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Gen Z, the latest generation graduating into adulthood, isn't just snubbing print media, it's abandoning old media altogether.

This generation, the oldest of which is around 22, grew up with the internet, hand-held devices and social media. They do not remember a time when these things did not exist. Because of that, their consumption habits are drastically different than even their closest generational cohort, the millennial. The members of Gen Z have all but abandoned traditional television viewing, opting to watch shows, movies and other digital content on their phones, tablets and laptops. This shift has led content producers to go where Gen Z lives - YouTube.

"They are truly endemic internet users," Jack Davis, co-founder and CEO of Crypt TV, said. "They grew up on the internet and when they turn 24 they aren't aging out of it. They aren't suddenly becoming traditional media users."

Davis along with horror master Eli Roth ("Hostel") founded Crypt TV in 2015 and have developed a slate of monster-centric IP that they distribute on YouTube and Facebook in the form of a short digital film and television series.

The channel launched on Facebook first and has gained more than 12 million fans on that platform alone, when you combine all of its different show pages. On YouTube, it has more than 2.2 million subscribers, who have tallied up more than 258 million views of Crypt TV's content.

"That's where the young people are," Davis said of the decision to bring this content to the social media platform.

The average member of Gen Z spends about 3.4 hours a day online watching videos, Wibbitz, a video creation platform, wrote in a report published in January. For this generation, YouTube is the favorite destination to watch entertainment videos, with Instagram and Facebook falling close behind.

Crypt TV's core demographic is people aged 13 to 25, Davis said. That means it falls squarely in the Gen Z category, with a small overlap into the millennial demo. He said his company's aim is to be the "Marvel for monsters."

The company has a slate of horrific monsters including The Birch, a sentient tree who protects children from bullies, and The Look-See, a sharp-toothed and silent demonic entity that gives his victims fatal tests.

Crypt TV's monsters earned the praise of horror master Jason Blum, CEO and Founder of Blumhouse, who together with NBCUniversal, invested $6.2 million in the digital network last year.

"The benefit of YouTube is that young people will spend lots and lots of time watching your content," Davis said. "There is a lot of an engagement."

He said YouTube is an ideal place for Gen Z to binge content, as it not only suggests other videos for them to watch, but offers them a place to comment on what they've watched and interact with the creators without leaving the platform.

"I think sometimes people don't realize how powerful of a platform [YouTube] is, and how it's changing how people consume content," Brian Sokolik, talent manager at Authentic Talent & Literary Management, said.

Sokolik's company works with YouTube creators like sketch comedy group Love Live Serve, which has 4 million subscribers and more than 627 million video views, and the Dobre Brothers, twin video bloggers with more than 14 million subscribers and more than 3 billion video views.

"The big difference with YouTube is the relationship that the audience has with the creators," Sokolik said. "It has become a platform where you can have a very direct relationship with your fans."

The more fans engage, the more ad revenue creators reap. It's also how these YouTube channels are able to create content and not charge consumers to view it.

Not to mention, these content creators tend to have a lot more freedom and control over the type of content that they create. Most are not subject to a large production company dictating what they can and cannot do on the platform.

"We own everything we make," Rob Fishman, co-founder of Brat, a YouTube channel with a number of scripted video series featuring Gen Z actors, said. "And we function like a venture-backed tech company."

Brat's content is mainly short-form web series, but it has ventured into feature length films on the platform. It's big draw is the actors it has hired for its programs. The channel features popular teenage internet celebrities, some from Disney or Nickelodeon shows, others who have made names for themselves on YouTube doing their own videos.

These actors have strong social media followings and have brought those established audiences to the Brat channel, which currently has 2.8 million subscribers and more than 600 million video views. Brat's core audience is people aged 13 to 19 and is predominantly female.

Fishman described the content on Brat as "cable-like shows," noting that the channel isn't trying to make big budget high-end television shows like "Stranger Things."

"Our takeaway has been that young people don't watch television on linear TV," he said. "So, we basically said, 'what if we started a TV network but in the places where these people watch TV?'"

When asked how the channel defines success, Fishman pointed to Brat's feature length film "Chicken Girls: The Movie," based on one of its popular shows "Chicken Girls," which currently has more than 18 million views on YouTube.
Disclosure: NBCUniversal, the parent company of CNBC, is an investor in Crypt TV.

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As Gen Z shuns traditional media, content creators adapt and bring television and movies where they live - YouTube

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The members of Gen Z have all but abandoned traditional television viewing, opting to watch shows, movies and other digital content on their phones, tablets and laptops. This shift has led advertisers, marketers and content producers to go where Gen Z lives - YouTube.

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If you want to know what's on the mind of a post-millennial, the best person to ask is a member of that demographic. At NAB 2018, a 15-year-old high school sophomore did even better than that, presenting the results of her own survey of over 200 members of her age group. Based on a family conversation (that included her father, industry consultant Pete Ludé), Helen Ludé, a student at Lowell High School in San Francisco, decided to poll her friends on cinema attendance, home consumption habits and virtual reality.

The self-conducted survey (created through Survey Monkey) includes the results from 211 participants from the San Francisco high school community, Crimson Education Network, Digital Media Academy, the SMPTE community and Ludé's personal connections in bluegrass music, her hobby. It included respondents from Germany, France, the U.K. and Canada in addition to several parts of the U.S. Most were 15 and 16 year olds, but the full sampling ranged from 13 years old to 18 years old.

The average teenager watched 0.9 movies a month, revealed Ludé. Although most observers see teenagers as glued to their phones, when they go to the movies, they put their phones away, she added. The two top reasons they will leave the house to go to the movies is the movie itself (54 percent) and social interaction. They choose theaters based on a big screen (53 percent) and theater location (46 percent), as well as better picture quality than at home (44 percent).

As might be expected with teenagers, ticket price does matter (55 percent). Only 43 percent of teens would choose a 3D movie over a 2D version for $1 more in ticket price, but that percentage rose to 56 percent if the 3D didn't require glasses. The No. 1 thing that cinemas could do to drive more attendance among teens is related to price, with teens suggesting more promotions and special school nights in addition to cheaper ticket prices.

Teens also wanted more/different content (such as indie films), comfort and cleanliness and healthier food options. Despite the importance of cost for teens, 80 percent of them didn't belong to any theater chain's rewards/loyalty program and only 5 percent had MoviePass.

At home teens are consuming an average of 2.2 hours per day on TV and movies, with two-thirds of them watching on a mobile device. What are they watching? Netflix and YouTube were the most cited content destinations. Sixty percent of teens have tried virtual reality. Of that number, 21 percent have it at home, 34 percent have tried it at a friend's house and 40 percent have tried it in a public space.

The most popular VR content was short stories that are interactive and simulator games. Forty-six percent of the respondents said they were interested in buying VR hardware/software in the future.

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NAB 2018: Post-Millennial/Gen Z Survey on Cinema, TV, VR | ETCentric

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If you want to know what's on the mind of a post-millennial, the best person to ask is a member of that demographic. At NAB 2018, a 15-year-old high school sophomore did even better than that, presenting the results of her own survey of over 200 members of her age group.

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If you felt like there was nothing on at the cinema over the summer, you were not alone.

Summer takings at the US box office were at their lowest level for more than two decades, with only films aimed at youngsters really making any impact.

What has been behind the slump?

Analysts forecasted a fall in attendance at the start of the summer - blaming a continuing trend for making sequels, along with the rise in popularity of streaming services.

And their hunches were right - especially in August, when box office takings were $625m (£482m), nearly 35% lower than the same month last year.

World War Two epic Dunkirk did draw in the crowds, as did family films Despicable Me 3 and the fifth Pirates of the Caribbean offering - but they were rare exceptions.

Patrick Corcoran, vice-president of the National Association of Theatre Owners, believes the slump was simply down to the quality of the films that were released.

"Audiences won't show up in bulk if you don't offer them anything to see," he told the BBC.

"There were no big, broadly appealing movies available to the public from the beginning of July through until now - certainly none to compare to, say, Suicide Squad, which brought in more than $500m (£383m) in 2016.

"The amount it took in in August accounts for about 60% of the difference between summer 2016 and 2017.

"I wouldn't presume to tell film-makers what to make, but we always call for more and varied options for our patrons at all times of the year. We need big blockbusters, intimate dramas, raucous comedy - you name it. It is worth noting here that a number of independent titles performed well this summer."

However, he warned not to read too much into this summer's performance.

"This blip in movie-going must be seen in a larger context, which is that box office has been more than $10bn annually since 2009, more than $11bn in the last two years and has set records in four of the last five years.

The threat from video streaming services should not be overplayed, according to Mr Corcoran.

"Netflix and other in-home offerings are just more of what theatres have faced in the home market for over 50 years. If people are inclined to go see a movie, the fact that Netflix exists doesn't affect that decision."

'Generational shift'

Film data researcher Stephen Follows is less optimistic.

He believes the industry's long-term future is uncertain because young people are not getting into the habit of visiting the cinema.

"It's not very convenient for them, especially when compared with other options like streaming when you can watch movies as many times as you want, it remembers your place if you pause it and you can watch on multiple devices," Mr Follows said.

"The idea of going to the cinema seems antiquated to them and it is possibly a generational shift.

"However, there has been a big increase in the number of people over 55 going, up by one third, and it might show us what happens at the other end of the scale with the whole demographic getting older.

"The traditional median age of going to the cinema was 24. If you lose at the youngest age and gain at the oldest, it's a net loss and you lose out on the most lucrative audience. Teenagers used to go in packs to see whatever new movie there was, however good it was."

Like the US, the UK cinema audience fell in August - down 16% compared with 2016.

The Tom Cruise film American Made, which topped the UK box office for the second week running, only grossed £968,000 - making it the first film to top the charts with a take of less than £1m since June 2012.

However, for the year the numbers are not so bad, with cinema attendance up 8% compared to last year.

'Screenings on demand'

UK cinema-going peaked during and immediately after World War Two, with a record 1.63 billion cinema admissions in 1946.

However, the numbers fell dramatically, with only 289 million admissions 20 years later and an all-time low of 54 million in 1984.

Going to the movies then started to become more popular again and in the past few years about 165 million tickets have been sold in UK cinemas each year.

"The smaller chains like Everyman and Curzon are having to do more unusual models where they are trying to look at showing live theatre or opera and screenings on demand, where if they sell enough tickets in a given timeframe they will show a certain film," said Mr Follows.

One of the biggest debates going on in the cinema industry is about the amount of time a film is available only in cinemas before it becomes available on DVD or download.

The theatrical "window" generally stands at 12 weeks in the US and 16 weeks elsewhere, although some distributors have been experimenting with making titles available for home viewing at a premium price on the same day they are released in cinemas.

Mr Follows adds: "The industry is working very hard to keep the window as large as it can. But if the studios had their way, you would walk out of a film and be able to buy the DVD for £20 in the foyer."

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Are we falling out of love with the cinema?

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If you felt like there was nothing on at the cinema over the summer, you were not alone. Summer takings at the US box office were at their lowest level for more than two decades, with only films aimed at youngsters really making any impact. What has been behind the slump?

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Time schedule:
WS 2018/2019: teaching project at Faculty of Media Architecture
19 June 19:30: Presentation of Digital Thread / Interactive Installation
@Kultursymposium Weimar

designed by the students Nezar Abualhalaweh / Zaryab Chaudhry / Chanadda Janthivanont / Maximiliane Nirschl

in cooperation with
Prof. Dipl.-Designer Bernd Rudolf, Prof. Andreas Kästner, Prof. Dr. sc. hum. Jens Geelhaar, Interface Design, Dr.-Ing. Sabine Zierold, Susa Pop, Public Art Lab Berlin

Digital Thread is an interactive translocal installation that is developed by the media architecture students in the framework of the 100 Bauhaus Anniversary project Bauhaus Oasis - translocal network.

It virtually connects locations, and captures the movements of the visitors which are translated into a visualization that is printable on fabric. This visualization is directly and immediately affected by other visitors at a second location, creating a live, translocal work of art. An algorithm determines one frame out of the ten minute window from which to start the printing process. The color yellow indicates movement at the other site. This fabric is then used to sew unique art tote-bags, available for purchase to take the Digital Thread experience into the analog world.

The urban media art installation is presented at the Kultursymposium Weimar which is a series of events organised by the Goethe-Institut in which an international group of experts, artists and speakers from a range of disciplines discuss the social issues that are affecting us globally.

All photos by Maxi Nirschl

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BAUHAUS OASIS - DIGITAL THREAD@KULTURSYMPOSIUM WEIMAR | Public Art Lab

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Bauhaus Oasis - translocal scenario Urban art installations for the Bauhaus 100 Anniversary Time schedule: WS 2018/2019: teaching project at Faculty of Media Architecture 19 June 19:30: Presentation of Digital Thread / Interactive Installation @Kultursymposium Weimar designed by the students Nezar Abualhalaweh / Zaryab Chaudhry / Chanadda Janthivanont / Maximiliane Nirschl in cooperation with Prof.

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At the occasion of the Lange Nacht der Ideen in Berlin and the ISEA 2018 opening in Durban

The Long Nights of Ideas curated by the German Ministry of Foreign Affairs invited Digital Calligraffiti to connect the citizens from Berlin and Durban as a new participatory format of intercultural exchange. Digital Calligraffiti combines the traditional art form of calligraphy and graffiti with today's possibilities of urban media art.

The inhabitants of two cities - Berlin and Durban - will be projecting Calligraffiti messages into Berlin's urban space and at the same time in Durban during the International Symposium on Electronic Art 2018 opening and at the occasion of Lange Nacht der Ideen in Berlin (01.06.2018).

The project is initiated by Public Art Lab and curated in cooperation with 'From Here to Fame Publishing' with the artists Michael Ang and Hamza Abu Ayyash.

Digital Calligraffiti is co-funded by the Creative Europe programme of the European Union in the framework of the cooperation project Future DiverCities.

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DIGITAL CALLIGRAFFITI - A NETWORKED SCENARIO BETWEEN DURBAN AND BERLIN | Public Art Lab

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At the occasion of the Lange Nacht der Ideen in Berlin and the ISEA 2018 opening in Durban The Long Nights of Ideas curated by the German Ministry of Foreign Affairs invited Digital Calligraffiti to connect the citizens from Berlin and Durban as a new participatory format of intercultural exchange.

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How This Guy Uses A.I. to Create Art | Obsessed | WIRED

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I went to the movies last week. Or at least I tried to. I darkened our living room as best I could at 4 o'clock in the afternoon and pushed our couch a little bit closer to the TV, hoping the screen might feel bigger. We were running low on popcorn, so a teacup full of roasted soybeans had to do. Then I purchased a ticket from Toronto's Paradise Theatre for one of its new virtual screenings, settled into my seat and hit play.

The romantic experience of cinema - you know, joining strangers in a dark room to be together transported by the moving image - this was not. But right now, it's about the best we can do.

Theatres of every size have been forced to close indefinitely to stop the spread of COVID-19. Many operators fear business might not return until a vaccine is available, which could be another 18 months or longer. Meanwhile, the rent bills pile up, threatening more permanent closures. The shutdown punctuates what's already been a multiyear slide in theatre attendance, as the silver screen loses share to the numerous other screens around us. More than one Canadian newspaper headline in recent weeks has questioned whether this would mean the death of the cinema. And through the turbulence, independent theatres - long stalwarts for the public art experience - have now turned to virtual platforms, usually considered their chief threat, as a way to serve and perhaps to survive.

Montreal's Cinémathèque québécoise, for example, is continuing its mission to promote local, national and international cinema by moving its curatorial function to Facebook. Each day, its programmers recommend a title related to the conservatory's work and share a link where the film can be viewed for free. Programming director Guillaume Lafleur says that over the past couple years, Cinémathèque québécois has restored and digitized a large number of 16mm and 35mm Canadian films from its collection. The "Quarantaine cinéphile" series represents an opportunity to "open the vaults," he says, "and give these films another life."

Toronto's TIFF, which had already partnered with Crave TV bringing select festival titles to the streaming platform, has begun curating favourites from the Crave catalogue and conducting Q&As over Instagram Live with the stars and makers of the films. TIFF's Stay-At-Home Cinema has thus far featured Mandy Patinkin with The Princess Bride, Sarah Polley with Away From Her and Catherine O'Hara with Beetlejuice. Viewers are invited to tune into the Q&A, then watch the film together on Crave (which is offering one month free for new subscribers), sharing reactions on Facebook and Twitter. Stay-at-Home Cinema is using these familiar online tools, explains TIFF artistic director and co-head Cameron Bailey, to preserve the "collective emotional experience" special to film. He isn't yet sure of precise audience figures, but the day after he interviewed Inigo Montoya on Instagram, he noticed that The Princess Bride, a 33-year-old movie, was trending on Crave.

Cineplex, Canada's largest theatre chain, is also successfully ushering audiences online. The company has been offering digital rentals and purchases for 10 years now, but that business has "more than doubled" since the company closed its 165 theatres nationwide on March 16, says director of communications Sarah Van Lange.

Now, with crucial help from distributors, indie and rep theatres - whose survival depends entirely on ticket sales - are also attempting to go virtual. American distributors Kino Lorber and Film Movement quickly offered releases and, crucially, viewing platforms to exhibitors, as well as a 50 per cent stake in ticket sales. That means you can go to the website of your favourite cinema - say, Paradise in Toronto, Cinéma Moderne in Montreal or Vancity Theatre in Vancouver - and watch Chinese neo-noir The Wild Goose Lake or the Oscar-nominated Corpus Christi from your couch while directing ticket money at your preferred theatre. Each week, more distributors are cobbling together similar deals to offer fresh titles.

Jean-François Lamarche, assistant general director of Cinéma du Parc, Cinéma Beaubien and Cinéma du Musée in Montreal, says a film like the Cannes winner Bacurau was made to be seen on the big screen, and that experience is still his theatres' mission - but these at-home viewings represent a way for cinemas to continue to deliver unique programming, as well as a way for patrons to continue to support their theatres.

Virtual ticket sales have been modest so far, says Cinéma Moderne interim director Aude Renaud-Lorrain. Over the initial week, they made up about a fifth of one regular day's revenue, she estimates. Right now, "the sales are symbolic," Renaud-Lorrain says, but if theatres are required to remain closed for a few months, "maybe it won't be symbolic anymore; maybe it's what's going to make all the difference." Opening the virtual theatre may actually help reopen the physical theatre in the end.

Once restrictions are lifted, Renaud-Lorrain says it's not her goal to continue online screenings. But that doesn't mean she's opposed to the idea. Though she is a staunch believer in that romantic idea of the shared experience the theatre offers, she recognizes also that "it's more or less evident that people are going to consume more cinema online." Vancouver International Film Festival programmer Tom Charity envisions theatres, distributors and audiences embracing movie-going and online viewing more symbiotically. "The pandemic may have saved us ten more years of futile resistance to new ways of thinking about, paying for and experiencing film," he says.

In the meantime, the Dunbar Theatre in Vancouver has taken an entirely different tack. Owner Ken Charko says he's working on virtual screenings, sure, but the business that's paying his rent and keeping his staff employed right now is takeaway concessions. He's making enough in popcorn and candy sales, he says, to weather the storm for three to six months. He knows the community might not presently be able to visit the Dunbar for a flick, but that doesn't mean his theatre can't still help them better enjoy whatever they'll be watching at home.

Some operators question the psychological impact of the crisis. This is the unknown that jeopardizes the very premise of the cinema: will strangers still want to sit together in the dark once this is all over, especially when there's so much to watch at home? But TIFF's Bailey predicts that when it's safe, people will "flock" to theatres.

"We have this human need to connect with each other that's not going to change," he says. "That does not go away. That's built into us."
CBC Arts understands that this is an incredibly difficult time for artists and arts organizations across this country. We will do our best to provide valuable information, share inspiring stories of communities rising up and make us all feel as (virtually) connected as possible as we get through this together. If there's something you think we should be talking about, let us know by emailing us at cbcarts@cbc.ca. See more of our COVID-related coverage here.

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Indie cinemas are getting creative during COVID-19 - but is it enough to survive? | CBC Arts

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I went to the movies last week. Or at least I tried to. I darkened our living room as best I could at 4 o'clock in the afternoon and pushed our couch a little bit closer to the TV, hoping the screen might feel bigger.

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For weeks now, as COVID-19 restrictions across the country begin to ease (or, in some cases, even where they haven't), national and local news outlets have relentlessly reported on a seeming torrent of people streaming into public spaces. The coverage points to a common sense understanding: Spending two months sheltering in place with little-to-no human contact has produced an overpowering need for people to gather together outside their homes.

According to an exclusive new study, however, that media coverage belies a deeper truth: Anxiety over health and safety in public spaces still greatly outweighs the desire to leave home, and that disparity has only gotten larger as the pandemic has unfolded. The results - from a survey of roughly 1,000 people in mid-May by sports and events analytics firm Performance Research, in partnership with Full Circle Research Co. - point to just how steep a climb the entertainment industry has in front of it to win back public perception that it's safe to attend, and spend money on, public events again.

Take this answer to the question of whether respondents would rather see a first-run feature as a digital rental at home or in a movie theater, if both were available today: A whopping 70% say they are more likely to watch from their couch, while just 13% say they are more likely to watch at a local cinema (with 17% not sure).

"Just as the country begins to open up there has been a swing toward increasing caution, with a majority of Americans clearly saying 'not yet' when it comes to attending large public events," says Jed Pearsall, president of Performance Research.

The top-line findings - especially in comparison with a similar Performance Research study conducted in mid-March - are equally stark. Even after the CDC and local governments say it's safe to do so, 52% of respondents say they will attend fewer large public events, up from 44% in March, just days after the CDC declared the COVID-19 outbreak a global pandemic. Even more striking: This month, 60% of respondents say the idea of attending a big public event "will scare me for a long time," up from 47% in March.

Across just about every major industry sector, respondents have grown more fearful about stepping into public spaces: 39% say they'll attend major indoor concerts less often, up from 33% in March; 36% say they'll attend theme parks less often, up from 26%; and 33% say they'll attend theater and performing arts venues less often, up from 29%.

For Broadway productions, a new line of inquiry in the May study, the news is especially worrying: 51% of respondents say it will take a few months before they will attend a Broadway show in New York even after it's deemed safe to do so, and 16% say they may never go again.

The news for movie theaters is scarcely any better: 37% of respondents say they plan to attend less often, up from 28% in March, and 10% say they may never go again, up from 6%.

But for those who are considering returning to a movie theater, what may draw them there appears to be shifting. When asked which movie genres would most likely get them to buy a movie ticket, 43% of respondents, by far the highest percentage, say comedy - a near 180 in public sentiment after years of moribund box office returns by big screen comedies. The next most popular genre - drama, with 35% of respondents - has also all but disappeared from theaters. Meanwhile, the genre that has dominated the past decade, superhero action movies, came in third, with 33% of respondents selecting it - a startling number given the massive audiences comic book movies generally require to recoup. And horror, a dependable and inexpensive box office draw for years, drew interest from only 19% of respondents.

Of course, these responses were given for abstract genres and not specific titles, but they do suggest that, after two decades dominated by spectacle and escapism, spending so much concentrated time with other people could be leading public tastes closer to human-scaled storytelling.

Far more clear is what will most convince audiences to return to any public venue: Cleanliness and social distancing. Since March, already strong sentiment about the need for clean and sanitized food service areas and restrooms has only grown, from 64% to 74% and 66% to 73%, respectively. And despite some anecdotal evidence that mask requirements are unpopular, just 16% say mandatory face coverings at live events would decrease their likelihood of attending, as opposed to 61% who say it would increase it.

The number of people allowed to attend events is also a key factor, with broad majorities expressing comfort with just 60% capacity for every public venue surveyed.

Even with those precautions, people who do decide to attend public venues are likely to do only that: Just 47% of respondents say they're comfortable with buying food and drinks from concession stands, and 46% say they'll use the venue's restrooms. (As for meet-and-greets, forget it: Just 19% say they'd participate, and 16% say they'll line up for an autograph session.)

"Event organizers should take notice," says Pearsall. "Fans of all types of events can identify significant milestones and new safety precautions that will get them back. Simply opening the doors will not be enough."

Some other notable findings from the Performance Research study weren't related to consumers' feelings about public venues:

ONLINE PRICING: Asked how much a "reasonable" price would be to stream top-quality productions in their home, consumers have a surprising range of answers.

For a first-run movie, the most popular price is easily $10, with 47% respondents; 20% of respondents say they'd pay $20; and 19% of respondents say they'd only watch if the film was free (though some respondents could mean on a subscription streaming service). Just 6% of respondents say they'd pay $30; 3% say they'd pay $40; and 1% say they'd pay $50, $60, and (somewhat inexplicably) $80.

For a live musical production, the most popular price was, sadly, free, with 26% of respondents saying they'd watch if they could pay nothing. Another 25% say they'd pay $10; 20% say they'd pay $20; 11% say they'd pay $30; 5% say they'd pay $40; 5% say they'd pay $50; 2% say they'd pay $60 or $70; and 1% say they'd pay from $80 to over $100. (A live play had a similar pricing spread, with the $10 price slightly more popular than the free one.)

And for a live concert by a major artist, 21% of respondents say they'd only watch if it was free. Another 21% say they'd pay $10; 20% say they'd pay $20; 11% say they'd pay $30; 8% say they'd pay $40; 9% say they'd pay $50; and anywhere between 1% and 2% say they'd pay from $60 to over $100.

MUSIC: Speaking of live music, with concerts cancelled or postponed nationwide, the most popular outlet to watch live music virtually is easily YouTube: 57% of respondents say they've used the platform for live music, more than double the number for Facebook Watch (22%), Instagram Live (22%) or Zoom (17%). Perhaps not surprisingly, over 60% of respondents say price and sound and video quality are by far the most important factors in whether consumers decide to watch live music online.

SPORTS: There is some (mild) good news for the sports world in the study: 67% of respondents say they will watch the sports they follow on TV even when there are no crowds in attendance, and 59% say that even without fans in the stands, they want to see sports competitions come back as soon as possible. And there was a slight uptick in respondents who said they would attend indoor sports venues more often once they're deemed safe, from 9% in March to 17% in May.

FINALLY: The ultimate arbiter for what will bring the most people back to public venues is the one that the entertainment industry has no control over: 90% say the most important factor is a cure for COVID-19.

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Study Shows 70% of Consumers Would Rather Watch New Movies at Home (EXCLUSIVE)

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For weeks now, as COVID-19 restrictions across the country begin to ease (or, in some cases, even where they haven't), national and local news outlets have relentlessly reported on a seeming torrent of people streaming into public spaces.

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The coronavirus pandemic may be the last nail in the coffin for a beloved American pastime: going to the movies. Theaters were already suffering major financial losses before the pandemic, and now their future looks increasingly unstable.

Attendance has been on the decline for a quarter-century. AMC, the nation's largest chain, reported $149 million in losses in 2019, in addition to a more than $5 billion deficit, according to S&P Global. Regal Cinemas - the second largest - recently laid off 24,000 employees with no severance pay.

From March 13 to 15, the weekend before AMC and Regal closed their theaters nationwide, domestic box office sales were $54.7 million- a decline of 46 percent from the previous weekend and 60 percent less than the previous year according to Forbes.

Some smaller theaters and chains are offering curbside pickup for popcorn, and AMC's on-demand streaming service is still available. But neither is enough to make up for the lost revenue.

AMC is denying rumors of impending bankruptcy amidst uncertainty about when theaters - or any non-essential businesses - will be able to reopen. Another unknown is how quickly consumers battered by unemployment and fear of an invisible enemy will return to their seats.

AMC Tamiami 18 theater manager Anthony Gomez, who's taken up jobs with Uber Eats and Postmates since the theater closed, said attendance bounce-back will depend on two factors: whether people will have enough discretionary income to spend on entertainment and whether they will feel comfortable in such a crowded environment.

"It depends on whether [theaters] start limiting the number of people that are allowed in for at least the first couple of months, take time to actually detail clean during operational hours, and if people really want to spend money on tickets," said Gomez. "It also depends on if studios will continue straight to home releases."

Gomez believes that if proper steps are taken to prevent the spread of the virus everyone should feel comfortable in theaters, but recognizes that it may take some time to adjust to this new way of life.

"That's most likely a topic they are discussing right now in corporate. People will always be worried about sanitation when it comes to theaters due to the amount of people that sit in the seats. The virus just increases that worry, but if AMC really enforces the new policy and procedures I think customers will be more relaxed coming in after this is over," said Gomez.

In a recent non-scientific poll conducted on Instagram, 44 percent of respondents indicated that they plan to go to the movies more frequently than they did before the coronavirus pandemic began. 58 percent said they prefer the movie theater experience in general while 42 percent preferred streaming. When asked if they could envision a world without movie theaters, 80 percent said no.

Virginia Bonilla, an AMC Stubs A-List member, was relieved to find out that membership fees have been paused until the theaters are back up and running, but said she's likely to cancel hers.

"I might suspend my membership because, even if the quarantine is lifted, unless I'm assured that the theaters are working on sanitizing everything, I feel like it would be unsafe," said Bonilla. "I think [employees] should wear a mask and gloves and everyone going into the theater should as well. [The theater should also keep] up with the CDC's guidelines for sanitizing and disinfecting different surfaces."

Even with such protective measures, it might be a while before Bonilla returns. "I feel that if the quarantine is lifted, it's not because it's safe to do so but to keep businesses alive," she said.

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Coronavirus accelerates decline of movie theaters

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The coronavirus pandemic may be the last nail in the coffin for a beloved American pastime: going to the movies. Theaters were already suffering major financial losses before the pandemic, and now their future looks increasingly unstable. Attendance has been on the decline for a quarter-century.

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Starting on Friday night, the online marathon will feature Helena Hauff, Marcel Dettmann, Skee Mask and more.

Resident Advisor is streaming a 42-hour virtual rave this weekend as part of our #SaveOurScene campaign.

Club Quarantäne is brought to you by various industry players, including booking agencies, audio companies and YouTube. It'll run from Friday night, March 27th, through Sunday afternoon, the 30th, with DJs like Helena Hauff, Skee Mask, Marcel Dettmann, CEM, Shanti Celeste, Solid Blake, Sybil, Randomer and Ryan Elliott contributing prerecorded sets.

Kicking off at 10 PM on Friday, the stream will be broadcast via the Club Quarantäne website using a new, interactive system powered by Off World Live. It's directed and produced by Sam Aldridge and Selam X, with web design by Marco Land. You can also watch it via RA's channel on YouTube.

The project supports various initiatives, including Karada House, TS Raver and Berlin Collective Action: Nightlife Emergency Fund. Viewers will be able to donate via the Club Quarantäne website.

Check the full timetable.

More ways to help /
Save Our Scene
Save Our Scene: An Open Letter
Guide: Offer and receive help
Guide: Attend virtual events
Guide: Buy music and merch
Guide: Donate

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Resident Advisor to stream 42-hour virtual rave, Club Quarantäne

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Starting on Friday night, the online marathon will feature Helena Hauff, Marcel Dettmann, Skee Mask and more. Resident Advisor is streaming a 42-hour virtual rave this weekend as part of our #SaveOurScene campaign. Club Quarantäne is brought to you by various industry players, including booking agencies, audio companies and YouTube.

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Back in early 2017, Netflix approached " Black Mirror" creators Charlie Brooker and Annabel Jones with an unusual idea. The streaming service had been experimenting with interactive kids content, giving young viewers the ability to choose their own path through a story with a series multiple-choice questions that could be easily answered with the help of a TV remote.

Now, Netflix was ready to bring the same format to an adult audience - and "Black Mirror" seemed like a perfect fit. Except the two creators weren't having any of it. During a recent interview with Variety, Brooker recalled his initial response: "No f-ing way!"

Jones agreed, in part because she had never really liked prior examples of interactive storytelling. "To me, they always felt a bit gimmicky," she said. But when they started to discuss ideas for future episodes of the show a few weeks later, they came up with a plot that really only worked as an interactive movie. "At that point, it was pretty simple," recalled Brooker.

The result is " Black Mirror: Bandersnatch," Netflix's first-ever interactive movie for adults, which debuted on the service Friday. Set in 1984, "Bandersnatch" is the story of geeky teenager Stefan (played by Fionn Whitehead of "Dunkirk" fame) who sets out to turn a multiple-choice science-fiction book by the same title into a pioneering computer game that also presents the player with a series of choices.

Early on, we learn that eccentric author of the original "Bandersnatch" book descended into madness while writing the multiple-choice adventure, ultimately killing his wife. And it's not too much of a spoiler to say that Stefan is struggling with his own inner demons - and single-handedly turning the book of a madman into a highly complex multiple-choice computer game doesn't exactly seem to improve his mental health.

Brooker said he could empathize with those feelings. "What we were trying to do was what Stefan was trying to do," he said. "There were many points where we felt it was driving us crazy."

One of the choices in "Black Mirror: Bandersnatch."
Luckily, Brooker and Jones had the Netflix product team to keep them sane. Following the production of interactive kids titles like "Puss in Boots: Trapped in an Epic Tale" and "Buddy Thunderstruck: The Maybe Pile," Netflix director of product innovation Carla Engelbrecht realized that the company was on to something. "There is so much more that we can do than just linear television," she said.

But while younger viewers may be fine with relatively simple choices, adult audiences clearly require more complexity, which can be a huge logistical challenge. That's why Netflix engineers built the company's very own script-writing tool for branched narratives, dubbed Branch Manager.

The tool allows creatives to build complex narratives that include loops, guiding viewers back to the main story when they strayed too far, giving them a chance of a do-over, if you will - something that Jones and Brooker artfully incorporated into the story. At one point, one of the key characters even tells Stefan that he chose the wrong path, leading him to realize: "I should try again!"

"Bandersnatch" comes with five possible endings. Viewers who choose the quickest path, and decide against any do-overs, can make it through the film in around 40 minutes. The average viewing time is around 90 minutes.

Altogether, there are over a trillion unique permutations of the story. However, this also includes relatively simple iterations that don't necessarily alter the story itself. For instance, one of the first decisions is helping Stefan to choose which cereal to eat in the morning. "We want [viewers] to have a successful choice early on," said Engelbrecht.

Engelbrecht's interactive content team got a lot of help from across the company to build the tech for "Bandersnatch," which also included tweaking the way Netflix streams content. "Fast-forward breaks in a nonlinear story," she explained. Instead, Netflix began testing simplified playback controls with "Bandersnatch."

Another tweak affects Netflix's streaming itself: The service's apps typically pre-cache some content to make for a smooth streaming experience even when a viewer's internet connection temporarily slows down. For "Bandersnatch," the app now has to pre-cache two possible paths - something that older versions of the Netflix app aren't able to do.

That's why the movie isn't available on Netflix's app for some older smart TVs. The company is also excluding "Bandersnatch" from playback on Google's Chromecast and Apple TV for technical reasons, but Netflix vice president of product Todd Yellin didn't seem to be too worried about leaving anyone behind. "Almost every single Netflix household has a device that can play 'Bandersnatch,'" he said.

Other design decisions that went into the creation of "Bandersnatch" are more subtle, and sit somewhere between product design and storytelling. For instance, the team had to figure out the right pacing for an interactive story like this. Give viewers too many choices, and they may tire of all those decisions. Let the plot go on too long without a choice, and half the audience may have misplaced their remote controls. "We talk about cadence a lot," said Engelbrecht.

Jones and Brooker also recalled pushing Netflix's tools to their limits with "Bandersnatch." "It kept expanding, even when we were in pre-production," said Brooker. "We deliberately pushed what was going to be possible." Until one day, they hit the wall, or rather the boundaries of Netflix's Branch Manager tool. "The story outline crashed," he recalled - a first for the seasoned TV writer.

Interestingly, the same thing happens to Stefan during the final sprint to complete his interactive computer game. And the similarities don't end there. Brooker and Jones skillfully play with the motives of branched stories, repeatedly throwing off their viewers just when they think they've got the hang of the whole multiple-choice thing.

The duo also incorporates the viewers themselves into the story and even gives the Netflix brand a cameo. Along the way, viewers will begin to wonder who really is in charge, and whether their choices actually matter. In the words of Colin Ritman (played by Will Poulter), the genius video-game programmer/high-tech shaman who becomes Stefan's coworker and mentor: "How one path ends is immaterial."
A choice point in "Black Mirror: Bandersnatch."
Ultimately, this ability of the "Black Mirror" creators to screw with their audience's minds does make for a perfect fit for Netflix's first adult interactive story. It also seems to set the bar impossibly high, leading one to wonder: How can anyone can ever create a story this perfectly suited for this nascent format again?

Yellin said that the company had plans to try interactives for other types of stories as well, including comedies, romance and possibly even horror movies. "This just happens to be a great audience for the first one," he admitted.

Which raises the question: What is Netflix aiming to do with this new format, anyway? There had been some rumors that the streaming service was trying to expand into video games, which was fueled by the company's partnership with the now-defunct gaming studio Telltale.

"We don't think of this as a game," Yellin responded. "We are telling stories," added Engelbrecht. Ultimately, the goal was to advance storytelling, offer creatives new ways to express themselves, and give viewers a lot more things to talk about. Said Yellin: "We think we are onto something that could be really exciting."

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Netflix Takes Interactive Storytelling to the Next Level With 'Black Mirror: Bandersnatch'

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Back in early 2017, Netflix approached " Black Mirror" creators Charlie Brooker and Annabel Jones with an unusual idea. The streaming service had been experimenting with interactive kids content, giving young viewers the ability to choose their own path through a story with a series multiple-choice questions that could be easily answered with the help of a TV remote.

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CONNECTING CITIES @ ARTE CREATIVE
Networked City 2013

KAREN LANCEL & HERMEN MAAT  (Based in Netherlands)
SAVING FACE, 2013

How do we trust each other online? Do you need to see my eyes? Or do we need to touch? In our changing social eco-system we increasingly demand transparency, we cover our bodies with personal communication technologies; when defining our identities, our sensory abilities are replaced by social media, identification technologies and privacy filters. Can we touch each other to meet online?
Located in dynamic public spaces - museum hall, festival, city square – Saving Face is a smart meeting place for an intimate networking body experience.


The project uses your face as a tangible social interface. By touching and caressing your own face, you ‘paint’ your portrait on a large screen. On this screen your face merges with all other participants’ faces. By touching your face you compose a participatory identity, which further transforms through every new face-caressing act throughout the network, until the edges of individual identity begin to blur together, playfully mixing personal histories and cultural backgrounds in a growing database.


Production/Technical Design with: Mart van Bree Tim Olden, Sylvain Vriens, Matthijs ten Berge.

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Interactive Installation
Montréal, Canada
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CONTROL NO CONTROL is an interactive LED sculpture that invites the audience to use their hands and body to act on its sound and graphics.
 
The full cycle of audio-graphical compositions goes through five states, each exploring a geometric pattern, its properties, its audio representation and how it reacts to bodily gestures.

The structure and content are modular and have been presented as a cube and triangular prism. A one-wall version of this piece is called CONTROL.

TECHNOLOGY
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Led panels, sound monitors, movement sensor.

PRESENTED AT
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Igloofest
Montréal, Canada
2012
 
Lumen Fest
Montréal, Canada
2013
 
Tag Festival
Mexico City, Mexico
2013

Glow Festival
Eindhoven, The Netherlands
2013
 
Jerusalem Festival of Lights
Jerusalem, Israel
2014
 
Bains Numériques (International Digital Arts Biennial)
Enghien-Les-Bains, France
2014

CREDITS
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Created by Iregular
Powered by X-Agora
 
Video Adam Thompson

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PEOPLES SCREEN by PAUL SERMON & CHARLOTTE GOULD

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MISSÃO ARTE CONECTA

O "SP_Urban Arte Conecta" promove um respiro criativo na rotina, abrindo janelas coloridas na cidade cinza e no imaginário humano.

A dimensão digital, onipresente, afeta todos os aspectos da realidade, tornou-se uma camada operacional e imaginária da sociedade.

O festival busca refletir sobre os desafios impostos pela nova conjuntura social e assim contribuir na elaboração de estratégias que permitam equilibrar o desenvolvimento digital com a existência humana.

SP_Urban Arte Conecta faz uso do potencial comunicacional da mídia urbana e do engajamento massivo nas redes sociais para promover parcerias com instituições de saúde a fim de transmitir informações para o bem estar físico e psicológico. Sonhar é preciso!

Desde a primeira edição em 2012, o SP_Urban visa expandir o conceito de arte ao estabelecer canais de divulgação cultural como parte integrante da cidade, fundindo arquitetura, arte e mídia.

Com o objetivo de proporcionar entretenimento e evocar emoções positivas, o "SP_URBAN ARTE CONECTA" propõe uma programação especial de ARTE TRANSMISSÃO urbana.

O festival pretende agregar função de difusão artística a empenas transformando áreas residenciais em janelas de processos culturais, proporcionando uma experiência coletiva. Através de uma rede de colaboração online artistas, ilustradores e entusiastas são convidados a enviar obras em vídeo que expressem sentimento de união, empatia, gratidão e humor.

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MISSÃO ARTE CONECTA O "SP_Urban Arte Conecta" promove um respiro criativo na rotina, abrindo janelas coloridas na cidade cinza e no imaginário humano. A dimensão digital, onipresente, afeta todos os aspectos da realidade, tornou-se uma camada operacional e imaginária da sociedade.

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Two decades ago, digital technology pulled the record business inside out, a shock from which it has only recently recovered. But in 2020 it is helping, at least partially, to remedy a live business obliterated by coronavirus cancellations.

Early in the pandemic, the likes of Twitch, YouTube, Instagram, TikTok and Facebook filled a gap with their livestreaming capabilities. Since then, dozens of new companies have launched with a streaming-specific remit - some taking a more egalitarian and ethical approach than the tech giants - while other event companies, who until recently were dedicated to real world gigs, are offering performers and fans the option to participate in pay-per-view livestreams.

"Before lockdown, we couldn't have cared less about livestreaming," says Phil Hutcheon, founder and CEO of ticketing app Dice. Watching "boring" livestreams on Instagram spurred him to set up a new team to launch Dice TV - Scottish superstar Lewis Capaldi was the first act to use it, charging £5 a head; acts can now sell merchandise alongside their streamed shows. "Selling 100 T-shirts at £30 a pop as they are limited edition - that's their lifesaver," says Hutcheon.

Some acts have reaped serious money from ticketed livestreams: Pollstar reports Laura Marling sold 4,500 (UK) tickets at £12 each for her show at London's Union Chapel in June; YouTube says Japanese artist Reol made $130,000 from a livestream on its platform in August; and BTS 's management company Big Hit said they had 756,000 fans watch their Bang Bang Con live stream in June, each paying between 29,000 won (£19.41) and 39,000 won (£26.10), meaning a minimum gross of £14.6m.

These well-known artists are, however, among the tiny percentage of acts who can even hope to start making up for the dramatic shortfall they have suffered this year. To help smaller acts and venues, Andrea Cockerton of immersive live show production company We Are Sound is launching DIUO later in October. The platform will stream one-off concerts on a pay-per-view basis, as well as allow acts to set up their own subscription-based channels to host regular events. Cockerton says she does not want the entire platform to run on subscriptions: "That is what Spotify does, and we all know how that works out for the majority of artists."

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Supporting artists and crew ... DIUO chief executive Andrea Cockerton. Photograph: Jules Klass Photography

DIUO takes what Cockerton calls an "ethical approach to doing business" whereby 10% of all revenues is paid out in grants to road crew, sound engineers and others whose entire livelihood has gone and for whom there is minimal, if any, financial help coming from the UK government. "We're putting our money where our mouth is," Cockerton says, giving the first 100 bands who stream with DIUO a stake in a 10% portion of the company.

Artists staging DIUO shows take the lion's share of revenue and can draw on in-house production and marketing expertise. Cockerton wants them to use small venues to stage their performances, which in turn will receive a room-hire fee and provide jobs for out-of-work crew. She estimates that acts need to sell around 400 tickets to cover costs, a figure she considers viable for smaller artists. "The only way through this is to innovate and do something differently," she says.

Also attempting to innovate in this space is Oda. Founded in 2016 as a speaker company, its latest offering is festival-style curated programming whereby fans enjoy live performances beamed directly to Oda's bespoke connected speakers, sold for $299 and supplemented by a $79 (£60) subscription fee every three months.

Oda was in part set up to help Phil Elverum (AKA Mount Eerie) play live without having to physically tour, which became difficult after his wife Geneviève Castrée died in 2016 and he was left to care for their infant daughter. He likes the fact Oda is audio-only as he feels video streams are incompatible with how he works. "To me, live performance is about this exchange between two or more people in a real space," he says. Video streaming, he says, "seems like it was trying to simulate something from the past in a diminished form".

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'Sunset sessions' ... Oda speakers offer audio-only concerts. Photograph: Daniel Dorsa

With Ann Peebles and Don Bryant among the artists programmed for Oda's launch, the focus is on less obvious artists, creating unique listener experiences: "sunset sessions" throughout the week and more concerted weekend events including music, readings and talks. "At the end you feel you've spent the weekend with an artist and that you now know them well," says Oda co-founder Nick Dangerfield. He adds that acts can expect to generate $7,000-$30,000 (£5,300-£23,000) per weekend since making the experience audio-only lowers production costs. "What is important is that our platform is as inclusive as possible and that everyone is welcome," he says.

Gig deprivation has spurred a burning desire for a return to live music. Dice is responsible for ticketing the 2021 Primavera festival - this year's, like most festivals, was cancelled. Despite no guarantees about the viability of music festivals next year, the Barcelona weekender is already sold out and Hutcheon says there are "tens of thousands" of people on the waiting list for tickets.

In the interim, streaming is the only viable option for audiences stuck at home pining for live music. Although Nick Cave's Idiot Prayer concert, streamed live from Alexandra Palace in July, will receive a cinematic release in November, Hutcheon argues that having streams that exist in that moment and then vanish is the best way to create a sense of occasion, as diminished as that might be compared to the real thing.

"One of the things that you get from live shows is scarcity," he says. "Watching it at that moment when people are watching actually enhances the experience. This whole thing has been a fascinating study in human behaviour."
Topics

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The streaming startups trying to save the music industry mid-pandemic

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Two decades ago, digital technology pulled the record business inside out, a shock from which it has only recently recovered. But in 2020 it is helping, at least partially, to remedy a live business obliterated by coronavirus cancellations. Early in the pandemic, the likes of Twitch, YouTube, Instagram, TikTok and Facebook filled a gap with their livestreaming capabilities.

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Visual art is, well, visual. But when you stand in front of a piece of painting or sculpture, when you enter into an installation, there is more that your body does than view the work. There's the spatial arrangement of the pieces to consider, the materials employed by the artist, the textures, the colours, the size of the canvases all made more real, more tangible by presence. But presence has been somewhat of a luxury for most of the year even in Nigeria and other parts of the continent where coronavirus lockdowns were brief and less stringent.

Art viewings around the world, as with many other activities, went online or began seeking out digital tools to aid their continuation in the absence of physical meetups. Galleries shut down, artists found new ways to grapple with creating in the midst of very uncertain times, and art promoters had to find ways to keep business going. Major art exhibitions like the Venice Biennale were postponed to next year and the doors to prominent museums like the Zeitz MOCAA in South Africa stayed closed for nearly seven months.

Nigerian galleries and independent curators found ways to navigate the period likewise. From hosting virtual reality-enabled exhibitions to artists' talks on Zoom, the period opened up new windows that some think may become useful long term in the way art is shared and consumed.
Ugoma Adegoke, Founding Director/ Chief Curator, BLOOM Art
Founding Director and Chief Curator at BLOOM Art, Ugoma Adegoke says she "dragged herself kicking and screaming" in the direction of virtual art showing. The first virtual reality experience showing art pieces in the gallery's space came in June, three months after the pandemic became full blown and lockdowns were enforced and lifted.

"I have very philosophical differences in opinion about how art should be shown just because of how I came into the arts and the role I feel art has to play in, sort of, cultural recalibration," Adegoke tells me from her studio.

"I feel like the more serious it can be taken and the more apparent and obvious it is, the better."

But three months without a viewing came at business costs and it was just important to find a way to bridge the distance and keep the work going regardless.

The augmented reality (AR) experience shows the in and outs of the BLOOM Art studio with paintings standing on easels, sitting on floors or hanging on walls accompanied by labels that pop up when you click on an individual piece.

In the months since June, a new version of the AR experience has been created with a rotating assembly of artists and their work. There's been a July and September edition and a most recent version launched this month.

BLOOM Art in augmented reality

"I feel like we managed to still slap ourselves quickly enough because it was just obvious to me that it's either we do something or we're just going to completely die and there'll be no more art," she says.

To create the technology, Adegoke reached out to her closest network first: Kachi Joel Benson, producer and director of Daughters of Chibok; a movie shown last year at the Light Camera Africa film festival which she founded, and Evoke Lagos' Olugbile Holloway whom she had worked with to build a digital museum for First Bank of Nigeria.

The project would eventually go to Emmanuel Kuku (OA Visuals), a young man she had come in contact with through someone in her circle and who was able to create what she calls a moving panoramic view of the space. It was an expensive venture especially considering that there had not been any activity in the three months prior.

Aerial view of the gallery in augmented reality

When considered in the long term however, she says it a worthwhile investment: a digital archive, a digital catalogue that helps whittle down in-house audiences to those who absolutely need to be there as well as a marketing tool.

While viewing the June installation, I did notice one striking piece of art, Memoir of Ancient Doors by Olumide Onadipe. It looked like another painting but with striking yellow patches that turned out to be made from plastic bags. From my mobile phone, I did not get the full textural experience of the work and I often wonder how much viewing art virtually can take away from the experience of being in the space physically and looking at the work.

"Even for someone who is trained and obsessed with art, of course, it takes away, I'd say, 80% of the experience," says Adegoke, "Because art has very little to do with the physical material thing you're seeing and so much to do with the space and the interaction between space, object, and you and the energies that come through in that moment."

Sometimes, something as simple as rearranging the art pieces in a space can create a different kind of experience for a visitor.

"In my studio right now as I'm sitting talking to you, it's as apparent with the power of moving the Tega Akpokona I'm looking at now from the easel on the left side of the room and placing it on the wall behind me."

But one useful and lasting way Adegoke sees these virtual additions is in visual stimulation, in creating anticipation or suspense leading up to when the work can be seen in person. An interlude of some sort. A way for a viewer to begin conversations with the work before arriving at the gallery.

"We have decided that I will, of course, never try to argue that this can replace my physical ability and engagement to show art but I think I'll keep it as a side tool."
adéolúwa olúwajoba, Assistant Curator, Rele Gallery
For adéolúwa olúwajoba, navigating the pandemic has been on two fronts. First as a visual artist creating in the midst of global uncertainty and as an Assistant Curator at one of Nigeria's most prominent galleries, Rele.

"Lockdown was getting on my nerves," olúwajoba says and being able to create and find institutions that were still able to show art during the worst of the period was very refreshing.

olúwajoba was part of a virtual exhibition by POLARTICS in May titled I Hope This Finds You Well where he showed pieces from two bodies of work; Politics of Shared Living and Portraits From Solitude.

"It's been a good time for artists to sit down and think about their work without getting caught up in the hassles of everyday life."

Rele's earliest virtual exhibition was titled Sculpting the City and had been in the works before the lockdown ensued. The group exhibition centered on sculptors and installation artists creating in conversation with the textures and materiality of the city.

Rele's Sculpting the City was a group exhibition of artists working in sculpture.

To create the virtual experience, the pieces were installed in the gallery and an AR artist came in to film and create a three-dimensional augmented reality film which viewers could see through the gallery's website.

Compared to physical exhibitions, olúwajoba says viewership wasn't at all great but he credits this to the newness of the format and the Nigerian art scene still being quite heavy on in-house exhibitions.

For its annual Young Contemporaries program, the gallery employed a simple webpage to exhibit the work of the artists at the end of their bootcamp in August. For another exhibition, SUB.LIME, olúwajoba says they considered making it both a virtual and in-house exhibition but eventually went on solely with a physical exhibition at the gallery space. Visitors however, had to schedule their visits beforehand and obey COVID-19 guidelines. Currently, Tonia Nneji's You May Enter is now showing at the space and people can come in to see the work wearing masks, sanitising and social distancing.

"Unless the lockdown lasted for a very long time", olúwajoba thinks a more permanent adoption of technology tools in the arts would've been a slow and gradual process if at all.

"I don't think of it as a replacement actually but an alternative way of viewing art exhibitions."

Whether virtual exhibitions take away from art appreciation is dependent on a number of factors he says. For one, there are certain art mediums that are better suited for the virtual world. Film installations for instance, or digital art.

Nonetheless, he agrees with Adegoke in saying that the spatial arrangement of art whether it is a film installation working in concert with still art, is also critical to how it is interpreted and the virtual world is still incapable of creating something close to that physical experience.

"Scale is also a problem with viewing art online," olúwajoba says.

The size of a piece of work can connote a lot of meaning, aid its interpretation and it is often something that is lost when art pieces are converted into VR experiences so that one might not have the slightest clue about the scale of an art piece when seeing it through their computer or mobile phone screen.

Business-wise, because of how established Rele is, connecting with its network of collectors and art buyers has ensured that business hasn't suffered as much. Not many galleries or curators have this luxury.
Chidera Muoka, Founder, House of Zeta
To celebrate World Photography Day on August 19, Chidera Muoka, founder, House of Zeta thought to put up a virtual photography exhibition. Titled A Moment in History, the virtual exhibition brought together works by photographers in fashion, documentary, editorial and more.

Artsteps allow independent curators or galleries create a virtual exhibition using already existing templates or those created from scratch

To create the experience, Muoka employed a digital exhibition platform called Artsteps. Launched by software development company Dataverse Ltd, the web-based platform allows its users to create virtual art galleries in 3D spaces using pre-installed or self-constructed templates.

Muoka says she learnt about the tool from a friend with experience in digital exhibitions and set up the exhibition by herself.

"By the time I got a hang of it, it did take a while and I'm quite the novice when it comes to tech," Muoka explains.

While the exhibition was less of a hassle to set up and had provisions to ensure photos and artworks are licensed to be sold, the user experience wasn't very satisfactory as not many were able to move through the virtual exhibition seamlessly. An in-app chat box where visitors asked questions about purchasing or the work themselves did not function quite effectively.

Still, about 1,000 people viewed the exhibition while it lasted.

For an independent curator with very little database of established consumers and art buyers, red dotting the pieces was difficult but the idea of the digital space impacting art viewing and buying significantly is one she considers far fetched.

"We are still getting used to the fact that there are even things like art exhibitions in this part of the world."

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In 2020, home is where the art is | TechCabal

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Visual art is, well, visual. But when you stand in front of a piece of painting or sculpture, when you enter into an installation, there is more that your body does than view the work. There's the spatial arrangement of the pieces to consider, the materials employed by the artist, the textures, the colours, the [...]

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https://www.cercle.io/

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The world's first virtual reality cinema in Amsterdam gives movie-goers a more immersive experience than ever before. The VR Cinema, which has a new location in Berlin, Germany, uses Samsung Gear VR to further engage the audience, as well as headphones and 360 degree seating. This enables viewers to freely explore the film, but could detract from the communal experience of watching a movie.

The virtual reality cinema was originally a touring pop-up in Europe, but now has two permanent locations. The technologically advanced movie theaters show feature films that are specifically created for a virtual reality environment. Currently 'In Your Face,' about the European refugee crisis, is playing.

Following video games, this is likely the next major area of entertainment VR will function in.

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The world's first virtual reality cinema in Amsterdam gives movie-goers a more immersive experience than ever before. The VR Cinema, which has a new location in Berlin, Germany, uses Samsung Gear VR to further engage the audience, as well as headphones and 360 degree seating.

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Fans of the Star Wars franchise will find the design of this Zene Private Cinema to be a beautifully detailed homage to the film series. The home theater was created by China-based Zene for a client who was looking to pay homage to the intergalactic franchise in a big way.

The home theater was created in collaboration with Dominique Amblard, an interior designer, who worked to create a decor design that is truly out of this world. The Zene Private Cinema is outfitted with everything needed for a truly exceptional movie experience including GTL Sound Labs AP Platinum speakers and a Sony VW-1100ES 4K projector. The home theater is the winner of the CEDIA Global award for Best Home Theater.

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Fans of the Star Wars franchise will find the design of this Zene Private Cinema to be a beautifully detailed homage to the film series. The home theater was created by China-based Zene for a client who was looking to pay homage to the intergalactic franchise in a big way.

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With a growing number of consumers looking for a more personalized movie theater experience, London's Whirled Cinema is the perfect venue. With seating for just 60 people and tickets limited to members only, this theater "is a world away from your everyday multiplex experience."

Part of what sets Whirled Cinema apart from other theaters is venue itself, which is hidden away beneath railway arches in London's Loughborough Junction. In addition to the cozy couch seating, the single-screen theater also features a small bar and lounge area serving everything from coffee and cocktails to full pizzas.

To maintain the community atmosphere, Whirled Cinema limits its access to members only. However, those attending Trend Hunter's London innovation conference who are interested in only attending a few screenings can sign up for a weekly membership for a very reasonable fee.

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With a growing number of consumers looking for a more personalized movie theater experience, London's Whirled Cinema is the perfect venue. With seating for just 60 people and tickets limited to members only, this theater "is a world away from your everyday multiplex experience."

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'Vjunior' is Australia's first-ever interactive children's theater and was launched by toy maker Mattel who teamed up with entertainment franchise Village Cinemas.

Offering immersive spaces that kids of all ages will enjoy, Vjunior is equipped with colorful and comfortable seating, game areas and even rentable event rooms that are ideal for those hosting birthday parties. "We share a common goal of delivering thrilling experiences through innovation, and together we look forward to providing our consumers with a truly unique cinematic adventure," said Mohit Bhargava, Village Cinemas Australia's general manager of marketing and sales about the venture.

Fusing aspects of physical and digital play, this interactive children's theater will appeal to today's tech-savvy Gen Z members and will specialize exclusively in kid-friendly content.

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'Vjunior' is Australia's first-ever interactive children's theater and was launched by toy maker Mattel who teamed up with entertainment franchise Village Cinemas. Offering immersive spaces that kids of all ages will enjoy, Vjunior is equipped with colorful and comfortable seating, game areas and even rentable event rooms that are ideal for those hosting birthday parties.

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AMC Entertainment is currently toying with the idea of creating texting-friendly auditoriums for movie goers who can't keep their hands off their smartphone for the span of a full-length feature.

The news comes from AMC Entertainment CEO Adam Aron, who explains that "You can't tell a 22-year-old to turn off their cellphone. That's not how they live their life." As a result, the movie chain is floating the idea of designating certain theaters as texting-friendly spaces. Similar to the idea of having a separate smoking section in a restaurant, these spaces would give patrons the choice of what kind of theater experience they wish to have.

While there is no word on whether the texting-friendly auditoriums will become a reality any time soon, the news does demonstrate the struggle that theater chains face when it comes to accommodating tech-savvy consumers such as millennials.

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AMC Entertainment is currently toying with the idea of creating texting-friendly auditoriums for movie goers who can't keep their hands off their smartphone for the span of a full-length feature. The news comes from AMC Entertainment CEO Adam Aron, who explains that "You can't tell a 22-year-old to turn off their cellphone.

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The power of The Force is a very good thing for millions of fans, and especially for Hollywood and movie theaters. In 2015, thanks in large part to Star Wars: The Force Awakens, U.S. box offices reached record revenue of $11 billion. And analysts predict that stocks for theater operators like AMC Entertainment will also enjoy the " Star Wars bump."

But will the power of the Star Wars and other "event movies" continue to lure Gen Z? Consider this: in 2014, Americans aged 12-24 saw 32% fewer films in theaters than they did in 2008. And in 2013, according to a Motion Picture Association of America report, the number of frequent moviegoers between the ages of 18 to 24 fell by a record 17%.

Teens crave experiences that offer an exciting alternative to what they could be doing at home. The traditional cinematic experience (anti-social, disconnected, everything off) just does not jibe with Gen Z's worldview (hyper-social, connected, always-on). While some theaters have started to introduce things like reserved seating, restaurants, and premium concessions, most aren't designed to meet the needs of the next generation of moviegoers.

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But what if teens had creative control of the movie theater experience? What if theater owners and Hollywood worked with Gen Z to inspire an entirely new way to enjoy the movies, and boost attendance and ticket and concession sales in the process? We asked a group of Gen Zers directly. Here's what they said.
Make it social
For Gen Z, the lack of social options at the movies is a big problem. Of course, this isn't about allowing people to talk during the show. This is about re-imagining the movie theater as a vibrant social hub for hanging out and having fun.

One teen's idea for bringing this to life: design the theater to be "easier to sit the way we want to sit. More comfortable. So we don't have to worry about annoying others." Why not get rid of seats all together and create "a free-flow environment where you can interact with other people and watch the movie"? Or make it a space to "watch movies in groups, like at a festival. It would be less individual and more of a social event."
Make it seamless
Teens have a low tolerance for the logistical challenges of seeing a movie. "It's a pain to get everyone together," one teen lamented. The obstacles they complained about most included: not being able to arrive together, not being able to sit together, and not being able to pay together.

While movie theaters are increasingly focused on upgrading the physical experience, maybe it's time to consider the types of digital improvements that could alleviate some of the logistical challenges associated with going to a film. More flexible reservations and ticket-sharing systems are ways movie apps like Flixster or Fandango could address this teen challenge. Or transportation services like Uber could offer teens discounted trip and ticket packages for groups going to the movies.
Make it more than movies
There is no reason why the theater shouldn't be a more significant experience to Gen Z than simply the house of a two-hour movie. "Sitting in a seat, in a theater, just looking at a screen isn't exciting enough to us," one teen said.

Theatres can provide opportunities to do something with the content, rather than simply consuming it. Last summer, Coca-Cola inked a deal with Cinemark Theaters to stream the League of Legends World Championship to the big screen. Or what about one-time-only events? On Sept. 16, 2015, at precisely 12 p.m. EST, Kanye West live-streamed his Yeezy Season 2 fashion show from New York Fashion Week to more than 30 theaters across the globe.

Unlike any generation before them, Gen Z has grown up with access to everything, everywhere. This always-on connection impacts their expectations for any and all experiences. Movies are not an exception.

The reality is, Gen Z has already begun to reinvent the movie-going experience. The key will be to stop assuming that what worked so well the past 100 years will work just as well in the next century. Listen to, collaborate with, and learn from Gen Z. Theaters can't afford not to. And neither can Hollywood. But together, they're a force to be reckoned with.

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the power of the force is a very good thing for millions of fans

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and especially for hollywood and movie theaters. in 2015

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thanks in large part to star wars: the force awakens

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u.s. box offices reached record revenue of $11 billion. and analysts predict that stocks for theater operators ... 02/25/2016

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Gen Z At The Movies: Re-imagining The Cinema Experience

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The power of The Force is a very good thing for millions of fans, and especially for Hollywood and movie theaters. In 2015, thanks in large part to Star Wars: The Force Awakens, U.S. box offices reached record revenue of $11 billion.

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Dutchculture Creative Europe Desk | Centre for international cooperation

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De Europese Commissie heeft een nieuwe preparatory action, oftewel een voorbereidende oproep, gepubliceerd: 'Bioscopen als innovatiehubs voor de lokale gemeenschap' LET OP: de deadline is uitgesteld van 7 augustus 2020 naar 21 augustus 2020

De oproep heeft als doel innovatieve culturele centra rondom bioscopen te creëren, met name in gebieden waar de culturele infrastructuur beperkt is en waar de Covid 19-crisis een zeer sterke impact heeft gehad.

De resultaten van de eerste deadline (25 september 2019) van deze oproep zijn inmiddels bekend, lees hier meer over de resultaten.

Doelstellingen
Lokale bioscopen hebben gemeenschappen bij elkaar gebracht, het lokale culturele leven versterkt en een belangrijke rol gespeeld in de sociale integratie. Ze bieden onderwijskansen en dragen bij aan de lokale economie. De Covid 19-pandemie heeft de bioscopen diepgaand getroffen en heeft de bioscoopervaring op dramatische wijze veranderd. De crisis zal nieuwe instrumenten voor interactie vereisen en op zijn beurt nieuwe bedrijfsmodellen voor de bioscoopexploitanten en voor de gemeenschap rondom de bioscopen.

Daarnaast heeft deze oproep tot doel het publiek naar de culturele centra te trekken en hen op die manier te enthousiasmeren voor de beste Europese audiovisuele en culturele content (speelfilms, concerten, opera, tv-series, animatie, documentaires, erfgoedfilms, korte films en innovatieve content zoals VR)

In het kader van deze oproep zullen nieuwe ervaringen in de bioscoop worden getest, waarbij rekening wordt gehouden met de behoeften van het plaatselijke publiek, en zal de aandacht worden toegespitst op:

Het heroverwegen van de bioscoopervaring in de nasleep van de Covid-19 crisis met het oog op het creëren van innovatieve culturele locaties, in het bijzonder met samenwerking tussen bioscopen en VOD-platforms;

de ontwikkeling van het publiek en de opbouw van gemeenschappen door middel van interactieve ervaringen (het aanbieden van een breed scala aan culturele en educatieve activiteiten).

Wie komt in aanmerking

De oproep staat open voor:

Consortia (een groepering van entiteiten)

Voorstellen kunnen worden ingediend door, of een combinaties van:

Organisaties zonder winstoogmerk;

Overheden (nationale, regionale en lokale overheden);

Internationale organisaties;

Universiteiten;

Onderwijsinstellingen;

Entiteiten met winstoogmerk.

Vereisten

Om in aanmerking te komen, moet een voorstel worden ingediend door een consortium dat bestaat uit ten minste drie rechtspersonen, uit tenminste drie verschillende lidstaten, waarvan ten minste één rechtspersoon een bioscoopexploitant is.

De projectleider dient de aanvraag namens alle partners in. Uitsluitend aanvragen uit de EU-lidstaten* komen in aanmerking.

*Het Verenigd Koninkrijk komt nog in aanmerking voor deze oproep, omdat de oproep valt binnen de periode dat Brexit nog niet officieel is.

Budget

Het totale budget is 1,5 miljoen euro waarvan de subsidie maximaal 70% van de totale subsidiabele kosten bedraagt. De Commissie verwacht tot 4 à 5 projecten te financieren met een maximumsubsidie van 500.000 euro per project. Activiteiten mogen tussen november 2020 en uiterlijk op maart 2021 van start gaan. De maximale duur is 18 maanden.

Welke activiteiten komen in aanmerking?

Voor deze oproep komen onder meer de volgende activiteiten in aanmerking:

Grensoverschrijdende samenwerkingsprojecten tussen bioscoopexploitanten onderling, cinema's, VOD-platforms en andere culturele organisaties (zoals musea, kunstgalerijen, bibliotheken, filmarchieven, concertzalen, theaters, enz.).

Een gevarieerde filmprogrammering van ten minste 60% van de Europese content (voornamelijk uit EU-landen) bestaande uit verschillende genres. De programmering moet een sterke culturele waarde hebben. De programmering kan bestaan uit speelfilms, televisieseries, animatiefilms, documentaires, erfgoedfilms, korte films of innovatieve content zoals VR;

acties die gericht zijn op de oprichting en verbetering van netwerken en de uitwisseling van best practices;

Financiële steun aan derden.

Verwachte Resultaten

De verwachte resultaten van deze acties zijn:

de grensoverschrijdende samenwerking tussen bioscoopexploitanten en tussen bioscopen, VOD-platforms en andere culturele organisaties verbeteren, ook in gebieden met een beperkte bioscoopinfrastructuur of in gebieden die in het bijzonder door de COVID 19-pandemiecrisis zijn getroffen;

Awardcriteria

*Minimumscore per criterium (drempelwaarde): projecten die minder dan 50% van de maximumscore behalen, worden afgewezen.
Minimale totaalscore (drempel): projecten die aan het einde van het beoordelingsproces minder dan 60 punten behalen, worden afgewezen.

Tijdlijn

Publicatie van de oproep

4 juni 2020

Deadline voor indienen

7 augustus (23:59 CET)

Evalutieperiode

september 2020

Aanvragers geïnformeerd over de uitslag

oktober 2020

Tekenen van de subsidieovereenkomst

tussen oktober 2020 en februari 2021

Start van de actie

tussen november 2020 en maart 2021

Duur van de actie

18 maanden

Aanvraagformulieren

Alle aanvraagformulieren vindt u rechtstreeks op de website van de Europese Commissie. Klik hier voor meer informatie en de richtlijnen. Overweegt u een aanvraag in te dienen, neem dan contact op met de Creative Europe Desk.

Klik
hier voor meer informatie en de richtlijnen.

Overweegt u een aanvraag in te dienen, neem dan contact op met de Creative Europe Desk.

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Bioscopen als innovatiehubs voor de lokale gemeenschap

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De Europese Commissie heeft een nieuwe preparatory action, oftewel een voorbereidende oproep, gepubliceerd: 'Bioscopen als innovatiehubs voor de lokale gemeenschap' LET OP: de deadline is uitgesteld van 7 augustus 2020 naar 21 augustus 2020 De oproep heeft als doel innovatieve culturele centra rondom bioscopen te creëren, met name in gebieden waar de culturele infrastructuur beperkt is en waar de Covid 19-crisis een zeer sterke impact heeft gehad.

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Danes nazdravljano našemu prvemu YouTube Live Streamu pretekli četrtek

Vsi prehajamo v novo realnost in temu li v virtualno resničnost. Tokrat še online, na varni razdalji in z radovedno glavo. Žiga Pavlovič nam je na uvodnem srečanju predstavil kaj je VR, kakšna oprema je na voljo, doživetja, ki si jih lahko pričaramo, spletne platforme itd. YouTube Live Straem, smo pripravili skupaj s partnerji v projektu, posnetek pa si lahko še vedno ogledate na YouTube kanalu Resonance Cinema:
primerno smo se tudi mi pretekli četrtek potopi...
https://www.youtube.com/watch?v=5vxwAqnVrlg&t=3s

Pripravljamo se že na nadaljevanje, upamo pa, da se kmalu srečamo tudi v živo.

👏 Today toast to our first YouTube Live Stream last Thursday 🥳 We are all moving into a new reality and this We also drowned into virtual reality last Thursday. This time online, at a safe distance and with a curious head. . Pavlovič presented us at the opening meeting what VR is, what equipment is available, experiences that we can create, online platforms, etc. We prepared YouTube Live Straem, together with our partners in the project, and you can still watch the video on Resonance Cinema YouTube channel: https://www.youtube.com/watch?v=5vxwAqnVrlg&t=3s We are getting ready for the sequel, but we hope to see you in person soon too. #ResonanceCinema #CulturalHub4CuriousMinds #VR #virtualreality #online #YouTubechanel #project #joinus #kinouraniaosijek #mestnikinoptuj #domnakinoto #TISZApARTMOZI #CIDPtuj

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Resonance Cinema. Cultural Hub for Curious Minds

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Danes nazdravljano našemu prvemu YouTube Live Streamu pretekli četrtek Vsi prehajamo v novo realnost in temu li v virtualno resničnost. Tokrat še online, na varni razdalji in z radovedno glavo. Žiga Pavlovič nam je na uvodnem srečanju predstavil kaj je VR, kakšna oprema je na voljo, doživetja, ki si jih lahko pričaramo, spletne platforme itd.

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What is the future of technology and what does this mean for our daily lives? How do technological developments take place and how can we all play a role in this? From 6 June onwards, the ground floor and first floor of the former V&D building in the city center will be transformed into the Warehouse of Innovation for 7 months.

Six weeks ago, initiators Harm Rensink, Ellen Albers, and Nicole Dillisse were told that a programme could be developed in the 1700m2 of available space until 31 December. A mega project in which many parties are now involved and for which three themes have been developed: Energy, Mobility and Smart city.

"Our aim is to introduce the latest innovations from the region to a wider audience within these themes. And not in locations like the High Tech Campus or the TU/e, but in the middle of the city for a longer period of time. Open, accessible, soft, playful and adventurous. Literally between people and aimed at all ages. By doing so, we also want to make the city more attractive as a progressive place to live in."

In addition to lectures and presentations, visitors can also expect new introductions to technological and innovative highlights with pop-up exhibitions.

"Because we as initiators offer space to the business community, government institutions, tech students, designers, startups and partners from the education and technology sectors, an interesting mix will be created, in which new relationships and connections can ultimately be made", Harm Rensink expects. "Warehouse of Innovation will be a journey of discovery along a testing ground for new developments with the possibility for participating companies to see how people react to them."

That insight and the interaction, connection and awareness about the developments in Eindhoven is an important pillar for the initiators. Rensink: "Just as the electronic music of the future took place at the Natlab in the 1950s, there is now also a lot of invisible what deserves a place in this department store".

On the first floor the Ministry of Defence with 20 men and women is already busy preparing for the development of a boot camp with the latest military techniques, a climbing wall to go from ground floor to first floor, VR, a flight simulator and an observation deck to look outside. This exhibition will be on display for four months.

Brainport Development, TU/e, Eindhoven Airport, Philips, Dutch Design Foundation, Fontys Art Code and the Design Academy have also joined the programme development programme. Expect the Stella Lux, for example, a speaker corner, an interactive installation to walk through and the exploded car: where all parts hang in the air as frozen before they come together. Other tech start-ups, companies and schools will be announced in the coming weeks.

Artist Piet Berman will provide the hospitality industry with a focus on healthy eating and exercise. Free pop-up workspaces, open-source meeting spaces and exhibition spaces can be booked during the whole process. The Dutch Design Week and Dutch Technology Week - both major crowd-pullers - are connected.

Rensink sees Dutch Technology Week as an excellent opportunity "because the event still has few satellite exhibitions and because we are working with schools that we would like to invite for a visit. We hope that children will be inspired by everything they see and will want to work in the high-tech sector later on."

If it turns out that there is a continued need after 31 December, the initiators will try to make it work. "We will then take a serious look at where we can go on with it." They don't exclude the Stationsplein where there are plans for a Brainport Experience Centre, "we call on real estate owners to keep an eye on us in the coming months!"

The owner of V&D plans to redevelop the property into retail, homes and offices in 2019. But for now it is still empty, raw and especially dark with a pigeon colony as inhabitants. From the ground floor, one can look five floors to the roof, through the opening where once the escalators were. Rensink does not see this as a problem at all. "No worries, we give everything a color with cool walls and a decoration that fits the themes. It will be an exciting temporary arena, which will really come alive and where we will make a programme with each other and with you. Just wait, join, see and experience!"
Warehouse of Innovation is open in the former V&D from 6 June to the end of December 2018: Wednesday to Sunday from 11:00 to 18:00, and Fridays until 21:00. On other evenings, the warehouse is normally not open, unless there is a theme evening, such as a LadiesNight from the Ministry of Defence or a brainstorming evening with technical students and all parties.
Interested companies, initiators and anyone who feels attracted to make a contribution within the pillars Mobility, Health and Energy can report to: nicole@dnagency.nl 0618809352.

Source: Chris de Zeeuw, E52

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A Warehouse of Innovation in former V&D building

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What is the future of technology and what does this mean for our daily lives? How do technological developments take place and how can we all play a role in this? From 6 June onwards, the ground floor and first floor of the former V&D building in the city center will be transformed into the Warehouse of Innovation for 7 months.

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During Dutch Design Week (DDW), the former V&D building in the city center of Eindhoven was transformed into the Warehouse of Innovation where, a.o., Modebelofte and the Embassy of Mobility showed their work. Did you miss the Warehouse of Innovation or just want to look back again? DDW made a series of video specials in which we put some of the locations of #DDW18 in the spotlight. Next up: Warehouse of Innovation.

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dutch design week eindhoven festival music workshops events

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During Dutch Design Week (DDW), the former V&D building in the city center of Eindhoven was transformed into the Warehouse of Innovation where, a.o., Modebelofte and the Embassy of Mobility showed their work. Did you miss the Warehouse of Innovation or just want to look back again?

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Over the past few months, there has been very little to get excited about.

However, finally something good has come out of the coronavirus crisis.

In a surprise innovation, gamers can now rent out an entire cinema to test themselves on the big screen.

Odeon Cinemas tweeted yesterday to offer people the chance to set up their gaming or movie equipment in one of their theatres.

This is hot off the heels of AMC, who had already started to rent out their screens.

Government restrictions because of the coronavirus crisis have severely impacted cinemas across the world as big screen releases have either been cancelled or pushed well into next year.

Therefore, cinemas have had to think outside the box to keep the lights on.

Odeon's tweet read: "Check out #pewdiepie's latest IG story for a glimpse at our awesome #BigScreenGaming offer! Play your favourite games up on the biggest screen in our cinemas.

"Email eventvenues@odeonuk.com for more info, and quote GAMING10 in your email to get 10% off your booking."

Popular gaming influencer PewDiePie has already taken advantage of this cool new experience. He posted on his Instagram story a picture enjoying the experience of playing Super Smash Bros on the big screen before sitting back and enjoying a showing of The Matrix.

So it appears that you can rent out a giant screen at a fraction of the cost it would be to buy a giant projector, which would be perfect for a FIFA tournament with your mates or to watch a group movie.

The timing of this is particularly clever with the PlayStation 5 and Xbox Series X due for release over the next few weeks.

A great opportunity to see what these next generation consoles have to offer on the largest screen possible and compete with your mates.

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You can now rent an entire cinema screen to game on

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Over the past few months, there has been very little to get excited about. However, finally something good has come out of the coronavirus crisis. In a surprise innovation, gamers can now rent out an entire cinema to test themselves on the big screen.