sinfonia with Christian Vasquez6 May 7:30 pm
The Sage Gateshead
Prokofiev Classical Symphony
Shostakovich Piano Concerto no.1
Bizet Symphony no.1 in C
When someone stumbled upon the score for Bizet’s Symphony in C in a dusty attic in 1935, the composer’s reputation changed forever. Contained within these long-forgotten pages was an endless flow of singable melodies and a stream of joyous and impulsive rhythms all orchestrated with unmatched charm. In its elegance, Bizet’s Symphony is the perfect foil to the gags and japes of Shostakovich’s riotous Concerto.
|LIVE for Alnwick / MaltingsNearcast on 12 May for Gala.|
The concerts will be streamed live into the Venues. VideoJuicer has erected a test page which Venues can use to test their own set-ups with some instructions.
The Sage Gateshead has provided onsite technical assistance to sort out any particular issues.
So far, these include:
- Network Speed issues for Alnwick Playhouse
- Cabling issues for The Maltings Berwick
- Kit and network issues for The Gala Durham
We hope to make headway with these for our next project call on 16 December 2011. We have some budget to cover technical set up.
PR and marketing update
We have approach the Guardian online as a partner to:
- Livestream the concerts
- Publicise the live events, simulcasts and nearcasts around the country
- Make a paid download available for Northern Sinfonica concert, and a free download available for the Aurora and Manchester Camerata concerts
We are now working on how the partner Venues and Orchestras will publicise the events.
Rights and revenues update
- The project has a relatively high profile within the Classical world, and payments made within this project may be used as a precedent for other similar experiments. Discussions are scheduled to create parity between the Orchestras.
- The project will use a 50:50 box office split between Venue / Orchestras on a £5 ticket sale. As VideoJuicer and Aframe’s costs have been covered by NESTA/ACE, they will not see a share of this revenue, although the project will seek to understand the basis that they might be rewarded for future projects and/or venues
- We had the kick off with Cambridge University / Fusion Analytics at The Sage on 1 December 2011. Becky Schutz and Matthew Petrie have been invited to present their approach to the general project group at the next project call. Hasan Bakhshi and Angela Pugh from NESTA have also been invited.
- A research structure will be pulled together as an output from that call
Overall the project is working very well. We have set up a virtual structure with fortnightly calls. We tried Skype chat – but this didn’t work for everyone, so we have settled on good old email and phone calls.
The contract has been signed and The Sage are reworking out the payment schedule.
During early November all of the partner organisations met to enjoy a Scratch night at BAC- it was a Freshly Scratched evening, which is when BAC open their doors to new artists or companies (most of whom are new to BAC) each of the artists or companies have 10 minutes to share an early scratch of their work or idea, and then the audience is invited to submit feedback, either by writing a note to the artist on a handy post-it, or to pick up a specially designed phone and leave the artist a voice message, or (perhaps the artists’ favourite) find them at the bar and chat to the artist over a pint!
Personally, some interesting thoughts came out of that evening;
-Should we attempt to moderate audience feedback? (Similar to the way a producer absorbs all of the audience feedback, and then delivers it to an artist.)
-How best to recreate the ‘ambience’ of a live BAC event online (what could ever compare to a pint with an artist after a performance?)
-Do audiences need to experience a performance ‘live’ or is pre-recorded okay? (What effect does having an audience in the room have on an artist- a collective gasp or giggle is a powerful thing for someone when they are on stage).
Last week, some of the team attended an Artist Brainstorming event at BAC, which gave us opportunity to discuss these points with some of BAC’s artists at a ScratchOnline roundtable session. We were also able to ask the artists about what they would want from the platform, which sparked some great feedback.
What was most interesting was that artists said that they increasingly use Scratch as part-participatory tool for engaging people in a wider dialogue about their work, they suggested that it is at it’s best when it catalyses a creative dialogue – rather than a question and answer format [“what did you think”-“this is what I thought”] which can end up being binary.
Current conversations within the team have been on how best to go about creating a space for creative dialogue, research, testing hypotheses, sharing ideas, catalysing collaborations.
Nick, from VideoJuicer, is currently making some wireframes of parts of the site for us to look at and discuss tomorrow, and we’re all looking forward to seeing how he’s interpreted and integrated some of the artists suggestions, along with our research so far.
Tomorrow all of the partners and researchers are meeting to discuss the Commissioning Proposals which were submitted by artists wanting to take part with ScratchOnline. There seems to be a wonderful selection of potential projects which could be developed on the platform. We’ve all agreed that getting the right spread of projects is key, so tomorrow is a big day. I’ll drop in soon to let you know how we got on!
If anyone is interested in further details of what came out of the Artists’ Brainstorm meeting, then do drop me a line and I’ll whizz the feedback over to you.