It’s déjà vu all over again.
Picture this: you are in a meeting and you have been in this meeting many times. After another detailed mapping of the problem, someone takes a stab at a solution and says it:
“We have to move beyond the current audience and into new audiences and communities.”
This feels like success, right? Everyone agrees with the notions of inclusion, fairness, access and diverse viewpoints. We’ve grappled with this for years, but what will create a positive, lasting impact?
It’s not more effort. The people I know are working harder than ever. The idea that there’s a shortage of leadership courage doesn’t hold water. I see organizations strengthening their governance and improving business practices. Some of the most vital work in generations is being staged, toured, broadcast and served across a growing number of platforms. This is change in action and that does not happen without tremendous leadership courage.
I think we have misdiagnosed our condition. Willingness and leadership courage get us in the door, but something is missing. We hide behind incremental improvements in our business practices when the real, pressing question is why should people who are not currently in our audience use us if we are not connected to their lives?
I say we need to expand our Cultural Fluency.
Cultural Fluency, in this context, is the ability to both speak and listen, with deep contextual understanding, of each other’s background, vested interests and aspirations.
Our lack of sufficient Cultural Fluency is one of the major issues that hold us back from reaching new audiences.
As arts and public media professionals, there is a deep passion to facilitate connection and bring people together across class, ethnicity and generational cohorts. For the most part, though, public media and the majority of our arts institutions have yet to become relevant to people beyond the core—more educated, affluent, older and, most often, white audiences.
For an inclusive, just society, public media and the arts have to find ways to collaborate with an expanded range of communities. We must be in relationship with these communities so they can tell us, in their own words, what matters. New levels of trust have to be conveyed and earned before we can even start to address the question, “how can we serve?”
The never-ending pursuit of Cultural Fluency takes place in the spaces where our desire to make a difference is tested against our willingness to listen, learn and adapt in the service of others.
We know we have to build our capabilities as managers. We acquire new professional skills. As we mature, hopefully, our capacity to love, forgive and have empathy for others expands. In the same way, we can grow our Cultural Fluency. These are real skills that can be developed. The move from intention to strategic implementation is critical. Professional and personal development can be hard to maintain, nurture and properly resource, but isolation, irrelevance and slow decline is harder.
The Five Frames
How does Cultural Fluency emerge and what are the skills that can be honed to help it take root and flourish?
The Five Frames of Cultural Fluency are captured in an acronym: SHARE, which reminds us of the human qualities and states of being that matter in areas far beyond our professional lives.
SHARE brings the Five Frames to life in plain language and this provides us with a specific, defined model for building new staff skills and strengthening the organization. This white paperlays out a set of provocations and some real world examples of Cultural Fluency in the context of a variety of organizations, including WDET, Detroit where the relentless alignment around the Five Frames of Cultural Fluency was the single most effective driver of that formerly-troubled stations’ dramatic turnaround.
by Catherine Jasserand | Jipitec
An interesting paper: DOWNLOAD HERE
Abstract: This article analyses whether Creative Commons licences are applicable to and compatible with design. The first part focuses on the peculiar and complex nature of a design, which can benefit from a copyright and a design protection.
This shows how it can affect the use of Creative Commons licences. The second and third parts deal with a specific case study. Some Internet platforms have recently emerged that offer users the possibility to download blueprints of design products in order to build them.
Designers and creative users are invited to share their blueprints and creations under Creative Commons licences. The second part of
the article assesses whether digital blueprints can be copyrightable and serve as the subject matter of Creative Commons licences, while the last part assesses whether the right to reproduce the digital blueprint,
as provided by Creative Commons licences, extends to the right to build the product.
By DeAnne Aguirre, Rutger Von Post |Strategy Business
Culture’s reputation as being among the “softer” instruments of management might lead you to conclude that it’s a luxury—something that gets attention in buzz-conscious Silicon Valley but occupies more of a background position everywhere else.
Yet culture is critical to business success, according to the results of our 2013 Culture and Change Management Survey. When we recently surveyed more than 2,200 global businesspeople to get their take on culture’s role in business, we saw that culture is widely seen as more important than companies’ strategies or operating models. This view of culture’s importance holds true around the world.
Nonetheless, corporate culture often doesn’t get the attention executives suggest it deserves. Only 53% of businesspeople say culture is an important part of the leadership agenda at their company. Even fewer people (35%) say their companies do an effective job of managing culture.
Our own work suggests that the problem is one of mind-set. Companies facing cultural challenges often think the answer is to try to transform their cultures by using traditional change-management tactics. But cultural situations are complex and rarely lend themselves to change through the same mechanisms or at the same pace as other parts of an organization.
We’d argue that those who work with and within their existing culture to change critical behaviors have more success than those who try to change their culture. Said another way, it is easier to act your way into a new way of thinking than it is to think your way into a new way of acting.
While it is resistant to change itself, culture can be a great enabler of organizational change—whether the change involves digitization, faster product development, or a systematic lowering of costs. Overall, change initiatives are only adopted and sustained about half the time, our survey shows. But when companies tap into the energy and emotional commitment that are bound up in their cultures, change initiatives are far more sustainable.
In any major change initiative, it is the job of management and the people affected by the transition to figure out how to harness the strong cultural attributes of their company to build momentum and create lasting change. Companies that are able to do so—to take what we call a “culture led” approach to change—substantially increase the speed, success, and sustainability of their transformation initiatives. Based on our survey findings, the odds of success are about twice as high with culture-led change than with more conventional change-management approaches.
Jodie Shepley| Tate
Visitors to Tate Modern can look forward to a new series of specially commissioned Turbine Hall installations funded by a major 11-year partnership between Tate and South Korean automakers Hyundai.
The Hyundai Commission will see a different artwork transform the iconic public space annually from autumn 2015, giving visitors the opportunity to view unique works from international contemporary artists.
The Turbine Hall has previously housed commissioned works from artists such as Ai Weiwei, Olafur Eliasson and Tacita Dean, attracting worldwide attention and millions of visitors a year.
Hyundai will also work with Tate’s Asia-Pacific Acquisition Committee to acquire nine key works by South Korean artist Nam June Paik.
The acquisition of Paik’s work, which examines humanity’s relationship with technology through various mediums, reflects Tate’s aim to build a larger platform for international artists in its collection.
The partnership, confirmed until 2025, is the longest initial commitment from a corporate sponsor in Tate’s history.
Tate director Nicholas Serota said: ‘Hyundai’s commitment to Tate will give us an unprecedented opportunity to plan for the future, and will secure a decade of exciting new Turbine Hall commissions for all Tate Modern’s visitors.’
Admission to the Hyundai Commission is free.
by Alanna Martinez (@lanna_martinez) | Blouin Artinfo
On Tuesday, the New Museum announced the name of its new art, design, and technology incubator and opened the floor to applications for its inaugural year. NEW INC., helmed by newly appointed director Julia Kaganskiy, is set to launch at 231 Bowery in the summer of 2014. The goal of the not-for-profit initiative is to create a fluid professional development program and creative workspace that will support members working at the intersections of the arts and technology.
Benefits for members of the twelve-month residency at the incubator will include access to the 8,000-square-foot communal workspace, shared resources and equipment, and professional development events and programs. The center will be designed by SO-IL architects (Florian Idenburg and Jing Liu) in collaboration with Gensler and will also have 3,000-square-feet of studio space for New Museum artists in residence.
Applications, which are due April 1, will be evaluated and selected by Karen Wong (Deputy Director and co-founder of the incubator), Heather Corcoran (Executive Director of Rhizome), David Benjamin (Director of Studio-X New York), and Lauren Cornell (curator of the New Mu’s 2015 Triennial).
We spoke with Kaganskiy by phone on Tuesday about naming the incubator, what qualities they are looking for in applicants, and her hopes for the year ahead.
The incubator now has a name, New Inc., how did you decide on it?
We spent a lot of time looking at the language and the space, and we were thinking, “do we even want to use the term incubator?” because it’s so mired in tech-speak these days. We looked around for other terms and didn’t come up with anything that really approximated what we intended and what we meant. The New Museum has been referring to itself as an incubator for artists, curators, and ideas for years, so we decided that we would totally own and take it back from the tech sector.
We worked with two branding agencies, Anomaly — which was really instrumental to us in the naming process — and Naming Names, which is a subsidiary of Project Projects. We wanted to come up with a name that was consistent with the New Museum’s existing branding, put a cleaver spin on the term incubator, and also implied some of the more business-oriented aspirations of the people, organizations, projects, and programs of the space. So, New Inc. seemed to be a fun and playful way to do that, and to also imply that this is based on the incubator model: a place where we’ll develop new ideas and new business-oriented creative practices. It all came together in that one name for us.
What will you be looking for in applicants? What kinds of work do you envision or hope will be done over the next year there?
The incubator initiative was inspired by the creative practice that is already happening in and around New York City. Looking at the historic breakdown between different kinds of disciplines is disappearing, you’re seeing artists who are creative coders working with software, you’re seeing designers and architects who are working with bio-technology, and this kind of interdisciplinary thinking and way of working is really emerging as a new trend. I think because a lot of these hybrid creative practitioners defy traditional categorization, they’re having a hard time finding a home for these ideas, to develop these projects further. Those are some of the people we’re targeting in this phase; people who are in the art and design practice but are working with technology and experimenting with new modes of cultural production.
To give you a more concrete example, it might be projects that recently raised a bunch of money on Kickstarter, and they are now realizing what fulfillment and execution of the idea entails. We’ve been inspired by a number of various Kickstarter projects, whether it’s the + Pool, the LowLine, the MaKey MaKey, and all kinds of really great things that are happening on that platform. But, so many of those projects run into difficulties even after they’ve raised the capital on Kickstarter. To have a great idea and raise the funding is one thing, but then to navigate all business questions that go along with bringing that idea to life is a whole different challenge in and of itself.
We’re also looking at the types of projects and ideas that are coming out of various types of university programs. NYU’s ITP program is a really big influence and MIT’s Media Lab is another. I would say those resemble the types of communities that we see these hybrid people and projects coming out of, but certainly not limited to that.
How loose or regimented is the structure going to be for members?
We are still getting that outlined, but to start out we are thinking of it as a 12-month program for full-time members, with the option to extend to a second year. We envision having a baseline of one professional development lecture a week with thematic topics each months. Each month would delve into a different issue like legal, branding, and PR concerns, talking about the gallery space, with the hopes of peeling back the curtain on some of these more insider art world and business practices and ideas. We certainly have really big ambitions about how the program might evolve, but we want to make sure that we start with something that feels doable, and something that we feel good about — and also allows this nascent community to organically evolve.
We want to encourage members to organize talks and workshops in addition to things that we program, and to collaboratively work together on projects in addition to opportunities for collaboration that we’ve structured in. We are looking for a balance between wanting to provide structure for the program, and wanting to leave things open enough so that organic ideas can emerge. If you over program it can stifle some of that energy.
How will the work done at New Inc. be incorporated with New Museum programming? Will New Museum programming help provide any structure or direction for the first year?
We definitely want to develop a relationship between the New Museum, its programming, and its curatorial and education departments. That includes the initiatives that are happening within the museum like Ideas City, Museum as Hub, and Rhizome (which is moving over to be one of our anchor tenants), but we haven’t devised a more formal relationship.
Some things we can see happening are possibly hosting a symposium at the end of our year at the New Museum theatre, or having some kind of event at the museum. I think we’ll definitely be bringing in a lot of the museum staff to share their expertise and to act as mentors and advisers for the incubator community, but we haven’t yet figured out how it will go the other way. We’re interested in using museum programs like Ideas City as a platform to showcase the work that’s happening inside the incubator.
We’re still exploring, and it’s difficult to say how it will unfold until we get a better sense of who the people and the projects that are going to be in the incubator are. A lot will depend on the members and the kind of work they’re doing.
by Matthew Caines | The Guardian
From experiments to audiences, we round up all the best tips and insights from our last live chat on Facebook for the arts
Kealy Cozens, creative data project leader, Sound and Music
Facebook is changing the way posts are seen: I think in general there has been a decline in the amount of fans seeing posts, which could be attributed to more posts out there competing for views, or it could be seen as Facebook trying to force you into promoting posts. That said, one of the things that hasn’t changed too much for us is that cats are always popular!
Experiment with promoted posts: We have a niche audience so the targeting available with the platform’s promoted posts function is an amazing way to get better ROI. They are also great for testing out different ideas and finding out surprising things. I like the fact you can also upload email lists for custom audiences with Power Editor, which means you can see at a basic level how many of your fans are subscribers.
We’ve promoted two tours and are now promoting fundraising. I would say it has been a success; they drive a lot of traffic for the cost and they allow you to target the audience you want. I find that promoting events and so on also leads to growing our page audience.
Rosie Davies, digital marketing officer, The Arches
Think audience, not brand: People inevitably and instinctively care about how things relate to them, their lives, their vested interests and so on. Marketers should always be thinking about their audience, not themselves. Yes, it’s good to show a personal touch, but it still has to be interesting to the customer.
Hannah Barton, communications at SPACE
Facebook v Twitter: We regard the two very differently and we shape the messages we deliver through each as a result. Our Facebook activity is very events-led, which reflects the interests of the communities who engage with us on the platform. Facebook Insights are also extremely useful.
Our Twitter account is more general, covering all aspects of our activity, from events to archive posts along with links of general interest and relevant retweets. Facebook and Twitter messages reach differing communities so we tailor posts specifically for each channel.
Post albums: Something quite simple but really useful when documenting events and activities is Facebook’s photo album feature.
A strategy for posting about events: In terms of click-rate, we have quite a lot of success with the albums we post – photos of our exhibition shows, for example. In terms of likes, the albums do well but event invites are always the most popular thing. As explained in an earlier thread, our Facebook activity is currently geared around events in the main, so this makes sense in our case.
The future of Facebook for the arts: Online communication methods are going through some significant changes at the moment as the value of viral media is further understood, consolidated and reflected in the way that platforms like Facebook are programmed. I don’t think the platform’s usefulness is diminishing right now, but I do think that other channels that are geared more towards active participation rather than content sharing will increase in relative value for arts organisations in the future.
Sarah Ellis, digital producer, Royal Shakespeare Company
Engaging young people: Over the past 10 years, Facebook will have built a strong core community who I’m sure who will be very loyal to it. The offer for younger people today is more varied around social media than it was a few years ago so I’m sure they’ll want to shop around. I don’t think that means young people won’t use Facebook, but they may want the offer to be different.
Be social and don’t work in isolation: Like, share and comment on the work of other people who you rate, and connect with those people and communities.
What not to do: Don’t think that one piece of content you create will service all strands of your social media – also, don’t pretend that people aren’t there; make sure you engage with what people are saying.
Marcus Lilley, founder, FutrSocial
Master mobile: Facebook Mobile is an ongoing issue. The Facebook app is still not as responsive as other social apps – it can prove really frustrating to operate. This is a legacy issue of the company’s origins when it was designing for desktop and having to catch up on mobile. However, its purchase of Instagram and standalone apps such as Messenger and Paper show they understand how important mobile is and that it needs to be mobile-first.
That said, arts organisations should be aware of the dimension and size of videos, photos and posts on mobile, and keep in mind the number of people who visit Facebook through a mobile or tablet. Don’t think of mobile as an independent element but as one of the many ways in which people interact with the platform.
Experiment: Take your time to try out ideas and experiment – always look to your audience to see how they want to interact with you as an organisation. A Facebook page is a two-way conversation.
Eight inspiring brand pages from our panel
By Aurora Raimondi Cominesi| #Svegliamuseo
Si è conclusa da pochissimi giorni la prima conferenza tenutasi in Italia sul tema musei e web e vorremmo condividere qualche commento a caldo con la community di #svegliamuseo, mentre promettiamo che nelle prossime settimane cercheremo di elaborare i tanti spunti di questi giorni in qualcosa di più approfondito e professionale.
“Curiosity, connection & creation”: il museo futuristico
Partiamo dal titolo della conferenza, museums and the web: qualcosa che suona ancora “alieno” nel nostro paese e che a tratti lo è sembrato anche a noi (due archeologhe proiettate nell’avanguardia tecnologica), ad esempio quando abbiamo visto Neal Stimler, Associate Digital Asset Specialist al Metropolitan Museum of Art, aggirarsi per la prima volta tra i suggestivi dipinti del Vasari nel Salone del Cinquecento. Già dalla definizione del suo ruolo si capisce che Neal arriva da un mondo che ha fatto il passo “oltre”, ma quello che lo distingueva era altro: il Google Glass che non si è mai tolto e che ha presentato il secondo giorno davanti ad una platea estasiata, divisa tra qualche remora (“sembreremo tutti robot un giorno?”) e la fascinazione di uno strumento che può essere molto utile ai musei.
Ma l’Italia, è davvero così indietro? Ed ecco che arriva una risposta incoraggiante per tutti, quella del Museo Egizio di Torino, che ha sperimentato il Google Glass in sinergia con Rokivo, Vidiemme e l’Ente Nazionale Sordi (ENS). Il progetto si chiama GoogleGlass4LIS e appartiene alla categoria di progetti che pensano sì al futuro ma anche, e soprattutto, al visitatore. Perché, come ha dichiarato Robert Stein del Dallas Museum of Art, “the audience is not a faceless mass”, “il pubblico non è una massa senza volto”.
Museums and the Web non è stato solo Google glass, ovviamente. Si è parlato molto di mobile e abbiamo scoperto che anche in questo settore l’Italia non è al “rallenty” come si tende a credere. Tante le app made in Italy presentate nei diversi giorni ed è italiano Paolo Paolini, docente al Politecnico di Milano e coordinatore scientifico di HocLab, che ha parlato in maniera ispirata di quali debbano essere i principi base della tecnologia applicata al mondo museale.
Le città non sono smart se non lo sono le persone
Anche se il tema della conferenza erano le SMART cities, il centro dell’attenzione di tutti sono state le persone. A partire dall’illuminante discorso di Rob Stein, che ha aperto le danze il primo giorno, con un intervento che già dal titolo parlava di unire i puntini tra metodologie digitali, patrimonio culturale e società moderna. E non è un caso che il Dallas Museum of Art abbia avviato, negli ultimi anni, un programma di ingresso più membership gratuiti (DMA friends): arrivati al museo, basta registrarsi su un tablet fornito all’ingresso, e si ripaga il museo con i propri dati invece che in moneta. A cosa servono questi dati? A creare esperienze ad hoc per il visitatore. I risultati? Più visitatori, o meglio, più visitatori che ritornano.
Ma dietro al visitatore odierno c’è molto di più, almeno secondo Cory Doctorow (secondo key note speaker della giornata, qui il testo integrale). Perché viviamo in un’era in cui il visitatore, grazie alla tecnologia, si fa quotidianamente, lui stesso, archivista e curatore dei contenuti che lo circondano. Può aspettarsi di meno da un museo che avere accesso a tutte le sue informazioni, che in modi diversi ha contribuito a valorizzare e tutelare? Ecco allora che si arriva ad una delle questioni cruciali di tutta la conferenza, quella dell’open GLAM: la necessità di investire nell’archiviazione, nella tutela e nell’accessibilità perché la cultura è un “public good”, un bene comune.
E come aprirsi al pubblico, invece?
Essere social, essere open
Certamente, un modo di essere “aperti” - licenze Creative Commons a parte – è quello di essere raggiungibili dal proprio pubblico e disponibili al dialogo. Quale strumento migliore dei social network per farlo? Ve lo stiamo dicendo già da mesi, ma abbiamo avuto modo di ribadirlo durante il nostro intervento (ad alto livello emozionale per Francesca che parlava e Aurora che twittava) nella Social Media Best Practice Parade (questo è il nostro storify del panel). Sul palco insieme a noi, due musei italiani decisamente della categoria di quelli “già ben svegli”, Palazzo Madama di Torino e il Museo di Storia Naturale di Firenze, oltre ai colleghi di Invasioni digitali e a un museo russo di cui sentirete presto parlare sulle nostre piattaforme, il Museo Storico di Mosca (è l’Anno del Turismo Italia – Russia 2013-2014 e noi non ci tiriamo indietro davanti ad un’ottima opportunità di collaborazione…).
È stato ispirante ascoltare Carlotta Margarone che raccontava l’esperienza di Palazzo Madama, un museo che è riuscito a coinvolgere i visitatori reali e appassionati in un dialogo virtuale reciproco e costruttivo per entrambi i protagonisti.
Essere un museo open, oggi, significa ascoltare, saper inventare e proporre nuovi contenuti e nuovi linguaggi, ma anche poter chiedere aiuto al proprio pubblico quando se ne presenta la necessità. Palazzo Madama ci è riuscito per ampliare la propria collezione di antichità (volete scoprire cosa hanno chiesto? Scopritelo qui), mentre altri musei ben più famosi hanno fatto ricorso al crowdsourcing per potenziare la propria rete di risorse. Gli esempi che ci hanno raccontato a Firenze? Tate art maps, internazionale, famoso e sperimentato con un target insolito come le donne emigrate in UK, e Archeowiki, italiano, nato dall’energia e dalla voglia di fare di due ragazze (sarà per questo che il progetto ci è piaciuto fin dal primo minuto?).
Un interessante progetto spagnolo, La Magnetica, ha anche ribadito l’importanza di “fare rete”, e con la rete di creare una community, in particolare su Twitter. Noi ci abbiamo provato come official bloggers e twittatrici incallite (nel senso che ci è venuto il callo da scrittura smart) per #mwf2014: sembra che ci siamo riuscite, guardare (più in su) per credere (grazie a voi che ci seguivate, live o da casa)!
Vorremmo concludere questa carrellata con un promemoria per tutti da parte di Rob Stein (si vede che ci ha ispirate particolarmente?): con le tecnologie, visto il ritmo con cui cambiano e si evolvono, il massimo a cui si può aspirare, quando si pianifica, è “la cosa migliore nell’arco di qualche settimana”. Insomma, non abbiate paura di lanciarvi, di fare quello che è nelle vostre capacità oggi e di farlo meglio domani (qui stiamo citando Nancy Proctor, Deputy Director for Digital Experience al Baltimore Museum of Art e Co-Chair di Museums & the Web). E soprattutto, davvero, non abbiate paura di osare… a quanto pare, anche negli Stati Uniti i musei si sono buttati sui social non perché fossero mai arrivate direttive dall’alto, ma perché qualcuno, dal basso, voleva sperimentare un’idea.
E allora, #svegliamuseo, e via alla sperimentazione!
Aurora + Francesca
#moretocome (nel frattempo, per essere sicuri che prendiate la strada social giusta, vi lasciamo un veloce “manuale d’uso” distribuito da The Flod durante la masterclass “People, Places and Things“ dell’ultima giornata di studi).
by John M. Eger | Huffington Post
Next week is Museum Advocacy Day (February 24-25).
It is a time to publicly acknowledge the vital role of museums, to salute the people who contribute their life to make them meaningful … and, to thank them for their commitment to educating our young.
Twenty years ago The American Association of Museums published a report on the future of American museums including one chapter titled “A New Imperative for Learning,” which admonished that “museums have yet to realize their full potential as educational institutions.” And the report noted: “The museum-school relationship shows considerable potential … particularly in light of the recent calls for strengthening the quality of instruction in science, the arts and the humanities in the schools.”
That was then. Today, museums are breaking new ground and making tremendous strides transforming education through partnerships of all kinds.
This is certainly the case at the California Academy of Sciences, in San Francisco, which has made a major commitment to “Inspire the next generation of scientists” with lesson plans and classroom activities, classroom kits, field trips, workshops for teachers and other activities designed for young people to learn.
Recently, Elizabeth Babcock, Chief Public Engagement Officer and Roberts Dean of Education at the Academy, was honored as a “White House Champion of Change” for her leadership and commitment to libraries and museums around the United States. The Academy joined with the San Francisco Public Library, KQED, and the Bay Area Video Coalition to create “a digital learning lab and a regional youth program network to equip young people with the 21st century skills they need” in the new economy.
Ms. Babcock explained that the Academy’s network for the community:
The Academy, she said, “has a STEAM focus (science, technology, engineering, art and math), leveraging the unique technology, science, and art resources of the Bay Area. It aims to provide teens with the access and skills they need to use emerging technologies, and to transform them from media consumers to media producers. We also hope to encourage interest in STEAM areas through multidisciplinary experiences and leadership opportunities.”
Other museums around the country are doing the same… sometimes more to provide the new thinking skills our young people need.
In Chicago, for example, “The Field Museum and Chicago Public Schools (CPS) conducted a study in 2008 that demonstrated CPS students’ science comprehension to be among the lowest of any urban school district nationwide and that no systemic reform programs were in place to improve science achievement in Chicago’s elementary schools. In response, The Field Museum, Chicago Children’s Museum, Lincoln Park Zoo, Peggy Notebaert Nature Museum, Northwestern University and CPS partnered to deliver a multi-year (2009-2012) science education reform effort in seven high-needs elementary schools, targeting K-3 grades.”
The Partnership was built on the premise that informal learning institutions and universities have much to contribute to reform efforts in large urban school districts. Museum and university partners directly linked their resources to district-supported science curricula and delivered a suite of supports including professional development, field trips, in-classroom instructional support, school-based collaboration, and school leadership development and represents a transformation in the way “teachers, schools, universities, and museums work together to improve teaching and learning.”
And in Boston, the Museum of Fine Arts School has developed programs with individual schools and school districts. As they put it:
"The rationale behind our School Partnership Program is to build long-term capacity within the schools—by training the faculty to incorporate art into their various subject areas, and by providing access to art for the students, thereby cultivating the Museum’s audiences of the future. Our school partnerships take varying forms, depending on the school/district and their needs and priorities. We work with administrators and teachers to design partnerships that meet our shared educational goals.”
Increasingly we are finding that the addition of museums to the academic mix are helping young people connect the dot, visualize the real world more closely and in the process acquire new skills that enhance their experiences. Most recently it was reported by that “art makes you smart” and museums make it happen. According to Jay P. Greene is a professor of education reform at the University of Arkansas, and Daniel H. Bowen, a postdoctoral fellow at the Kinder Institute of Rice University. After considerable research and experimentation to explore the value of field trips by schools:
“We find that students learn quite a lot. In particular, enriching field trips contribute to the development of students into civilized young men and women who possess more knowledge about art, have stronger critical-thinking skills, exhibit increased historical empathy, display higher levels of tolerance, and have a greater taste for consuming art and culture.”
According to the American Alliance of Museums,
"Museums spend more than $2 billion a year on education activities;" and "help teach the state, local, or core curriculum, tailoring their programs in math, science, art, literacy, language arts, history, civics and government, economics and financial literacy, geography, and social studies." Indeed, " the typical museum devotes three-quarters of its education budget to K-12 students."
There is little doubt that these partnerships enable students to see, hear, feel what they are learning — to connect the dots — and enrich their learning experience in ways that the schools themselves cannot do. Our legislators must know that our museums are among this nation’s greatest assets, and deserve their wholehearted support
by Gavin Stride | The Guardian
We must change the status quo around internships in the arts; too many go unpaid. Pictured is Gary Hume’s work, How to Paint a Door. Photograph: Nick Ansell/PA
Dream of a career in culture? One touring network is opening doors for young culture pros – and paying them in the process
The Creative Employment Programme is an attempt to try and create new jobs and routes into the industry, and to encourage people to think about how they might develop their own initiatives. It’s a £15m fund to support the creation of apprenticeship and paid internship opportunities in England for young unemployed people aged 16-24, who dream of a career in arts and culture. That’s why House, a touring and audience engagement initiative, grabbed this opportunity and decided to turn it into something useful.
We’ve now got eight young people who are in six-month placements across the south-east, with more to come in the near future. That feels significant; it feels like something that might be making a difference. Wouldn’t it be great if in 10 or 15 years people would talk about the programme as being the thing that allowed them to get into the industry?
I hope these young people get some doors opened and I hope they get some validation in terms of saying: yes you can do it; you can make a living out of your ideas. The other real opportunity in this programme is that it’s paid. Frankly, we needed to change the status quo, where the only people who could do internships were those who were prepared to do an unpaid internship and were therefore funded either by parents or by a lifestyle that meant they didn’t need to generate income.
One of my real hopes is that the employers involved don’t just think this is a way of paying an intern they might have taken on anyway. You have to push yourself to look at creating opportunities for a wider group of people.
The two interns who are now working on a six-month basis with us at Farnham Maltings would not have been able to self-fund for six months, so there are two people who might not have made it into the arts but for that encouragement. I really hope the Creative Employment Programme and we as employers take that responsibility seriously.
Here’s what some of those involved in the scheme have to say about it.
Damian Kerlin, marketing intern, Letchworth Arts Centre
"What university doesn’t prepare you for is the extreme competition faced by new graduates in the current economic climate. Yes, they tell you that you need to work hard and should aim for a first, but in the harsh reality of it, experience dominates and degrees flag in second place.
"So many internships or apprenticeships offered me experience but very few offered me a wage. In fact some of them even expected me to pay for the service I was providing them! Experience is all well and good but you can’t live on fresh air alone. What was most important to me was to feel valued. Once you put a price on it, suddenly you become a lot more precious.
"The arts is a tough and extremely competitive industry. Internships allow for people to get their foot in the door and put their skills into practice in a safe learning environment."
Sam Langan, festival administrator, Creative Arts East
"The fact this internship was in Norfolk and within 10 miles of my home was a huge motivation in me applying and obtaining the internship. From my job searching as a graduate, I know how difficult it is to find work in the creative arts and events industries outside of London, so this seemed like the perfect opportunity.
"Since graduating from university, I was looking for an internship that would allow me to work on something artistic and become passionate about a certain area of work. This internship has definitely helped me work towards achieving these goals. I have been given so much independence, which has been great for my confidence and sense of self-worth within the organisation.
"I believe that for graduates to develop in the arts industry they need to get opportunities to work in different sectors and do a range of different roles. This is difficult in a financial sense. It’s also difficult in terms of job security and the variety of roles in the market. In my experience, becoming an intern gives you the right level of responsibility and freedom that you can build upon and work towards more senior roles."
by Nicola Di Turi | Wired
Tablet, social network e scuola: quando si tratta di tecnologia, spesso le aule sembrano territori di un pianeta lontano anni luce. Eppure già oggi, in Italia, sono molti gli esperimenti portati avanti sul fronte dell’innovazione della didattica. Con esiti a volte ancora da scoprire, ma su cui si sono accesi anche i riflettori della Social Media Week di Milano. Perché “la scuola è social per definizione, da sempre il luogo della socializzazione per eccellenza”, ha spiegato Maria Vittoria Alfieri, capo della divisione Digital Teaching & Learning RCS MediaGroup. Ma basta davvero accendere un tablet per ridestare l’interesse degli studenti?
Non proprio, ma forse è la strada da seguire. Questa una delle novità emerse durante “Scuola oggi e domani: evoluzione dell’apprendimento e dell’insegnamento tra tecnologia e nuovi scenari”, evento della seconda giornata della Social Media Week. “Nel 2010 ho messo gli iPad in mano ai miei studenti del liceo scientifico. Tutto è cominciato così e solo successivamente è nato il centro studi sulla didattica digitale: la tecnologia e i rapporti con gli editori, noi studiamo questo”, ha spiegato Dianora Bardi, Vice Presidente del Centro Studi ImparaDigitale. Studi che finora hanno dimostrato come la Regione Lombardia sia l’ente che ha investito di più sulla digitalizzazione delle scuole (27 milioni solo per i tablet agli studenti delle superiori). Ma anche, come sia necessario “sviluppare una una didattica delle competenze, da insegnare poi agli studenti. Condividere, progettare, sviluppare, essere creativi sono gli imperativi che servono per diventare cittadini digitali. Non esisterà più lo studente passivo e il docente fermo dietro la cattedra”, ha continuato Bardi.
Nell’epoca del sapere diffuso, insomma, sembrano crollare anche le classiche barriere tra chi un tempo deteneva le nozioni e chi aveva solo da apprenderle. “Via i banchi, via le sedie, la mia classe è scomposta“, ha confermato la vicepresidente del centro studi, sottolineando anche come oltre 326 scuole in Lombardia abbiano ormai in dotazione un tablet. “In terza elementare si spiegano gli strumenti dello storico: con un tablet si possono mostrare decine di foto da diverse posizioni, illustrando tutto meglio”, ha spiegato infatti Daniele Barca, dirigente scolastico, quasi a ribadire la portata innovativa dello strumento in sé. Barca ha seguito infatti il progetto “Libra” per alcune scuole medie pilota in Lombardia, in cui è stato proposto alle famiglie di “dimezzare il costo dei libri e comprare un tablet ai figli. Ai non abbienti ha pensato lo sponsor, per il resto lo strumento abbatte anche le differenze con i ragazzi diversamente abili. In classe sono tutti uguali”.
Un progetto, quello di “Libra”, che ricorda da vicino la realtà norvegese, come raccontato di recente dalla BBC: “Compiti e lezioni? Tutto passa attraverso il mio blog, da cui comunico con i miei studenti. Ognuno ha un tablet e il Wi-Fi messi a disposizione dalla scuola, fa i compiti e li pubblica sul suo personale blog”, ha spiegato alla tv inglese Ann Michaelsen, dicente della Sandvika High School di Oslo. Niente libri di testo, ma largo a Skype, “grazie a cui la classe mette in piedi scambi didattici con scuole cinesi e sudamericane, senza trascurare Twitter, fonte d’ispirazione per le lezioni” e Facebook, da cui la prof dà aggiornamenti e istruzioni agli studenti ogni giorno da una pagina pubblica. La tecnologia, insomma, a servizio di quelle stesse aule che a volte sembrano territori di un pianeta lontano anni luce.
By Taras Young | Arts Marketing Association
Taras Young, the AMA’s Digital Content Manager, rounds up some key reports and developments from cultural sector in the last few months.
Culture for everyone
Arts Council England set out its updated 10-year vision in “Great art and culture for everyone”. The strategic framework brings together two previously separate strategic frameworks in order to have a single document covering libraries and museums, as well as the arts. The document outlines the body’s role in advocating for publicly-funded arts organisations, and encouraging partnerships with the private sector, as well as its investment plans.
Meanwhile, the independent report “Rebalancing our cultural capital” made a case for rethinking how arts funding is distributed. It focuses particularly on an apparent over-emphasis on London-based organisations.
Abigail Pogson, Chief Executive of Spitalfields Music, responded to the report with a dissection of spending within London itself, pointing out that the majority of London boroughs outside the centre receive less per head than the national average. She calls for more thought about who the ultimate beneficiaries of funding are, rather than where in the country the money goes.
Examining innovation in the cultural sector
Arts Council England, the Arts and Humanities Research Council and Nesta joined forces to publish a report entitled “Digital Culture”. The report surveyed nearly 900 arts organisations to discover how they are using technology, how it impacts on their work, and how it is changing the relationship with audiences. The research will continue for two more years.
Rachel Coldicutt, director of digital developers Caper, took this report – together with the Arts Council England strategic framework and other recent developments – and considered the ways in which discussion of digital innovation is being framed by those leading the cultural sector.
Around the sector
Meanwhile, arts coverage continues to grow on the BBC following former Royal Opera House chief executive Tony Hall’s appointment as Director-General. Grayson Perry presented the BBC’s annual Reith Lectures, which this year looked at the art world and its relationship with the public. All four lectures are now available to download as podcasts from the BBC.
By Francesco Moneta | Il Giornale delle Fondazioni
Un progetto di divulgazione della Musica classica attraverso la Rete – interpretato dai Partner Accademia di Santa Cecilia di Roma + Telecom Italia - e il recupero di un Museo di tradizione inserendo nuovi percorsi tematici multisensoriali – interpretato dalla Fondazione Musei Civici di Venezia + Mavive SpA – si sono aggiudicati ex –aequo la prima edizione del PREMIO CULTURA + IMPRESA, dedicato alle migliori Sponsorizzazioni e Partnership culturali, in Italia.
In breve: l’Impresa partecipa non solo con contributi economici, ma anche e forse soprattutto mettendo in comune con l’Operatore culturale le proprie competenze, le proprie tecnologie, fino ai propri canali di marketing e comunicazione.
Era dichiaratamente una prima edizione ‘sperimentale’, ma i risultati hanno lasciato tutti – Promotori, Giurati, Operatori culturali e Comunicatori – complessivamente soddisfatti. Il PREMIO CULTURA + IMPRESA - organizzato lo scorso autunno per dotare finalmente di uno strumento di benchmarking il bistrattato settore delle Sponsorizzazioni culturali – ha prodotto progetti di qualità, diversificati, una buona se pur parziale vetrina per analizzare il settore e stimolare utili confronti.
Il COMITATO non profit CULTURA + IMPRESA – composto intanto da Federculture e da The Round Table, cui si stanno affiancando altri Sostenitori – annuncerà a breve l’Edizione 2014, più approfondita e strutturata, sulla scorta delle esperienze e valutazioni raccolte nel 2013.
Una fotografia delle Sponsorizzazioni culturali odierne
Emblematico quale fotografia del settore è il box con i 15 Progetti finalisti: sono presenti 7 diverse tipologie di Progetti ed Eventi culturali, dove i Festival (Cinematografici, Musicali, Letterari, del Design) e i Restauri con la Valorizzazione dei Beni Culturali prevalgono numericamente ma si accompagnano ai Concerti, alle Mostre, alle Performance artistiche, alle Installazioni multidisciplinari, ai Progetti educativi di Arte e Scienza.
Protagonisti sono Operatori culturali pubblici e privati di diverse città italiane, da Napoli a Venezia, con un buon margine di miglioramento nel coinvolgimento del Sud Italia. Sono presenti numerose Fondazioni, a testimoniare come questa forma giuridica e organizzativa sia oggi protagonista dei più avanzati progetti ‘di sistema’ nella nostra Economia della Cultura.
Le Aziende partecipanti non appartengono solo ai settorin tradizionalmente vicini alla Cultura per motivazioni ‘corporate’ - ovvero le Banche, le Utilities e le Aziende con forte presenza territoriale – ma si sono distinte diverse realtà industriali e addirittura di Largo consumo: le stesse Mavive e Telecom, Renault e Peugeot, Conad, Eli Lilly Italia e l’imprenditore calzaturiero Giovanni Fabiani ne sono un esempio.
Giovanna Maggioni – preziosa componente della Giuria in rappresentanza di UPA, tra i partner del Premio - visti questi risultati ha avviato una indagine tra gli Associati per verificare la ‘temperatura’ delle sue Aziende nei confronti della comunicazione culturale. Significativa la presenza della Camera della Moda, a confermare come oggi gli Stilisti mostrino una nuova e diffusa sensibilità verso la Cultura, a partire dai casi che abbiamo citato in passato in queste pagine come Della Valle (Tod’s), Rosso (Diesel), Fendi, Zegna.
Interessanti infine le aggregazioni di Istituzioni culturali e Imprese che collettivamente hanno dato vita ai progetti di Forlì, Imola e Napoli: la Cultura è anche questo, un catalizzatore di energie e risorse del territorio, che dialogando creano progetti di utilità sociale, destinati a rimanere un patrimonio duraturo per tutti i suoi abitanti.
Infine una vera novità, con buona pace di alcuni difensori della ‘cultura incontaminata’ dall’associazione ad imprese e iniziative di marketing. Due dei Progetti premiati, tra cui uno dei vincitori, hanno mostrato come le Arti e la Cultura possono rappresentare un formidabile driver anche per azioni di marketing e commerciali. Mavive ha realizzato una linea di prodotti cosmetici fondati sul sistema valoriale assicurato dalla Fondazione MUVE, interprete della storia antica che associa Venezia al Profumo. Giovanni Fabiani ha aggiunto ulteriore appeal al proprio posizionamento nel fondamentale mercato russo grazie all’associazione di immagine con la principale realtà culturale del proprio territorio, lo Sferisterio di Macerata. E’ una formula replicabile con successo: l’identità dell’Impresa e dei suoi prodotti, valorizzate dalle realtà culturali dei propri territori, che a loro volta da questa associazione traggono sostegno e opportunità di sviluppo.
I Progetti finalisti sono stati analizzati da una Giuria che si è voluto rappresentasse le diverse anime professionali che compongono il comparto delle Sponsorizzazioni e Partnership culturali (Operatori culturali, Aziende, Agenzie di comunicazione, Editori) oltre che le Associazioni copromotrici del PREMIO CULTURA + IMPRESA: Bernardino Casadei, Segretario Generale di Assifero; Fabrizio Grifasi, Direttore Fondazione Romaeuropa, per Federculture; Giovanna Maggioni , Direttore Generale UPA; Francesco Moneta, Presidente di Cultura + Impresa; Francesca Peliti, Peliti Associati, per Assorel; Patrizia Rutigliano, Presidente Ferpi; Catterina Seia, Direttore del Giornale delle Fondazioni – Giornale dell’Arte; Massimiliano Tarantino, Segretario Generale della Fondazione Giangiacomo Feltrinelli e Responsabile della Comunicazione del Gruppo Feltrinelli.
I criteri di valutazione del PREMIO CULTURA + IMPRESA
Quali sono stati i criteri di valutazione dei Progetti finalisti? Innovazione, Qualità dell’Esecuzione, Strategia e attivazione della Comunicazione, Benefici ottenuti dai fruitori del Progetto e del Territorio di appartenenza, Networking, Sostenibilità sociale del Progetto, Integrazione con campagne di CSR, Amministrazione del Budget, Misurazione dei risultati rispetto agli obiettivi. Sono alcune delle criticità che abbiamo osservato nel corso delle quattro edizioni delle RICERCHE CULTURA + IMPRESA (2006,2008,2010,2012) condotte tra le Aziende che investono in Cultura per analizzare criticità e opportunità di questo strumento strategico di comunicazione. Sono anche le proprie aree di miglioramento spesso riconosciute dagli stessi Operatori culturali, con cui dialoghiamo da tempo su questi temi.
By Jo Caird | The Guardian
The Long Museum is a 10,000 square metre private art gallery owned by one of the biggest art collecting couples in China. Photograph: Long Museum
With sky-high running costs, low attendance figures and issues with access, Chinese museums are facing uncertain times
The hotel concierge had heard of neither of the museums I intended to visit that day. Not all that surprising, perhaps, until you consider the scale of the institutions in question. One was the Long Museum, a 10,000 square metre private art gallery owned by one of the biggest art collecting couples in China. The other was the Power Station of Art (PSA), Shanghai’s first public museum of contemporary art, named for the enormous former industrial building it occupies on the banks of the Huangpu river.
Both were about to celebrate their first birthdays at the time of my visit to Shanghai in September last year and both were eerily quiet. No one likes an overcrowded gallery, of course, but there’s definitely something off-putting about being in a museum alone.
The Long Museum and the PSA are part of an extraordinary wave of high profile public and private museum and gallery building taking place not just in Shanghai but across China. The last couple of years in Shanghai alone have seen the relocation of the China Art Museum; the launch of the Yuz Museum; and the relocation of the Shanghai Himalayas Museum (another private institution) to an enormous new space in Pudong. In March, these institutions will be joined by another – larger – branch of the Long Museum, opening in a newly developed area of the city known as the Xuhui Riverside.
Deep pockets, but how deep?
It’s a thrilling time for the Chinese museum sector, but it’s also an uncertain one. Attendance figures for both the Long Museum and PSA have been disappointing so far. The PSA attracted only 250,000 visitors in 2013, while the picture at the Long Museum is grimmer still. Wang Wei, the museum’s chief curator, and her husband, billionaire businessman Liu Yiqian, spend over £1m on running costs annually and paid out around £30m in capital expenses, but welcomed only 50,000 people through their doors last year. The couple have deep pockets, but it’s hard to see how such a project is sustainable in the long-term, especially given their soon-to-open second space has set them back a further £30m.
If Wang is worried about the future, she didn’t show it. The curator, who had no experience in the sector before taking the helm at the Long Museum, said she is “satisfied with the current operation situation”. There are, however, a number of strategies in place to boost attendance figures, including public lecture programmes for adults and children and a range of membership schemes.
Wang is also looking at exploiting commercial potential of her museums, hiring out spaces for events and working with partners – luxury brands, for example – to raise revenue from different sources. She would like to encourage philanthropy too and is considering approaching foundations in the West for funding.
New media means more for artists
As a state-run institution, the PSA is in a more stable position, but deputy director of planning Li Xu had his concerns about how his museum will fare in the future. He attributes the underwhelming visitor numbers to the PSA’s out-of-the-way location and poor transport links: “It has to be accessible. No matter how much you love contemporary art, this place has to be easy to get to or else your passion will be washed away.”
Li believes the Chinese education system is also a challenge. “Our education department works very hard,” he said, but the emphasis schools put on preparing for high school and university entrance exams means that students have little or no time to spend at institutions like the PSA.
Philip Dodd is chair of Made in China, a London-based company that works with governments, brands, media and creative businesses to facilitate engagement between China and Europe. “The [Chinese] education system still has to undergo a really radical transformation,” he said. “The museums are part of that radical transformation”.
But Dodd also stresses the crucial role that social media is likely to play in the development of the Chinese museum sector. “There are 675 million mobile phones in China, and that’s just scratching the surface,” he said. “Because the old media has been state-controlled, this new media, which is much more difficult to control, may become a really interesting place for artists to work in, or private museums to work in.”
Is this China’s museum era?
The sheer scale of social media engagement in China is also indicative of just how different are the contexts in which museums in China and those in the West are operating. Chinese museums are eager to learn and humble enough to learn from the West, said Dodd. “But they have a different strategy: put up the museum, put in the collection and then begin to develop what one might call the audience for that museum.”
It’s therefore crucial for the Chinese museum sector to find its own solutions to its own particular challenges, rather than just importing ideas from the West. Wang said she is keen to learn from Western institutions, but added: “In China, private museums have their own characteristics and we have our own reality.”
How those institutions – both private and state-run – will fare in the coming years is very hard to predict. “China is beginning a system of museum building that took about 130 years to resolve itself in Europe … so part of our problem at the moment is our expectations of China,” said Dodd. “I don’t think the future’s bright, I don’t think it’s cheap and cheerful; it’ll be very complex, it’ll be difficult.
by Judith Staines | culture360.org
A report is published by the European Expert Network on Culture (EENC): ‘EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives’ which maps the current reality of cultural exchange between the EU and Korea in various fields.
Download report here
In 2012, the European Commission’s Directorate-General for Education and Culture (DG EAC) asked the EENC to map existing trends in cultural exchange between the EU and the Republic of Korea (South Korea) and their economic dimension. The request arose in the context of the implementation of the Protocol on Cultural Cooperation, which entered into force in 2011 as part of the EU-Korea Free Trade Agreement.
The resulting document presents a mapping of the current reality of cultural exchange between the EU and South Korea in several specific fields, including publishing, performing arts, cultural heritage, the mobility of artists and culture professionals, cultural industries and audiovisual (with a particular focus on co-production), as well as the policies and cooperation frameworks existing in these fields. The report was completed in late 2012 but some tables were updated in September 2013, at the request of DG EAC.
The report was prepared by Marie Le Sourd, Elena Di Federico (members of staff of On The Move) and Dr Sung-Won Yoon (University of Suwon, South Korea).
By Riccardo Maiolini | L’Huffington Post
Esiste una ricetta ottimale per fare esperienza e al tempo stesso acquisire nuove competenze? E se la formula giusta fosse provare a lanciare una startup, cimentandosi in un progetto d’impresa?
Cimentarsi in un progetto d’impresa significa, innanzitutto, mettere insieme competenze diverse, testare le proprie abilità, nonché il proprio livello di stress e mettersi in gioco. Veramente.
In questa ottica, guardando alle Università italiane, forse sarebbe utile che gli studenti provino ad organizzarsi, mettendo su una squadra, per cercare di lanciare qualcosa di innovativo: un progetto, un’idea diversa, un’intuizione che li faccia crescere. Per fare esperienza. Per fare palestra.
Non basta però lasciare tutta l’iniziativa soltanto agli studenti. Occorre infatti (e occorre presto) favorire l’emergere di un ecosistema in grado di sviluppare le idee, supportare le startup nella loro crescita e, soprattutto, indicare in una fase precedente sia che cosa serve, quindi i bisogni, sia i settori in cui concentrare gli sforzi.
I nuovi trend manageriali e di sviluppo vanno in questa direzione: grandi imprese, con alle spalle esperienze in diversi settori, competenze consolidate e manager di alto livello, si offrono ai giovani come promotori di percorsi di formazione e incubazione. Obiettivo: scovare nuovi talenti e idee che possano aiutare il business (dell’impresa) a crescere ed innovarsi.
Opportunità queste che consentono agli studenti di mettersi in gioco, di sperimentare e di rischiare. Qualora le cose vadano male, dopo il fallimento guai a demordere, ma riprovare di nuovo. Approccio molto americano che, se innestato nella nostra cultura, garantirebbe ai giovani di laurearsi portando già nel proprio bagaglio uno o più tentativi di business. Esperienze che, oggi, valgono forse di più di uno stage o di un classico tirocinio.
In questa ottica si inserisce Startup Revolutionary Road, progetto pioneristico di cui ItaliaCamp è partner e che vede Microsoft Italia promotrice insieme a Fondazione Cariplo e Fondazione Filarete con lo scopo di sensibilizzare i giovani italiani e invitarli a lanciare un progetto di impresa.
L’ambizione è di scovare talenti in Italia coinvolgendo attori legati al mondo delle università e delle startup - Fondazione Politecnico di Milano, Incubatore di Imprese Innovative del Politecnico di Torino (I3P), InnovAction Lab, TechGarage con il Barcamper Tour e ItaliaCamp - ed organizzare con essi incontri ed iniziative volte alla formazione su temi tecnologici e di business. Un ecosistema a tutti gli effetti quindi, che fornisca agli studenti gli strumenti utili per creare nuove imprese. O per far emergere idee…di imprese.
ItaliaCamp, nello specifico, per alimentare questo Ecosistema con la “E” maiuscola, coinvolgerà le 70 Università partner attraverso una call for ideas dedicata e rivolta, in particolare, al sud Italia e al mondo femminile. Più startup “made in sud” e più startup rosa: una sfida ambiziosa, lanciata proprio lunedì scorso durante la conferenza stampa dall’Amministratore Delegato di Microsoft Italia Carlo Purassanta. In palio per i giovani talenti, oltre alla possibilità di confrontarsi con i propri sogni ed il proprio futuro, la possibilità di entrare nel programma di incubazione di Microsoft chiamato BizPark.
È per il futuro di tutti - dei giovani in primis - che ecosistemi come questi dovrebbero non solo nascere, ma anche moltiplicarsi.