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The 15th annual network meeting of Arts Management Network will be in Tallinn, Estonia, from June 15th to 19th. As an open part of this visit, we organise a round table discussion about Cultural Districts and Entrepreneurship on Friday 17th June, at 4 pm in the Telliskivi District. Please feel invited to join the round table and the following dinner in order to share ideas and contacts! The aim of the Round Table is to share and change ideas about cultural districts and hubs; how are they useful? What are the expectations of city developers and politicians and how are cultural districts sustainable?
The world's premier international art show for Modern and contemporary works, Art Basel features nearly 300 leading galleries from North America, Latin America, Europe, Asia and Africa. More than 2,500 artists, ranging from the great masters of Modern art to the latest generation of emerging stars, are represented in the show's multiple sections. The exhibition includes the highest-quality paintings, sculptures, drawings, installations, photographs, video and editioned works.
62,500 people attended Art 41 Basel, the last edition of this favorite rendezvous for the global artworld, including art collectors, art dealers, artists, curators and other art enthusiasts.
The former director of Vienna State Opera, Ioan Holender, one of the most famous Romanians in the world, Honorary Citizen of Timisoara, the city of his birth where he lived until the age of 24, was more then welcome by the municipality and all the citizens.
On the 20th of April, the mayor Gheorghe Ciuhandu offered a diploma of "honorary ambassador for the support and promotion of Timisoara application for the title of European Cultural Capital."
Last year in Vienna thousands of people, including Austria's president and other key political leaders, gathered at the farewell concert organized in honor of Ioan Holender, who led the Vienna State Opera for 19 years, between 1st April 1992 and 30th August 2010 and was the longest in the history of the institution's directorate.
Back in the city of his birth, in the evening of 27th May, former director of the Vienna Opera was in the Opera Square both the film character and the spectator.
The two hundred seats brought to the center by the municipality were not enough for those who wanted to see the film "Holi", projected on a large screen, film which was made years ago by TVR Timisoara and Brândua Armanca, the director of Romanian Cultural Insitute from Budapesta. People were standing to hear the stories about the capital of Banat, about ... "the life and the miracles" of a legendary character, Ioan Holender itself. At the end of the film, he brought his wife and two children, Alan and Alina, in front of the people applausing. The evening continued with sequences from the maestro's farewell concert, organized in Vienna in June last year. "I invite you all tomorrow night at the Philharmonic concert. All tickets were sold, but we will handle it, said "Holi" to the spectators.
In a historical perspective, the relationship between digital media and the museum environment is marked by the role of museums as example use cases for the application of digital media. Today, this exceptional use as an often technology oriented application has changed and instead digital media have turned into an integral part of mediation strategies in the museum environment. Alongside with this shift not only an increasing professionalization of application development but also a growing demand for new content can be observed.
To date, an ever-growing amount of digitised collections including moving images and cinema related material is widely dispersed across Europe. Domain specific research across the various repositories, institutions and countries is still lacking.
Initiated by ACE (Association des Cinémathèques Européennes) and the Europeana Foundation, the EFG project develops an online portal providing direct access to about 700,000 digital objects including photos, posters, film set drawings, newsreels, feature and short films as well as various text documents such as film programmes and censorship cards. Content is mainly provided by 15 European film archives and cinematheques, which are partners in the project. The collections to be made accessible have been selected to serve as a sample representing the actual digitised content held in the film institutions.
IFACCA has compiled a range of good practice guides to assist arts councils and arts funding agencies to review, inform and improve their key functions.
The good practice guides section of the website provides links to over 100 resources published by a wide variety of organisations including arts funding agencies, private foundations, commercial publishers and by IFACCA.
This toolkit has been made possible by the generous contribution of the European Commission, through the Structuring the Cultural Sector in the Pacific for Improved Human Development project. The toolkit was drafted following the Cultural Policy Workshop held at the Secretariat of the Pacific Community (SPC) headquarters in Nouméa, New Caledonia from 2528 March 2010, and is designed to provide guidance to countries and territories carrying out the cultural mapping, planning and policy process.
Bose Corporation will remain private and independent; dividends will sustain and advance MITs mission
Dr. Amar Bose 51, Bose Corporations Founder, has given to MIT the majority of the stock of Bose Corporation in the form of non-voting shares.
MIT will receive annual cash dividends on those shares when dividends are paid by Bose Corporation; those cash dividends will be used by MIT to sustain and advance MITs education and research mission.
Under the terms of the gift, MIT cannot sell its Bose shares and will not participate in the management or governance of the company. Bose Corporation will remain a private and independent company, and operate as it always has, with no change in strategy or leadership. Dr. Bose will remain Bose Corporations Chairman and Technical Director.
Since its start in 2009 the initiative IncrediblEurope has developed into a pan-European movement, which empowers innovative, creative and entrepreneurial changemakers to a bottom up change.

Due to the great succes of the previous years, this years IncrediblEurope Summit from the 9th to the 10th of June in Vienna focuses on The Influence of ONE. It refers to the influence of ONE Europe as one global player as well as the influence of ONE individual to inspire a bottom-up change.
The Drama and Theatre Manifesto recognizes a common sense of purpose and a shared belief in the contribution drama and theatre makes to the quality of childrens lives in school and beyond. It is a call to action to young people, parents, teachers and theatre practitioners to unify their efforts and ensure that young people have access to drama and theatre.

The Manifesto is centred on three core beliefs, any or all of which might be already be part of your work with and for children and young people. Alongside these core beliefs is a series of specific objectives, some of which we are achieving already and others that we need to work towards in order to secure the things that we believe in.
While the creation of software under the FLOSS paradigm is a well-established and recognized mode of production, the peer collaborative production of Open Content Film is a fairly new phenomenon. The two approaches share several common features: both are characterized by the massive collaboration of actors in a shared creative space and both are enabled by Information and Communication technologies, in particular the Internet. But technology itself is not sufficient to create and maintain a shared creative space. A governance structure resting on a legal framework and a set of control and incentive mechanisms regulates the transactions between the collaborators and is designed to ensure coordination.
In this paper we will outline the legal and organizational challenges faced by the first major Open Content Film production "A Swarm of Angels" (ASOA) in creating and maintaining a shared space for collaborative film production and contrast the findings with the practices of the FLOSS community. The study will be based on a series of interviews with ASOA founder Matt Hanson and the major contributors to his project, the analysis of the discussion threads about the appropriate organizational and legal structure for this Open Film project taken from the community's online discussion forum, and the available legal documents governing membership in the Swarm.
The Government of Uganda has decided that the Uganda National Museum - the countrys only national museum - will be demolished to make way for a 60-storey East Africa Trade Centre. The proposed ultramodern building which politicians suggest will take 3-5 years to complete but which will take closer to 30 years according to civil society activists and commentators familiar with such Ugandan projects - will house the Ministry of Tourism, Trade and Industry, commercial retail outlets and office space. Oh, and two floors will be allocated to a new national museum.
Established in 1908, the Museum is more than one-hundred years old and is thus itself a heritage site.
This is a classic case of development versus culture, in much the same way as development has often destroyed the natural environment in the name of economic growth and social progress. For those who advocate culture as a vector of development, this particular case presents a major challenge, both philosophically and strategically.

Cultural Policy Update (CPU) is an international e-journal reflecting on recent development in cultural policies. CPU aims to stir up the worldwide debate about changes in art support systems due to globalization, economic crises, new market opportunities et cetera. It serves as a platform for new points of view and arguments. CPU contains essential reading for cultural policy makers, researchers, students, art lovers, cultural workers and professionals with an interest in arts and culture. It is published by the Boekman Foundation in Amsterdam, the Netherlands.
In January 2011, Technology in the Arts launched the second iteration of a survey of arts and cultural organizations to learn about their ticketing needs and to gauge how well current ticketing tools are meeting those needs.

Over 950 arts and cultural professionals completed the survey to evaluate their satisfaction with over 50 ticketing software tools.
Culture permeates political, economic and social life across Oceania. Because indigenous peoples and practices have predominated across this region for hundreds and, in some places, thousands of years, culture is lived and directly influences the values, decisions and hopes of Pacific Island peoples.

This scholarship is broadly for investigations which seek to understand the ways in which museums are implicated in processes of city imaging. Studies should focus on a political, policy, or governmental aspect of this phenomenon. Studies can focus on recent articulations of museums in city reimaging, or historical instances (or both). Studies can proceed from the basis of the politics and policy of city development of which the museum is one part or studies can start from the museum and look out from the detailed context of the museum to see how it seeks to effect and is in turn affected by the urban politics of its location.
A new NEA study finds the group of people who regularly attend arts events is both shrinking and getting less active.

The Emerging Arts Leaders Symposium at American University is an annual meeting for young professionals who work in the arts. It is an opportunity to discuss the issues, unique or universal, that affect arts organizations with students, peers, and experienced professionals.

Organized and run by a team of graduate students in the AU Arts Management Program, the Emerging Arts Leaders Symposium features a keynote address, a networking reception, and multiple professional development sessions held throughout the day.
IPR2 has published a working paper on Mapping the Cultural and Creative Sectors in the EU and China as part of an action plan to bring the cultural and creative industries (CCIs) together to exchange information and experiences on the functioning of both markets, and to help to shape policy and legislation.

CCIs are important drivers of innovation in other industries and societies and this is a first step to better recognise the potential value of such IP rights and to seek opportunities for increased commercial exchange between Europe and China.
This working paper aims to initiate and help develop a strategic exchange platform: It identifies the key stakeholders in the cultural and creative sectors in the EU and China and maps the different activities they cover.
Spanning 18 theatre companies in 6 cities across the country, this work will ultimately, as always, come back to the Bay Area, providing our companies and individual artists with a new set of tools, developed over the next 18 months, to measure and understand the intellectual, spiritual, emotional, and social impact of your work on the people who watch it.

The real challenge to the American theatre, and all the arts, is not a financial emergency but a crisis of relevance. As a field, we have become very good at measuring "things financial;" any theatre knows how to count heads in the house and dollars in the box office till. Studies are regularly conducted by major funders and service organizations to assess the aggregate financial well-being of the sector. Advocacy groups commission research to extrapolate the mega-economic impact of the arts on communities and the nation as a whole.