CloudGuide's Blog

Beyond the White Cube. Culture in the cloud.

BY Azucena Lozano

When Lucy Lippard and John Chandler published "The Dematerialization of Art" in 1968, it seemed obvious that a kind of change had reached the world of art, where we saw a move of focus from the object to the process. Happenings, land art, body art or mail art were expressions that confirmed that the conceptual tendences were to be the new paradigma in the world of art, as a result of a trascendental change in the notion of Piece of Art. And that was concerning as well in the way society conceives the functions museums and art centers should fullfil, as they became prescriptors and transmisors of the many stories that occupied the western cultural ecosystem instead of the simple old mission as plain conservers of the artistic heritage. Museums started to face the future, rather than keep stuck over the past.

As Pep Serra, head of the MNAC in Barcelona says, the challenge museums of the XXI century should face is to become experiencial and living spaces, to redefine the functions they develop as treasure keepers or legitimizers of what art is, and therefore, what culture is, to fit new scenarios as the digital challenge or the needs of those new audiences that claim more than content 1.0.

Serra points to the importance of knowing your audiences, to identify their needs when they get to a museum, but now more than ever, the requirements of those who are non-visitors yet, as they are a real challenge to the strategic comunication departments dedicated to finding dynamic and direct channels to foster interaction,  participation and, finally, improve the creation of communities.

Technologies 2.0 are not, at the moment, according to polls, best friends with Spanish museums. Concepts such as active participation, the improvement of a critical mass or hypertextuality should be included in the communication guidelines of the art institutions, as they are keywords in this world hungry for social interaction. But at the moment, they do not appear to have propagated into the halls of the directive departments. That would be an effective way to get the content of the exhibitions as well as the mission of the institution to reach much further than inside the walls of the museum, and become part of our daily life, to come to a real new way to understand education outside regular schools.

In that sense, there are plenty of qualified opinions in academic fields claiming the need to rethink the city in terms of education, insisting on the main role it should have to build a new conscient and free society. For the museums, this should be a boost to create and promote tools to improve participation in the task of interpreting and communicating cultural heritage as a result of the dialogue established between citizens in communities, which is, at the end, what culture is meant to be. Digital 2.0 channels are called to join forces in order to visualize this visibility that Cultural Institutions need in the XXI century. Getting beyond the walls to put Culture in the cloud may help art centers to connect and become a constant presence in the life of those people who believe in Culture as an undeniable and essential fact of contemporary communities.

Mobile Platforms as an Essential Communication tool for Culture

BY Azucena Lozano

The rise of mobile platforms, and mobile applications in particular, has been spectacular. They have grown significantly in all sectors, but it is especially in cultural fields where the impact has been most inspiring. Not only from the point of view of innovation in communication, but also as a potential in terms of concepts such as seeing it as an advanced means of education.

But what does an app offer us when we download it onto our smartphones even before entering the exhibition? We can reduce the inputs to two ideas that seem obvious but that open up infinite possibilities as to foster experiences in the museum, and at the same time, provide an open access to an audience that can really have fun when consuming culture. One of them is based on increasing the physical experience and the other is to bring the exhibit out, in the street, to embed it in physical space. Aren't both inspiring to institutions whose primary purpose is to spread and communicate Culture? 

There are studies that analyze the return on investment generated by such social communication, that is, the participation of communities in social networks, with very interesting results. Following this idea, we can establish that it is neccesary that cultural organizations, and museums in particular, bet on these tools based on Web 2.0 as part of their communication strategy, beyond marketing. The mobile museum is part of how to educate art in the future, so it will be useful that smartphones, so tightly integrated in our daily life, be used as an additional element of support for traditional museology. Rather than seeing it as an enemy we need to keep it under tight control (especially in those centers where taking pictures is forbidden). The mobile must be understood as the key that allows the user to customize and personalize your experience when visiting a cultural space.

There is no doubt that the Internet is already one of the most used channels, perhaps even the most important one, to adapt to personal data, likes and dislikes, of potential visitors when planning a visit to a museum, foundation and / or cultural center. And this evidence is really something that will make us consider a long-term perspective where our responsibility as cultural promoters is to make cultural democratization more than a well-meant strategy slogan.

Supported by

Booking Booster
European Commission Seal of Excellence
Ministerio de Educación, Cultura y Deporte
Techstars Paris