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.

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.

We can no longer put off re-thinking the economic structures that have been producing, financing and funding culture up until now. Many of the old models have become anachronistic and detrimental to civil society. The aim of this document is to promote innovative strategies to defend and extend the sphere in which human creativity and knowledge can prosper freely and sustainably.

The FCForum brings together key organisations and active voices in the spheres of free/libre culture and knowledge. It responds to the need for an international arena in which to put together and coordinate a global framework for action.

Standing up to the powerful lobbies of the copyright industries, the FCForum is a space for creating tools and strengthening civil society in regards to the creation and distribution of art, culture and knowledge in the digital age.

In the five years since the Cultural Leadership Programme (CLP) was established it has succeeded in raising the profile of leadership development across the arts and wider cultural and creative sector to create an important and enduring legacy of leadership capability that goes far beyond its original objectives. Now, in consideration of todays rapidly changing environment, where the Arts Council is operating with an overall cut to grant in aid of 29.6% and arts organisations are looking to extend their roles and responsibilities within the wider cultural landscape, it has been decided that the Cultural Leadership Programme will close in March 2011.

I will soon be teaching a new course called Arts Entrepreneurship here at Drexel. I've been preparing for this on and off since last summer. In addition to reviewing literature and current thinking on the topic I have been looking at offerings in various higher education locations, especially those with a music focus.

There appears to be some confusion regarding just what arts entrepreneurship means. Some researchers have been able to identify 2 distinct tracks, or types of entrepreneurship. One relates to enhanced student preparation for careers or potential careers after graduation. The other mirrors "true" entrepreneurship, the creation of new ventures and enterprises. It appears to me that too much emphasis is being placed on the former definition here, not the latter.

The present trend in the politicization of American public education through the demonization of teacher's unions, the closing and "restructuring" of schools that are replaced with or encroached upon by charter schools, and the emphasis on high-stakes testing as a way of measuring student progress is increasingly marginalizing good teaching and good learning. This trend is most common in many "low-performing" public schools, many of which have multiple reasons for low student achievement that are only tangentially connected to their educational experience.