Creative Transactions: Special Digital Monies in ‘Break Kickstarter’ Crowdfunding Campaigns

Elsden, Chris; Morgan, Evan; Speed, Chris

doi:10.1145/3411764.3445632

“…This ongoing translation of live performing arts into online content has wider implications than can be discussed here, in particular considering how performing arts become subject to algorithmic curation and power (Beer, 2016;Duffy, 2020). However, one specific concern that our participants sought to address was the value and 'creative transactions' (Elsden et al, 2021) that exist around this new work. On the one hand, much content was provided for free, or simply seen as promotional.…”

Section: Opportunities Labour and Value In Building Online Audiencesmentioning

confidence: 99%

“…What is their relationship to 'live' performances how could they record their work, without devaluing a live show (Bahkshi et al, 2010)? What, if any, are the 'creative transactions' (Elsden et al, 2021) and business models that can be built around this content?…”

Section: Introductionmentioning

confidence: 99%

Recorded performance as digital content

Elsden¹,

Yu²,

Piccio³

et al. 2021

Performance in a Pandemic

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Within days of performance venues being forced to close their doors in 2020, the National Theatre began broadcasting high-quality recordings of the best of London's West End. Few other companies could dream of having such rich recorded archives to draw upon. Indeed, for many artists there is a clear tension in the very idea of recording work that is intended to be experienced live.This essay reports on 20 in-depth interviews with performers and theatre-makers who had planned to bring shows to the 2020 Edinburgh Fringe Festival. This article reports on how performers responded to the prolonged closure of venues, and developed a series of strategies to generate value from recordings, even with limited production budgets. Crucially, very few opted to record whole live shows in empty theatres -instead they found specific uses and rationales for recording performance, while developing new expertise with sharing recorded media on digital platforms.We argue that these digitally mediated performances are distinct from other forms of film or 'live-todigital' theatre. Indeed, we suggest that this emerging genre of record will persist beyond the COVID-19 pandemic, and points to new opportunities in recording, broadcasting, and archiving performing arts as digital content.

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“…This ongoing translation of live performing arts into online content has wider implications than can be discussed here, in particular considering how performing arts become subject to algorithmic curation and power (Beer, 2016;Duffy, 2020). However, one specific concern that our participants sought to address was the value and 'creative transactions' (Elsden et al, 2021) that exist around this new work. On the one hand, much content was provided for free, or simply seen as promotional.…”

Section: Opportunities Labour and Value In Building Online Audiencesmentioning

confidence: 99%

“…What is their relationship to 'live' performances how could they record their work, without devaluing a live show (Bahkshi et al, 2010)? What, if any, are the 'creative transactions' (Elsden et al, 2021) and business models that can be built around this content?…”

Section: Introductionmentioning

confidence: 99%

Performance in a Pandemic

Bissell¹,

Weir²

2021

4

0

View full text Add to dashboard Cite

Within days of performance venues being forced to close their doors in 2020, the National Theatre began broadcasting high-quality recordings of the best of London's West End. Few other companies could dream of having such rich recorded archives to draw upon. Indeed, for many artists there is a clear tension in the very idea of recording work that is intended to be experienced live.This essay reports on 20 in-depth interviews with performers and theatre-makers who had planned to bring shows to the 2020 Edinburgh Fringe Festival. This article reports on how performers responded to the prolonged closure of venues, and developed a series of strategies to generate value from recordings, even with limited production budgets. Crucially, very few opted to record whole live shows in empty theatres -instead they found specific uses and rationales for recording performance, while developing new expertise with sharing recorded media on digital platforms.We argue that these digitally mediated performances are distinct from other forms of film or 'live-todigital' theatre. Indeed, we suggest that this emerging genre of record will persist beyond the COVID-19 pandemic, and points to new opportunities in recording, broadcasting, and archiving performing arts as digital content.

show abstract