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Why most cultural organisations’ websites fail their audiences
Walking into the website of a theatre, a festival, or a dance company should be a simple experience. I want to know what is on, when, where, how much it costs, and…
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Culture as a business without ceasing to be culture, is it possible?
The question makes many people in the sector uncomfortable. Talking about culture and business in the same sentence activates a defensive reflex I know wel: the idea that introducing commercial logic into…
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Risk as an artistic principle: when programming the unknown is worth it
All programming is a bet. The difference lies in knowing what you are risking and why. There is a type of risk that programmers know well and rarely discuss openly: the risk…
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Algorithms and curation: Who decides what people see in culture today?
For centuries, the answer to this question was relatively clear. Programmers decided, artistic directors, critics, editors. People with names, with positions, with an identifiable point of view. One could agree or disagree…
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Common mistakes in DGArtes applications, and how to avoid them
I have read many DGArtes applications. As a jury member, as a consultant, as someone who has accompanied organisations through application processes over the years. And there are mistakes that repeat themselves…
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How to build a coherent programme without an unlimited budget
There is a persistent misconception about what makes a cultural programme interesting. The misconception is that quality depends above all on available resources. That more money produces better programming, and that without…
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Artigos Recentes
- Why most cultural organisations’ websites fail their audiences
- Culture as a business without ceasing to be culture, is it possible?
- Risk as an artistic principle: when programming the unknown is worth it
- Algorithms and curation: Who decides what people see in culture today?
- Common mistakes in DGArtes applications, and how to avoid them
