Page 55 - AC/E's Digital Culture Annual Report 2015

AC/E Digital Culture Annual Report 201555• Holding educational sessions (all ages).• Downloading gadgets.• Allowing access to collections.• Facial recognition.• Smart sensors.• Recommendation systems based on real satisfaction.• Interactive applications for mobiles.• Fostering social networks as a mouthpiece for created content and as a means of interaction.• etc...My thoughts on this are along the same linesas for the major challenge of books: whatabout beforehand? How can I orient digital strategy and technology towards capturing new audiences and getting them to visit museums and art galleries, working with the three aims of culture in general (information, persuasion and education)?MusicIn the culture sector, music has always been at the forefront of the digital revolution, as among other things it has led people all over the world to adopt streaming and subscription models quickly.It is a fact that the Internet is a world full of options for music lovers, offering a flexibility and access that were hitherto unimaginable.Music companies have also realised the huge potential of the Internet as a now essential means of promoting their music (by watching and also rating videos, for example) and of learning about people’s preferences.The main challenge museums must address is being capable of creating new audiences and encouraging them to adopt a more active attitude.Once again, the fundamental challenges in the music world revolve around the ability to create interactive experiences:• Hyper-segmentation and adaptation of language to people.• Attracting new audiences.• How to make music sales more attractive.• How to play with music prices in exchange for promotion in networks, etc...It is expected that by 2016, within just a year’s time, more than 30% of the population will have a smartphone in an environment in which operators compete to establish a new model of mobile music consumption (some two billion people will have become potential users of digital music), according to the IFPI’s Digital Music Report 2014.5Marta Rodríguez