Kirsti Mathiesen Hjemdahl
Cecilie Andersen (NORCE)
Paper Short Abstract:
A comprehensive literature review aiming to identify knowledge gaps and need within the fields of art and culture showed "a conspicuously lack of research within use of digital technology and how art and cultural organizations use such technology" (Art Council UK, 2017).
Paper long abstract:
The platform for decisions within the art and cultural sector as well as tourism has mainly been limited to experience based management, some analysis of transaction data and market analysis, as well as cultural policy guidelines (Voss og Zomerdijk 2011, Larsen, 2014, Aas et. al 2016,) . Due to the growth in low threshold technology with relatively low investment costs, new opportunities are created in order to use more advanced analysis. It has been argued that such technological platforms will create new fundaments for sustainable value creation, when and if small and medium sized institutions manage to implement digital data as a base for their own management and development (Lind og Raines, 2018).
In Norway, Bergen International Festival initiated a research project to curate the Fjords of Norway for an international audience, both digital and in-real-life (Hjemdahl, 2016). Based on conceptual models for open innovation, they invited a partnership of hotels, restaurants, art scenes and music venues, artists as well as a research team from a variety of disciplines to participate. The aim of the project called Norwegian Icons was to develop innovative attractions based on unique stories and concepts, that will reach new markets through new digital communication channels, based on sustainable business models and cooperation.
This paper will discuss approaches to, experiences from and lessons learned from the combined digital and real-life ethnography within this case study.
Digital ethnography and transformations: tracking cultural expressions in the contemporary world [W]