Page 136 - AC/E's Digital Culture Annual Report 2015

Cultural business models on the Internet136that provides a first-person account of aspects of collaborators’ daily life. Through individual stories labelled at the decision of the authors, a collective history is constructed that canbe consulted by specific subjects such as my neighbourhood, my family, my dreams, my fears; or it can be read, listened to or viewed, depending on the chosen format.On networks the production and exhibition of culture is not one-way, culture is made with the other.In güiquimí, the authors preserve copyright over their works at all times and the information generated by the platform is not shared for any commercial purposes.Big dataBig data is possibly the most important challenge currently faced by those of us who develop cultural platforms, as open data have so far not been considered a raw material for the production, dissemination and sale of culture. In the culture sector, data provides information that is of great value in assessing audiences and disseminating specific projects; administrative projections for cultural programmes are often carried out in accordance with models thatuse hard data to assign budgets to projects in accordance with more or less traditional instru- mentation parameters.Big data expands the Internet in all its dimen- sions and has direct effects on the materialisationof cultural projects in countries that already implement open data for transparency purposes, statistical analysis, accountability and the shaping of specific programmes in the health, political, economic and science sectors.The implementation of open data policies in the cultural sector is no doubt highly valuable to society, as it gives a human and creative meaning to the data that are generated and shared on the Internet. For managers, open data provides a general overview of much more than just ratings and audience profiles or the efficiency of the economic investment. Sharing open data has led artists, designers, developers, journalists, communication specialists and members of organised civil society to work together on developing applications and participatory software for programmes with a social impact that modify our conception of culture.The stories we tell, the reports we write, the pieces of art we generate with data are, without a doubt, new forms of art and culture. Artistic projects based on data in non-virtual spaces, such as Synthia19 by Lynn Hersman-Leeson, which dates from 2000–2, the piece entitled Pan-Anthem20 by Rafael Lozano-Hemmeror Bio-lencia21 by Alfredo Salomón, are increasingly frequent in exhibitions stagedby museums of electronic arts in which data generates sounds, gestures or forms in physical space.Data-based projects for digital narratives were a prominent feature of the Data Bootcamp22 held in collaboration with the Coordination of the National Digital Strategy of the Presidency ofThe transgressive power of sharing