Page 193 - AC/E's Digital Culture Annual Report 2015

AC/E Digital Culture Annual Report 2015193The idea is for the brand to offer users high-quality content or a service without direct communication. We can also cite very many examples in this case, among them Nowness,45 LVMH’s sophisticated luxury and lifestyle webzine, or the joint venture Netflix-New York Times46 for the launch of the television series Orange is the New Black (produced by Netflix itself), where Netflix discreetly offered an in-depth and documented journalistic service on the conditions in women’s prisons, whereas in the series no more than two lines were dedicated to it in a fairly long passage; or even in the success story of TheVerge,47 a portal on inno- vation belonging to the Vox Media group that emerged as a container for stories on products and brands, normally paid for.If we are to continue underlining the difference between content and advertising, we should admit that the new context has made this boundary much more blurred and difficult to distinguish. Thanks to technology, being pub- lishers and publishing stories is within reach of everyone today; companies are becoming aware of the importance of learning and performing this work in person, in order to establish direct, more genuine and effective relationships with their customers through stories that are of value to them, instead of inundating them with repeated information about themselves or their products.Visiting a museumTechnology has not only found its way into the creative processes, works and performances of many artists; like libraries, museums too areattempting to use technology to reinforce the concept of “visitor to the centre”, improving the experience of the visit.Museums can use technology to improve the experience of the visit and create a relationship and rapport between people and artworks.Cleveland Museum of Art’s Gallery One48 isa system of digital applications that range from an app (Art Lens) for tablets and smartphones that guides visitors through collections andcan be used inside and outside the museum, a small network of iBeacon sensors which interact with the app to activate a variety of contentand orient visitors during the visit, with ten interactive thematic panels (three of whichare specifically for children), to the Collection Wall, an interactive multifunctional wall thatis updated every ten minutes and allows many people to interact simultaneously in different ways, both with art works or, through them, with other visitors.New Experience49 of the Cooper Hewitt Museum, the New York design museum that reopened on 12 December 2014 after more than three years and an investment of approximately 90 million dollars, consists of: a Collection Browser made up of seven interactive tables on which several people at once can explore thou- sands of objects in detail; the People Browser, where the stories handed down by the creators of the works and by the works themselves are told; the Immersion Room, whose walls can be decorated with hundreds of digitised tapestryMarco Ferrario