Page 141 - AC/E Digital Culture Annual Report 2016

as logical as ‘Spanish literature’ and had a static, antiquated website, Google would penalise it by giving it a much lower ranking than other literary websites in the country that are already mobile friendly.To sum up, having a website, however simple,is essential in an age in which Internet access is so widespread and everyday, and so is adapting and optimising it for new screens to ensurethat it takes up as little space as possible and loads fast (the longer a website takes to load, unfortunately, the more users give up and search for information on other sites). Content should not be subordinate to design but vice-versa, though design and originality do not necessarily have to be incompatible with good content.There are low-cost solutions for those who cannot a ord a professional agency, such as the responsive templates available from platforms such as the aforementioned Wordpress, and tools such as plugins for improving some of these aspects.Let us now take a look at a di erent technology. QR codes have become another somewhat controversial eld in that their use appearsto have hit a ceiling, or at least come to a standstill.89 This is attributed to the fact that most smartphones or mobiles with cameras do not come with a programme that reads these codes and users need to make an initial e ort to nd and download an app that does this.Some people are used to nding them and have installed the software, but as these codes have so far been slow to catch on in various sectors and environments, and have done so unevenly, they are not often needed during a typical week.This does not mean to say that QR codes have completely fallen from favour or have no use. For example, as we saw in the previous edition of the Annual Report, they can greatly enhance content for festival visitors and have amazing potential in the educational eld.They o er signi cant advantages. For example, it is very easy to generate codes thanks to the existence of open code programmes that are free and even readily available90 as they do not require installing anything on the computer or special knowledge. Another positive feature is that they can ‘hold’ many types of information, such as a speci c website address, or even audiovisual content such as videos or images.Many festivals choose to combine printed programmes with QR codes so that anyone wishing for further information (for example, an artist’s biography or lm credits) has only to scan the code and be redirected to a website where they can access this information. This avoids making the programme too long and wordy.The Nocte Graus International Performing Arts Festival includes a code on its printed programme that redirects users to the website for further information. This approach is also chosen by the Almagro Classical Theatre Festival.The San Sebastián International Film Festival includes a QR code on print material, including the lm catalogue, where each lm has its own code that redirects to the credits and complementary information.Many online ticket sales services use a QR code to identify each ticket, be it the print or digital version (PDF) or the service app. In this respect QR codes have been adopted by a large number of festivals as tools for controlling and verifying access to paid and restricted activities. The process can be performed quickly using a QR reader (a speci c device or a mobile installed with QR code ticket scanning software).Many festivals, whether musical, literary or visual arts, have been using this technology for a few years in a very natural manner. This is whereQR codes have been most successful – in the context of event ticketing – and have enhanced visitor experience compared to decades earlier.AC/E DIGITAL CULTURE ANNUAL REPORT 2016141Focus: Use of New Digital Technologies at Cultural Festivals