Artificial Intelligence is increasingly part of our everyday lives, but what role could it play in creative expression, arts and culture? The Space brought practitioners, experts, and audiences together to explore how Artificial Intelligence can be a tool for us all.

“Almost daily now, there tend to be articles written about the ethos and the ethics of what AI might mean for us as a society,” says Fiona Morris, Creative Director and Chief Executive of The Space, “and it varies from the kind of apocalyptic to some nirvana.”

“There is a real requirement for artists in the cultural sector to…

Creative Black Country’s 100 Masters

How can a regional arts organisation use digital content and platforms to bring local artists onto the worldwide stage? This case study explains how the small team at Creative Black Country learned to translate their hugely successful 100 Masters regional project into global online success — and do so in ways that evolved from their work yet never changed its roots.

“Creative Black Country’s 100 Masters was an existing non-digital project,” says The Space’s associate producer Rob Lindsay, who later advised on the digital elements. …

How can a small team or a small organisation, perhaps overstretched and always with limited funding, take their work and bring it to a wider audience through podcasting? Clare Freeman shows you how to use what you already know, how to add to your skills, and why now is the time to make an arts podcast.

Clare Freeman runs ASFB Productions (it stands for A Small Furry Bear) and is an award-winning full-time podcaster. She believes that that her ability to make a living from podcasting is only now possible because of how prominent and successful the whole podcast world…

Lysander Ashton, Director of 59 Productions, talks set design, live video and projection mapping with Eleanor Turney.

59 Productions’ Director Lysander Ashton is no stranger to technical wizardry. The company is a Tony Award-winning group of artists behind the video design of the Opening Ceremony for the London 2012 Olympic Games, globe-trotting smash hit War Horse, the design and creative direction of the record-breaking David Bowie is exhibition and the decor concept design for The Met Ball, hosted by Anna Wintour. …

With the boom — and hype around new technologies (VR, AR, mixed reality, haptics and the like), to what extent do these advances represent opportunities for artists rather than simply gimmicks, and how should practitioners decide which is which? Freya Murray, Programme Manager at Google Cultural Lab discusses.

Art has both influenced and been influenced by technology throughout history. As technology becomes ever more sophisticated, and central to our daily lives, this relationship continues to evolve.

Photo from TUNDRA from National Dance Company Wales credit Rhys Cozens

As new technologies develop, the artist’s palette expands, offering new possibilities for both how artists create and how we experience art. That said, my…

Digital rights expert Ben Green explains how the law is catching up with digital technology, and what arts organisations need to think about before embarking on publication of a digital project.

The first problem facing organisations when thinking about digital rights is that there is no consistent terminology. The Space is currently consulting with the arts sector to formulate a standardised set of digital rights terms and definitions to help the sector negotiate digital rights, especially smaller companies. While the Royal Opera House or the National Theatre have their own in-house business affairs and legal teams, a lot of small…

How do you use digital innovation to bring people to a park?

YSP is an open-air art gallery in Wakefield, West Yorkshire , set in the historic, 500-acre Bretton Estate. The park has around 80 permanent pieces by artists including Barbara Hepworth and Henry Moore and its half a million visitors each year can enjoy a programme of regular exhibitions in six galleries.

Courtesy of Yorkshire Sculpture Park — Sculpture Cam Photo © David Lindsay

Nina Rogers, YSP’s head of marketing and PR says: “What we wanted was to take inspiration from the ‘art without walls’ ethos to create a unique experience for visitors. We wanted to add to the way that people could access the park and bridge digital and physical experiences.”


Using interactive AI to bring a London landmark’s history to life

How do you connect audiences everywhere with a chance to take part in a collective design installation artwork in Trafalgar Square? In this case study, Es Devlin, the London Design Festival and Google Arts and Culture explain how they used interactive technology to bring a piece of the festival experience to audiences beyond the city’s borders, with help from The Space.

Please Feed the Lions by Es Devlin, part of London Design Festival

Es Devlin is widely recognised to be one of the most visionary and artistically ambitious figures bridging the fields of music, art, theatre and technology today. She is known for creating large-scale performative sculptures and environments that fuse technology…

In a series of thought-provoking essays, The Space examines the changing relationship between arts and technology and looks at the opportunities and challenges of the digital age.

Damian Spandley, Director of Programmes at Curzon Cinema, writes on the importance of networks in modern marketing.

In 2009, the year he negotiated a deal to buy Icon from Mel Gibson, I heard distribution veteran Stewart Till give a talk on digital and entertainment commerce. Playing the role of an avuncular Doubting Thomas, Stewart saw the excitement around the onset of digital as a flaming chip pan that urgently needed a wet tea…

Should we describe creative material as ‘content’? Founder of MUBI, Efe Cakarel questions the use of the word.

In a series of thought-provoking essays, The Space asked respected representatives from from across the creative sectors to give us their opinions on the changing relationship between arts and technology and opportunities and challenges of the digital age. Here, Efe Carakel explains why he thinks content = cultural exploitation.

Not since the shorthand “app” rocketed into being default and everyday nomenclature has a word so taken hold of digital culture like “content.”

Content, as we understand it in this moment — and…

Helping arts and cultural organisations to reach new audiences using digital technologies and platforms.

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