Page 101 - AC/E Digital Culture Annual Report 2016

of more and more festivals that could be held exclusively online, as is already occurring with events such as webinars (seminars, roundtables and online conferences where one or several speakers give papers watched by dozens or hundreds of spectators who can become involved through a chat box or messaging, for example to ask questions), digital art shows, exhibitions and a whole host of possibilities.We thus nd, for example, the use and application of live streaming – that is, the broadcasting of an event using Google Hangout connected to YouTube, or as a speci c private service whereby the broadcast is embeddedon the website, or a mobile and social service such as Periscope (a Twitter app for capturing an event live using a mobile phone), which a few museums are already using to broadcast openings, seminars and conferences. All thatis needed is a good camera (it should beremembered that part of the quality is lost in the broadcast), a microphone or audio connection, and a good and continuous Internet signal.These new (and some not so new) toolshelp reach new audiences and boost their participation, as some of them feature chat boxes – an excellent way of lending dynamism to question and answer sessions, for example. And this is not necessarily incompatible with maintaining paid admission, as streaming does not extend the rst-hand physical experience, even though it does give an idea of what can be seen and allows a cultural event to be shared and enjoyed by people who wanted to comebut were unable to for some reason, and it is therefore an e ective promotional tool in many respects. We will examine in greater detail the use of streaming and extended online content, providing interesting examples, in the chapter on Digitisation.AC/E DIGITAL CULTURE ANNUAL REPORT 2016101Focus: Use of New Digital Technologies at Cultural Festivals