Pros and Cons of Using Media in Art Museum between the Museum and Audiences - Research Paper Example

4.0. CHAPTER FOUR: Pros and Cons of Using Media in Art Museum between the Museum and Audiences This chapter presents the different benefits and disadvantages of online newspapers and blogs for arts museums and audiences. This chapter highlights issues in the use of digital technology in the art world setting including the improvements presented in opting for digital technology in the art setting. 4.1. Benefits of online newspapers and blogs for Arts Museum and Audiences Online newspapers and blogs for arts museums have different advantages and benefits, the most obvious one being the convenience allowed to the audience (Paul, 2008). Not having to physically visit museums and other venues for art is very much convenient for the audience, who would simply read blogs and avail of online viewing options to learn and to have a glimpse of artworks and artefacts (Paul, 2008). In the study by Thomson, Purcell, and Rainie (2013), they mention that “the internet and social media have increased engagement and made art a more participatory experience, and that have helped make “arts audiences more diverse”. In general, digital technology and the social media presents with practical benefits including greater efficiency, especially as service to the people can be made possible at lower cost (Rinehart, 2007). Through the internet, organizations have a chance to efficiently present themselves using online advertisements, blogs, and social media postings and interactions (Rinehart, 2007). Among art programmers, greater access to better quality in media allows better reviews of artists before their work would even be considered or viewed live (Thomson, et.al., 2013). For instance, the Spotify website allows artists to present their work and gain initial feedback. Social networking has also allowed for the people to spread news and present feedback via “word-of-mouth marketing” (Thomson, et.al., 2013). Although it may not be possible to actually know the developments in digital and internet technology in the next decade or so, trends in the spread of data has been made possible through improved communication. As a result, better decision-making has been made possible, especially in relation to how leisure time would be spent by people in general. On the negative side, this translates to decreased number of subscriptions as well as declining ticket sales, and less museum visits (Stevens and Martell, 2003) With digital technology and the social media, accessibility of artworks is increased and in some instances, technology can be considered as a means of improving communication and marketing in order to eventually gain a larger audience for art (Stevens and Martell, 2003). Digital technology and the social media has also allowed for a deeper audience experience and appreciation for art. Moreover, “the digital world is a very populist force, levelling the world between rich and poor, educated and uneducated. In our case, an organization with a name like ‘Historical Society’ has an invisible shield that bounces people who are below median income, do not hold college degrees, who hold blue collar jobs, who are a racial or cultural minority, off” (Thomson, et.al., 2013). The advantage of the computer in whatever setting implies that with better options in front of the computer, the focus on consumer comfort is highlighted (Proctor, 2010). The visibility of reclusive individuals who might not have experienced or explored art because of financial motives for art exploration has and can be improved. Through technology, arts organizations are able to expand their impact, more than any one-time performance or event (Hamma, 2004). In other words, the effect of art and arts organizations can be extended. Live performances can be supported by the opportunity for more education and learning including the ability to transmit knowledge; also, online options improve the ability to secure opportunities in relation to investments (Muller and Edmonds, 2006). For instance, more people can be reached through articles, blogs, and videos, much greater numbers than one-time lectures or viewings. More artwork dating back to the past can also be presented. For the most part, such archives are the only records of these artworks and the internet has increased and deepened access for the people who may be isolated or who may not have a land base (Thomson, et.al., 2013). In other words, digital technology and the internet have broken down geographic barriers. With digital technology, better access to art based on a monetary and logistical perspective is ensured (Paul, 2005). Those in the rural areas would also be able to secure performances which are often limited only to urban areas. Through digital technology, arts organizations would be able to access more diverse organizations and on a more global scale (Russo, et.al., 2009). The more significant impact would relate to the ability of non-profit groups to present educational and engaging art and presentations on a global scale (Thomson, et.al., 2013). Conversations and discussions among digital and diverse people would help improve the understanding of art, eventually expanding the enjoyment of arts and artistic expressions (Adamovic, 2013). Moreover, the internet can help support the performing arts, ensuring access to the global and local audience, promoting tourist and cultural including its accessibility to the country and the world (Thomson, et.al., 2013). Through digital technology, communities can be created in relation to specific artwork. With digital technology, various communities can be created based on performances, shows, including exhibitions (Thomson, et.al., 2013). Some communities on artwork from the Renaissance period or Da Vinci’s work for instance can be established through online forums and organizations. This may include groups devoted to the exploration of artwork from Asia or from specific time periods in history (Bakhshi and Throsby, 2009). The qualities of this artwork can be explored, and enthusiasm for the art can be engaged with a potentially expanding audience. Various groups discuss the equalization of art and its creation and other groups have discussed about the challenges associated with different expectations and new demands (Bakhshi and Throsby, 2009). In relation to the changes and shift from the less engaged to the highly engaged as well as from the traditional to the online media, possibilities relating to expansion and the creation of a more diverse audience has been very exciting, mostly due to the fact that in general the audience is now older and less ethnically diverse (Stogner, 2009). Some traction has been created in terms of a more diversified consumer base available through the internet. The challenge seems to relate to the audience identifying content in relation to the institution. In the years following, the function of mobile devices would continue to impact on how the people manage their experiences in relation to art (Paul, 2002). To better understand the current topic, the issues relating to the digital media and arts museums are now presented below in contrast to the benefits presented above. 4.2. Criticisms of online newspapers and blogs for Arts Museum and Audiences Some criticisms of online technology have been noted, especially criticisms which relate to the long-term impact of such technology to the audience, art, and the goals of arts and museums. Issues on higher consumer expectations have been noted with the audience likely having higher expectations during live events (Thomson, et.al., 2013). In order to make the investment of time worthwhile on the part of the audience, the art they would experience has to be sufficiently engaging and be of great quality. Events would also have to be more engaging, and they also have to support increased participation (Proctor, 2010). The area for the events would also have to be comfortable, accessible, inviting, and beautiful (Thomson, et.al., 2013). Issues in having to meet audience expectations would be affected by limited budget and funding (Huffaker, 2009). Concerns have also been expressed on the fact that the efforts made to fulfil audience expectations would have an impact on artistic choices, including different art forms (Pruulman-Vengelfeldt and Aljas, 2009). Ideas and art cannot be fully captured with words. Technologies can also be limiting in terms of the text which can be used and the images presented. Words may be limited to 140 characters only, or images may be considered pornography, not art (Thomson, et.al., 2013). As such, the live and actual audience would become limited. The young people may also not want to be present at a time or place where they could watch live performances and later, they have the option to download music based on their convenience. In effect, live performances may be lost and downgraded (Thomson, et.al., 2013). Issues on the reduced attention spans of the audience have also been noted. For instance, playing Beethoven’s Symphony #9 would likely be less effective for the young audience (Thomson, et.al., 2013). In moving forward in digital technology, it may be important to accept and support the digital world in order to keep in line with the current trends in music or art consumption. Nevertheless concerns on art and performance times being shortened in order to accommodate the shorter attention spans of the audience have also been appropriately raised (Srinivasan, et.al., 2009). Digital technology has also decreased the gap and has made it more difficult to differentiate commercial and non-commercial art (Kadobayashi, 2005). As a result, art organizations now compete with different kinds of entertainment and institutions. These art forms and art organizations now compete for a spot in the entertainment options of the people, with related media like high-definition television, video games, social media, cable channel shows, and streaming TV (Thomson, et.al., 2013). There is less time allocated for live shows and performances. The effort of having to go to the venue to watch the live show is now a greater one for the audience. In other words, they would have to be motivated enough and convincingly enticed to watch a live show or art exhibition (Kadobayashi, 2005). Without the necessary enticement, they would not leave the comforts of their home and their digital access. Digital technology has also become so advanced that it has enhanced the virtual and actual experience. Digital entertainment has become more real and immersive, especially also with the availability of 3D and even 4D technology (Chong, 2011). With these developments, there are threats to the unique qualities of live art. While full engagement can be observed with live art, the current developments in digital technology has also made possible full immersion and personal interaction with the art (Thomson, et.al., 2013). As such, live art is no longer as unique an experience as it has been in the past. The belief that there is no other experience greater than the live experience holds less water because digital technology is now able to replicate the live experience (Simon, 2007). As such, the convenience and decreased cost of digital technology is a difficult matter to overlook for those wanting to experience art. Museums inherently have varying views on the impact of technology. In general, the cataloguing process has been made easier with digital technology (Thomson, et.al., 2013). However, with digital viewing options for museums now available, the live audience or live viewing has been reduced. As discussed by one of the respondents in the Thomson, et.al., (2013) study, “digital technology and the resulting accessibility of information and images, while fostering accessibility of collections online, have the negative impact of diluting the desire of individuals to visit the museum to see works of art in person”. Trips to museums can be expensive and would require time and effort, but digital technology represents lower costs as well as less time and effort expended (Thomson, et.al., 2013). However, this would mean that the live audience for the museums is decreased, thereby affecting revenue for these museums. With less revenue, operational expenses and budget for these museums would also be affected. How then would these museums operate? Some art organizations and museums also point out how there are less trusted critics in recent years especially with local print media cutting back on their staff and experiencing lesser “ad revenues” (Thomson, et.al., 2013; Russo, et.al., 2013). With fewer critics, there would be fewer individuals and reviewers who can be trusted by the audience. With digital technology, including bloggers and other commenters through the social media, any one and every one can write articles or post comments about art (Thomson, et.al., 2013). The validity of these articles is diluted as these commenters and bloggers may not have any credible background in the arts. Readers may therefore be misled by the comments and the articles of these bloggers especially as these blogs may not reflect artistic perspectives of the art work or the art performances (Thomson, et.al., 2013). Another issue noted in the current age of digital technology seems to relate to the fact that museums and artists also have to be entrepreneurs (Arends, et.la., 2013). Digital technology would likely equalize the venue for amateur artists, professional artists, schools, and different museums (Thomson, et.al., 2013). Professional artists are the ones likely to be at a disadvantage in the entrepreneurial side of art because they would be in competition with the amateur, and often younger and more technology savvy artists (Arends, et.al, 2013). In effect, if artists and museums want to be successful, they have to be businessmen as well as artists. The generation of regular revenue streams has also become a significant concern for artists and museums whose earnings have decreased with the advent of digital technology (Thomson, et.al., 2013). The internet has now become one of the most popular means by which art works are shown. As a result, artists are now struggling to turn their work into profit because of the internet. Access can be secured for academic reasons including expanded awareness in the arts, including historical and traditional arts (Thomson, et.al., 2013). Still, problems of copyright and compensation for materials including apps can sometimes be difficult to explore for the artists themselves (Thomson, et.al., 2013). Conclusion With the advent of digital technology, art has now found a new medium for presentation to the audience. In the current digital setting, museums have become less relevant because the audience does not anymore need to visit museums to experience or view art. The digital setting has made it possible for the audience to have an in-depth experience of art and what it represents. The cost is also decreased when digital technology is used. Less effort and time is also spent with the application of digital technology and for the audience, whether academic or not, physically going to museums is no longer the only option. In other contexts, using digital technology in art appreciation may actually be the better and more efficient option. These benefits however take away the audience from the museums. Within this perspective therefore, the museums view digital technology as an option for the audience which is a threat to their survival. For museums to survive such challenge, there is a need for them to establish better options for revenue while embracing the new digital setting or context. References Adamovic, M. (2013). Social Media and Art Museums: Measuring Success. Retrieved from https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/12884/Adamovicm.pdf?sequence=1 Arends, M., Goldfarb, D., Merkl, D., & Weingartner, M. (2009). Interaction with art museums on the web. 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