The module has four parts and begins on day 1 with an introduction to the theory of innovation and technology, where students are exposed to current academic literature on technology and innovation as well as the interdisciplinary and emerging discourses around the interaction between technology and culture which exists in history, philosophy and cultural studies. The discussion and introduction of introduction of key literatures is supplemented by examples and case studies and site visits throughout. The module covers three broad levels of the analysis: the market, the organisation and the individual (artist or cultural producer). On day 2 the module considers how technological innovations and paradigm shifts impact both existing players and new entrants in the art and culture market; how technology can both disrupt and enhance; affecting choices and decision-making processes. Day 3 of the module focuses on institutions, both private and public, and the relationship between consumers of arts and culture and the institution. Reflection on how new products are communicated, experienced and their interpretation are an important consideration in this context. Questions will be considered such as: how can data be used to provide a better cultural experience to consumers, keeping in view data privacy issues? When does technology augment the existing experience and when does it detract or compete? How can digital technologies be used most effectively to reach beyond an institution’s physical walls? Does this cannibalise or support the traditional exhibition/theatre-going experience? For example, what do digital technologies mean for exhibitions, museums and galleries? The VR example from Ai Wei Wei will be used as an applied case-study example of the use of technology at the Royal Academy of Arts. While technology can transform the scope of access, it can also transform the visitor experience. What are the benefits and risks associated with the introduction of the product to the market? The problems of monetizing art produced in these new media as well as business models for institutions are considered alongside how new technologies are introduced into the market and to consumers. The final part of the module considers the artist or cultural producer and their use of new technologies within their creative practice and as a new media for artworks. Specific case studies of artists are discussed in detail; and consideration given to both artistic content and practice which is supplemented by studio visits and conversations directly with practicing artists for whom new technologies are an important part of their practice.
Examples of core readings: * Greve, H., T. Rowley and A. Shipilov. Network Advantage: How to unlock value from your alliances and partnerships. Jossey-Bass, A Wiley Brand. * Pownall, R. A. (2017) "TEFAF Art Market Report Online Focus", ISBN 978-90-75375-27-5 * Sapsed, J and Tschang, FT (2014) Art is long, innovation is short: Lessons from the Renaissance and the digital age in Technological Forecasting and Social Change 83, 127-141.