Page 58 - AC/E Digital Culture Annual Report 2016

58activity sectors. Optimising the audience’s reception of the actors’ gestures and movements, and the emotions and feelings they convey, is an essential componentof today’s live arts. As was concludedat the II Jornadas de Plástica Teatral,67a conference on stage art organised bythe CDN (Centro Dramático Nacional)in connection with International Year of Light, LED technology has brought about a reconsideration of colour management as a basic part of illuminating a show, as well as a substantial saving in production costs.• As the examples of artistic creation have shown, the production of new stage sets based on light and sound factors is proving to be a fertile ground for developing new projects and new formulas for applying technological breakthroughs to the performing arts sector.• The emergence of DIY philosophy andthe ‘maker’ phenomenon, especially in the eld of 3D printers, is making it feasiblefor processes of this kind to be applied in order to bring down costs and customise stage elements immediately. In Sweden,for example, a group of students from Lund University have created a band of musicians whose instruments are made using this technology. They have even performed concerts at the Music Academy of Malmö University.68 The instruments are also sold by university lecturer Olaf Diegel through the rm Odd Guitars.69• Indeed, it seems that the eld of musical instruments is an endless source of experimentation, as this case recalls the guitars created from Lego bricks designed by Pavan Wood Works.70• The ICUB (Instituto de Cultura de Barcelona) is providing incentives for multidisciplinary stage productions that develop creative networked projects and use the FI (Future Internet), through the Future Internet-Performing Arts awards.71Although it might seem the obvious way forward for most economic sectors, the idea of incorporating technology into the management phase of the live arts is not so clear. The sector still needs regulation to allow the use of integrated ERP (Enterprise Resource Planning) systems that bring together the computer applications needed to manage an organisation: production, maintenance, nancial and analytical accounting, suppliers, customers. It is purely a question of organisational e ciency to enable the information shared by the organisation to be optimised.Incorporating technology into the management stage will allow ERP systems to be used for production, maintenance, nancial and analytical accounting, suppliers and customers.Basically, the digital transformation yet to be carried out is much deeper, as it must be spurred by a change of attitude and the disappearance of habits that are still deeply rooted in the sector. Why not consider the possibilitiesof marketplaces as platforms for exchange between supply and demand for both creators and artistic projects? Will new mediators and operators appear in the sector who are capable of matching supply to demand? As Genís Roca of RocaSalvatella puts it,72 ‘any product under digital pressure morphs into a service’.• Such is the case of Afactys,73 an online platform of performing artists (they de ne themselves as a social network) that brings sector agents (production companies, managers, organisations...) together to nd professional collaborators for their projects.• Similar cases are the Meetinarts74 and Kompoz75 communities, the latter focused on the music sector.However, it is precisely in the areas of marketing and communication where the need to incorporate technology into stage management processes is most urgent. The sector hasHOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE · PEPE ZAPATASmart Culture: Impact of the Internet on Artistic Creation