Page 66 - AC/E Digital Culture Annual Report 2014

AC/E digital culture ANNUAL REPORT 2014efforts to be made to raise the necessary €40,000. The “Save The Cosmonaut” initiative managed to raise €130,000.Finally, on 14 May 2013 the film was premiered with three sound tracks, 80 minutes of feature film and 80 minutes of transmedia material.These four years of struggle represent the largest collective funding project in Spain. Of its budget of €860,000, by the end of 2012 half had been raised through crowdfunding in which 598 investors and more than 4,000 producers (on a private basis) had participated.The project was also innovative in terms of its distribution because it was premiered at the same time in cinemas, on television and on‐demand video platforms. Needless to say, since the day it was released, it has been available on the Web.At the other end of the scale in terms of project size is the case of Garrido Barroso who wanted to fulfil his dream of publishing 500 copies of his own comic of 48 pages in an always elegant black and white. It tells the story of a zombie who isn’t a zombie. Of course, he achieved his aim. Called Solo, Garrido’s comic went on sale in 2011. Its author saw his dream come true and comic lovers could enjoy an almost exclusive publication.Crowdfunding is a movement that is gaining ever more acceptance in our country, where finding funding for cultural projects is not easy. In part this is due to the quality and definition of the projects for which funds are being sought and in part it is due to the natural selection carried out by the “micropatrons” as they decide where to put their contributions.The Verkami, Goteo and Lánzanos platforms and La Tahona Cultural, a portal specialised in connecting patrons and creators for cultural projects, have become key instruments because they gather together all the projects for which funding is being sought, all the information concerning the projectAC/Eand, above all, information concerning the benefits to be obtained by those making a contribution.In other cases it is the institutions themselves that publish requests for collaboration with the aim of mobilising art and culture lovers so that their commitment goes beyond mere attendance. The world‐famous Musée Louvre in Paris has used this collaborative movement with the aim of raising funds to restore some of its most outstanding works, such as the sculpture, the Winged Victory of Samothrace, the restoration of which should commence in 2014. As in all fund‐raising campaigns, to achieve a high degree of resonance and success a powerful and evocative slogan is required, a promise of compensation for the donor, and a motivation. The slogan chosen by the Louvre for this campaign was “We are all patrons” and those who collaborate will obtain, amongst other benefits, recognition on the part of the museum and admittance in private visits.As Jose Ramón I. Alba, the collaborator in Ediciones Simbióticas and head of #ThinkZAC has said, “In Network society merit does not lie in what we are assumed to be, but in what we are worth through the contribution of ideas, what we participate in, our real knowledge. (...) Physical and hierarchical intermediaries disappear, a structural change for the new models of local culture: the filter through the networks of creation. Collective intelligence is what constitutes culture.”WHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURETHEME 5: CULTURAL SECTOR MARKETING AND CONSUMPTION THROUGH DIGITAL TECHNOLOGY CURRENT PAGE...66