Page 103 - AC/E Digital Culture Annual Report 2014

AC/E digital culture ANNUAL REPORT 2014disseminators and promoters through their comments on new exhibitions. For all these activities, Guillermo Solana, director of the Thyssen, received the “Cultural Tweet ” distinction 2013 at the last Tweet Awards event after voting on the social networks.Also, the MACBA (Barcelona Museum of Contemporary Art) has created Radio Macba (RWM). This is the Museum’s radio project to explore the possibilities of the Internet and the medium of radio as possible places for synthesis and exhibition. Their programmes are available for listening on demand, for downloading and by podcast subscription. This radio maintains its presence and profile where its listeners are to be found, on Facebook and Twitter.many cases succeed in drawing—attention through “virality” on the social networks until they have had tens of thousands of views and so feed interest in the cultural or leisure product in question, namely the film being promoted. Humour is a very common way of obtaining this virality, although sometimes it depends on music, famous people or unexpected situations.COMPETITIONS AS STIMULANTS TO CREATE CULTURAL COMMUNITIESOne way of stimulating participation that has a long history of success in all sorts of media is competitions. In this case, both the subject‐matter and the prizes must be suited to the cultural action we seek to disseminate on the social networks and be relevant for the users we want to attract. The aims would be to stimulate and generate followers on the basis of user‐generated content, a dynamic that will in turn attract its followers.We have an example in Seminci 2013 in Valladolid, which as well as its usual competitions for tickets through Twitter and Facebook invited photography fans to get involved and post their pictures on Instagram under the hashtag #58Seminci and credit themselves as “Seminci Instagramers”. In this way they could win access to a privileged part of the red carpet next to the journalists. This was an action that sought to call attention by creating privileges that would be difficult to obtain simply by supporting the cultural event on social networks.The San Sebastian Festival has also organised photo competitions, such as the one in 2011 on “Your photo of the festival”, which it organised on its Facebook page. The winners could gain free tickets for the closing ceremony.In 2011, art festivals such as ARCO were also looking for “official tweeters” by way of a competition in which contestants had to answer the question, What does ARCO mean for you? The winners wereSome publicauthorities,aware of theimportance ofsocial networksfor thedissemination ofculture, areencouraging their use. A striking case is that of the Government of Cantabria, which has put all its museums, cultural centres and caves on the social networks. The next challenge will be to manage them properly, but this first step is a good sign.The social networks are a great opportunity for creating cultural communities of enthusiastic followersThe social networks are a great opportunity to create cultural communities enthusiastic followers, fans. This is well known in the case of other sectors such as cinema, where films such as the Twilight saga attained over a million followers, being the first film in history to achieve this level of audience on the networks. What the production company did was to provide feedback to this community via a YouTube video of followers in which they were shown and were thanked for their loyalty.It is also usual for many films, in addition to posting classic trailers on YouTube, to create “special” videos, which draw attention, videos designed in communication campaigns that try to draw—and inAC/E WHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURETHEME 8: ARE THE SOCIAL NETWORKS ANY USE TO THE CULTURE INDUSTRY?CURRENT PAGE...103