Page 124 - AC/E Digital Culture Annual Report 2016

124downloading and sharing documents and electronic books online in a curated (it enables collections to be created from a pro le) and socialised manner (it also functions as a social networking shortcut, linking up with Facebook, Twitter, Google+ and other accounts to share documents on those channels). Another distinctive feature that explains this platform’s success is that it allows anyone to embed the digital document on their website with a very elegant interactive display and without losing sight of the authorship.The transmediale festival is also interested in digitising its content, especially that of earlier editions. Indeed, between 2011 and 2013 it was part of the DCA (Digitising Contemporary Art) project run by Europeana (co-fundedby the European Union). The aim of this European project was to boost the presence of contemporary art in the Europeana online database providing information on European cultural heritage to any user.Basically, the transmediale/archive26 section of the festival’s website gathers information on past editions (up to 1988), freely accessible images (in photos) and video footage of events, lectures and roundtables of past editions (up to 2009), and publications (in publications) such as transmediale/magazine, shared on Issuu, which has practically been a catalogue since the 2013 edition. The idea of transmediale/magazine isto give a new twist to this type of publications brought out by festivals and major art events as well as exhibitions, making them more open.The festival also shares, in freely downloadable pdfs, a few papers and other scholarly publications arising from more recent editions of projects organised by the festival itself orin which it has collaborated, such as Grexit. However, the catalogues of pre-2013 editions are neither digitised nor freely shared.We have already mentioned the Subtravelling Festival and its multi-screen as opposed toin-person nature (it takes place on screens on the TMB Barcelona public transport network and online on its website), but an even more interesting case is the Tribeca Film Festival and its online section.Festivals and cultural events, as we saw at the beginning of the Focus, are exploring the use of digital platforms as a new space into which to expand, and also as a new production material or dissemination channel.The Tribeca Online Festival describes itself as one that sets out to provide a thought-provoking programme ‘for a contemporary audience that lives online’. This section of the lm festival hasa programme of feature-length and short lms that deal particularly with social and cultural relations with technology. For example, last year the section asked ‘Does technology rule, or does it just rule us?’This section can only be viewed online during the festival by registered users (access is therefore free). The shorts are withdrawn after the festival ends. While the section is running, users can vote for their favourite shorts27 and the Best Online Awards ceremony takes place after the event. Content is thus digitised not in order to be subsequently disseminated but as part of the festival’s approach aimed at responding to current changes.In conjunction with the Tribeca Online Festival, in 2014 the organisers also launched Tribeca N.O.W. (New Online Work), a parallel non- competition online programme designed to draw attention to and celebrate creative work for exclusively online digital formats that do not necessary fall into a well-de ned category (short lms, web series, part of a broader online content...). This is why they place the selection under such a broad umbrella.Unlike in the Tribeca Online section, the work selected can continue to be viewed, free of charge, after the festival ends. Videos are2. NT BEFORE AND DURING THE FESTIVALFocus: Use of New Digital Technologies at Cultural Festivals