Page 116 - AC/E Digital Culture Annual Report 2016

116them to interact with other users of these apps, such as by sending internal messages without having to go to a social media site or email programme.Another of its options for fostering interaction between attendees and the festival is its ability to launch surveys or votes instantly. It thus adds extra layers to visitors’ experience during the festival. It also provides the festival itself with a new function as a space where people can share interests, talk and meet.Indeed, this app is designed from the pointof view of users and their experience. Unlike other apps, the programme information is in a single section of the app menu (Lineup), which displays a screen that spans various sections of the festival. As in other apps examined above, it allows users to tag their ‘favourite’ activities and nd them in the My favorites section.The menu is basically divided between My pro le and My favorites followed by everything related to that particular edition of the festival (Lineup, Networking/SXSocial and News & Info). In short, the app provides visitors with an operations centre. Everything is synchronised with it so that everything can be found there.Lastly, it should be pointed out that during the festival visitors can receive instant noti cations if they have Bluetooth enabled, as there are beacons – small sensors that emit localised information – throughout the spaces where everything goes on. We will discuss this new technology in detail further on.Unlike those of other music festivals (it should be remembered that SXSW features a large music section or internal festival), the app does not include music. Visitorsor anyone else wishing to enjoy the music and recommendations related to SXSW can download a second app, SXSWfm.This is an interesting point, because SXSW has designed the main app more as a visitor-centred tool for ensuring a smooth, ful lling experience during the whole festival that depends on and is ‘enmeshed’ with the ticket and website than as a promotional tool; promotion and content curatorship are dealt with in the second app mentioned.The app designed for the Belgian music festival Tomorrowland is simple but attractive and dynamic, in that it does not sport the same kind of minimalistic at design (that is currently popular in graphic design for interfaces and websites focused on facilitating content browsing and visibility, on user experience or UX) as most do: it uses the same image as the festival’s website and social media pro les, lending coherence to them all.The homepage, which is also the menu, is very simple and has the same structure as apps designed as interactive programmes: users can browse Artists or Stages, tag those they prefer as favourites and view basic information about the festival (Practical) and the campsite (Dreamville), as well as online Radio. They can also connect and sync with their Facebook accounts and make the app experience more social if they wish (by sharing favourites, etc.).In contrast, Tomorrowland’s US app, Tomorroworld, is designed to broadcast the shows live (live streaming) using the NowLive service.Finally, the app designed for Coachella Festival (Coachella Festival Valley Music and Arts Festival) is another interesting case. When you install it, it does not take you to the homepage. It begins with a con guration process that is essential to the user experience: it asks for permission to activate certain services suchas Bluetooth and geolocation (GPS) so thatyou receive location-based messages and noti cations during the festival. You can also specify which of the two weeks you will be there2. NT BEFORE AND DURING THE FESTIVALFocus: Use of New Digital Technologies at Cultural Festivals