Every member of the arts community has been affected by the unprecedented challenges and opportunities proffered by technology. The last decade has observed our field coming to terms with this disruptive force in inspiring and innovative ways. Equally exhilarating and demanding, these transformations have challenged many previous assumptions about the role of the arts and culture sector.
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Changing media policy has affected and will continue to shape how art is made and distributed, whose voices are heard, and who has access to those voices. To take an angle on this multifaceted subject, we invited two articulate media experts into a conversation about their workwork that has profound implications for artists and for social justice activists. Jenny Toomey, executive director of the Future of Music Coalition, interviews Loris Taylor, executive director of Native Public Media.
Documentary Filmmakers' Statement of Best Practices in Fair Use
2005, 8 pages
The New Deal: How Digital Platforms Change Negotiations between Public Media and Independent Producers
2006, 16 pages
Center for Social Media, American University, 4400 Massachusetts Avenue NW, Washington, DC 20016-8080, 202-885-3107, socialmedia@american.edu
America is on the threshold of a significant transformation in cultural life. There have been many cultural shifts in recorded history: Gutenberg's invention of the printing press and the rise of the reading public; the growth of a mercantile class and the birth of private art markets independent of the church and the king; the invention of gas streetlights and the beginning of urban nighttime entertainment. The most recent cultural transformation, still with us today, was set in motion on the threshold of the twentieth century.
On March 1, 2005, the first convening to share the findings of Deep Focus: A Report on the Future of Independent Media was held in San Francisco, the geographic community studied for this project1.
Early in 2004, the Graduate Center of the City of New York convened ten small to mid-sized arts organizations to talk about what had happened to them in an experimental, internet-based project funded by the Ford Foundation. The ten, from across the country, are community-based cultural organizations; they share a commitment to emerging and experimental artists and art forms, and a commitmentequally firmto their local or nearby communities. Despite their similarities of mission, the ten were not familiar with each other's work.
2002, 79 pages. RAND Corporation , 1700 Main Street, P.O. Box 2138, Santa Monica, CA 90407-2138 (310) 451-7002, order@rand.org
I am pleased to report on a new initiative to be launched in November 2003. I first got wind of this proposal at an event in Canada House in London where the organizers were sounding out representatives of the arts-on-television community as to their interest and enthusiasm for an annual gathering to be held in different places around the world. This is an initiative of the Banff Television Foundation based in Alberta, Canada and enjoys the support of IMZ (The International Music Zentrum, in Vienna), U.S. Independents (a Washington, D.C.