Page 63 - AC/E Digital Culture Annual Report 2016

• Pepsi’s Bioreactive Concerts103 project, managed through the Lightwave technological platform, makes it possible to analyse in real time, through sensor- equipped wristbands, audience data such as rising body temperature as the music session progresses.• Audience involvement in developing performing arts projects also entails the possibility of contributing to their funding. Apart from through crowdfunding, technology can help boost participation through digital philanthropy, a phenomenon widespread in English-speaking countries, where the idea of donating is omnipresent in the culture sector.• The Twitter hashtag #postfuncio,104 which is widely used in the Barcelona area, provides rst-hand information about rst impressions, via Twitter, ofthe audience’s critiques as a sort of ‘Trip Advisor’ for theatre performances, ltered by the immediacy of the social media site. It encourages the participation and interaction of all the agents involved ina stage production (authors, companies, performers... audiences) and generates a multiway channel between them. One of the consequences of this type of dynamics is that they give rise to new meetings, both face-to-face and virtual, between audiences and artists in the form of talks.• Cross Border,105 a company specialisedin theatrical productions that encourage audiences to interact and participate, was one of the rst to enlist the social media to trigger this interaction, especially with the youngest audiences. They began by experimenting with Twitter for the preview of the show Perdidos en Nunca Jamás106 at the Teatro Circo in Murcia; they asked the secondary-school pupils in the audience not to switch o their mobiles, instead encouraging them to use the hashtag #NuncaJamás107 to share their comments,criticisms, the expressions they liked, their favourite photo, what they found boring... Since then they have incorporated this type of dynamic into all their shows.• The fact is that we are currently witnessing a growing number of stage productions, aimed especially at young audiences, and musical shows that are doing away with the tradition of not allowing photos to be taken during the performance and are adapting to 2.0. communication. The omnipresence of smartphones today has triggered this change in our habits of cultural consumption. The immediacy of the audience’s reaction can be turned into the best possible strategy for encouraging word of mouth among spectators, real audiences and potential audiences. Indeed, it is the very spectator-prosumer who acts as a vehicle for communication via Twitter, Facebook or Instagram. And, in turn, producers and distributors make the most of this exchange of opinions to promote their shows. Such is the case of Los Zurdos’ production Amores minúsculos.108Scene from Roger Bernat’s show Pendiente de voto• Experiments in ‘electronic democracy’ inthe eld of the performing arts have also been carried out. Roger Bernat presented an ironic view of the concept of participatory democracy in his show Pendiente devoto,109 in which the spectators becameAC/E DIGITAL CULTURE ANNUAL REPORT 201663