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Looking forward to participating in tomorrow’s presentations and discussion “International Media Festivals and the Evolution of Transcultural Communities” in conjunction with CYLAND CYFEST 15 “Vulnerability” Speakers: Ellen K. Levy, Patricia Olynyk, Sargis Hovhannisyan Moderator: Natalia Kolodzei A Joint LASER: LASER New York and LASER CYLAND at the Institute for Contemporary Art (I.C.A. Yerevan) Armenia on 1 September 2023 at 20:00 (12PM NYC).  Hybrid (in-person and online). Duration: 1 hour. To register https://lnkd.in/e4d-fGwF We are witnessing the development of many new local digital communities and international media festivals in art and science. Along with showcasing interactions between, and the politics of, technology and culture — technoculture — at least part of this growth aspires to develop effective, collaborative responses to the pressing social and environmental issues of our time. Given the severe reality of our varied situations, many digital communities aim for common solutions that may elude us. This LASER panel will discuss some of the ways artists and curators are attempting to re-imagine our precarious future by reconciling often-opposed values, (e.g., intrinsic vs. instrumental values of art; local vs. global concerns). Examples will be drawn from a diversity of art communities and festivals.

❓LinkedIn asks "What do you want to talk about?". My answer, "ARTIVAL RE:CONNECT." 📹The video #reconnectwiththemoment you see below was shot and produced in 24 hours by artists-in-residence Julie Smith-Belton and Romain Lliedo 🗓️This time last year we completed the Denmark leg of our amazing Nordic arts and culture festival. Prior to the events in Copenhagen and Bornholm, the festival visited Oslo, Stockholm and Helsinki. Do visit IMMART page over the next few weeks to see pictures and reflections from IMMART and the participants. There is just so much to talk about that I cannot possibly fit it all into one post, so this for now, this post is going to be some reflections on what I, in my role as project manager and curator of the festival, feel that I did well and what could have gone or been done better. 💥Contacting Noreena Hertz to ask if she had worked with any artists on the themes of her book "The Lonely Century. A Call to Reconnect" that I had recently read was the first very good move. I was so fortunate that Noreena was extremely warm and receptive to the idea of not only her book being the inspiration for the festival, but also to come to Copenhagen and participate in the events as well. Noreena also provided me with incredible moral support and valuable professional advice that I carry with me today. 💥It is important to work with partners who understand and not only embrace but also incorporate and execute the goals of the project. Verbal contracts are not enough to hold people accountable and having written contracts is essential. 💥Having a narrow focus makes for more coherency and a smoother ride. I found it challenging to fulfill the demands of funding bodies and create a diverse program and in Copenhagen as much as we enjoyed every single happening, the program ended up being a little too broad. 💥The most well attended events/interactions were those where the partners were highly invested in the success of the event too and thus made a strong efforts to bring their own audiences along and/or give #artivalreconnect the due attention and respect. This is important for a small organisation like IMMART that has something of a niche audience. This point goes hand-in-hand with the note on written contracts, to some extent. 💥Connecting people is good! I made very strong efforts to give people involved the opportunity to meet one another outside of the events they were organising. With the generous assistance of the team from Make it DRIVE we held a couple of virtual speed-dating events that were a huge success - I can highly recommend it! 💥I need to be better at delegating! It is a weak spot of mine, and while I did attempt to do this as during ARTIVAL, I could have done it more. Luckily I am very good at recognizing my own strengths and weaknesses and continue to work on this one. A heartfelt thank you to all of the partners and collaborators listed in the comments - I hope to see you at #ARTIVAL2025!

This is a good plan (and I don't say that often) and highlights that the region should be focussing on the brownfields of Parramatta before the greenfields of far western Sydney to minimise environmental impacts of new construction and long distance travel. This plan takes advantage of the City's location and its transport assets and potentials, correctly identifying missing Metro stations (Rosehill and Silverwater) that need to be accounted for, and missing links (Parramatta to Epping) that should be high priority.

While I work in Scotland's property sector with a focus on science, tech and advanced manufacturing, I'm immensely proud that my two daughters have chosen a different career path. Both are in the Arts - one in Theatre (just graduated from QMU and recently stage manager for the excellent The Spilling Cup) and one at college undertaking an HND in Television. Proud, but concerned that the Arts isn't getting the financial support it needs. UCL stated in a post pandemic report "Although the pandemic has caused significant economic and psychological hardship, particularly for those working in the arts and cultural sector, many people turned to the arts as a vital means of coping with the challenges of the pandemic." And more recently 180,000 people visited the recent record breaking 10 week Banksy exhibition in Glasgow. I thoroughly recommend you spend two minutes reading Fran Hegyi's article below. But with the knowledge Edinburgh has 11 annual festivals. And the core festival organisers (EFI, Fringe, Book, Jazz, Film etc) permenantly employ only c.120 people. In 2022, and according to the recently published BOP/Edinburgh Festival City report, those 120 people generated 3.2m event attendances from an audience of 700,000, GVA in Edinburgh of £407m and 5,850 FTE jobs. BOP note 2022 public sector investment in the Festivals was £11m. For every £1 invested by the public sector in the Edinburgh Festivals, there is a return of c£33 to Scotland. Imagine the impact if we funded our creative industries as we really value them...or alternatively the loss to Edinburgh/Scotland's vibrant landscape and the impact on our collective wellbeing if they disappear! https://lnkd.in/ewbYarCV #edinburgh #edinburghfestivals #artsandculture #artsscotland

Why do I still bet on creative conferences? In a world where the digital and physical realms increasingly intertwine, the value of creative conferences has never been more pronounced. I've spent years studying, organizing, and promoting these gatherings because they are more than mere events; they are transformative experiences that reshape culture and the social fabric. With SXSW London coming up soon, the rebirth of MIDEM+ or the expansion of Amsterdam Dance Event beyond electronic music, these gatherings are paving the way for blending art, performance, science, and technology, creating ecosystems where professionals and creatives converge to foster innovation. Festivals such as Primavera Sound or Advanced Music, S.L. take a hybrid approach, combining a strong music lineup with B2B opportunities, offering a bit more than the traditional showcase festivals. These events are essential for discovering new talents and facilitating industry connections, but do they really accelerate the transformation of the industry? Then there are the traditional fairs, which, in an effort to stay relevant, engage consumer brands to create a 'cool' factor, often incorporating elements from their more avant-garde counterparts to attract a broader audience. I'm thinking of Integrated Systems Europe (ISE) or IFA Berlin partnering with TNW to build startup programs. The landscape is further enriched by the emergence of events like ComplexCon and VeeCon... the new kids on the block. These platforms are redefining the conference experience by merging pop culture with industry insights, appealing to both consumers and professionals. They learned from the successes of Lance Fensterman who redefined business events for the masses with ReedPop. Or Karl-Heinz Müller with Bread & Butter back in the day. Amidst this evolving ecosystem, there is ample room for innovators to craft new experiences. We aim to build conferences that not only provide networking opportunities but also serve as a crucible for cultural evolution and a laboratory for societal transformation. Reflecting on an article I wrote in 2017, the passion for events that blur the lines between categories and genres remains (link in the comments). As the event industry continues to move towards an interdisciplinary approach, traditional formats are being reimagined. The quest for attention now requires event producers to seek inspiration from creative conferences, aiming to energize their audiences with fresh perspectives on interaction and knowledge sharing. It's not about attending more conferences; it's about selecting the ones that truly matter—the ones that will change your perspective on life and business. #CreativeConferences #Innovation #Culture #TechEvents Sesamers

I keep getting asked: What is Future Horizons? Is it a tech conference, is it a networking hub or some sort of a music festival? 💥Well picture this: A platform where the sharpest minds from the startup world unveil the possibilities of tomorrow. Now, imagine a space where these conversations turn into collaborations, where debates forge the blueprint of our community's future. And, as the sun sets, envisage a scene transforming, where rhythms and beats signal the start of an epic dance celebration. 💥These might seem like three separate events: a tech conference, a networking hub, and a vibrant festival. Yet, they are not three. They converge into one phenomenal experience that promises enlightenment, connection, and celebration all in a single day. This is the essence of Future Horizons Festival. 💥On the 2nd of February, 2024, we invite you to journey with us from the enlightening keynotes of dawn to the euphoric dance floors of midnight. Engage with the trailblazers who are reshaping our digital tomorrow. Then, as daylight fades, watch the venue metamorphose into a grand celebration with Melbourne's finest DJs orchestrating the night. 💥Future Horizons, presented by The Startup Network isn't just another event; it's the incubator for tomorrow's ideas, a nexus for today's thinkers, and the stage for tonight's unforgettable revelry. Join us, where the future is not just discussed—it's lived. 🚀✨ https://lnkd.in/gMTmSjmZ #futurehorizons #melbourne #tech #events Dickie CurrerVicki StirlingStephanie HallDesmond John

So here’s my opinion. 👍 What a great advert for a great city. ‘You’re new arena isn’t ready? No problem, we’ll take that 35 truck tour and do it in our other arena’ Something no other city in the UK could do by the way. 💡Maybe this is a moment to build on. Maybe instead of being competitors we could see closer collaboration between these two giants to build on Manchesters reputation as an entertainment/sports centre. Let’s imagine a city based festival with both part of the picture. But, maybe that’s just wishful thinking on my part. 💭 In games world we talk a lot about legacy, let’s unpack that a little here. - the AO Arena opened in 1995, it was the first event I worked. It was built as part of an Olympic bid. Although the bid failed, it helped bring the Commonwealth Games to Manchester in 2002. - The Commonwealth Games needed a stadium, which was built and later became the home of Manchester City. - The Stadium, now Etihad Stadium grew to be a campus for sporting excellence. - The Campus is now home to Co-op Live arena. It’s having hard times, but it will open. It will be successful and all this termoil will fade into the background. And yes, I will be there on opening night too. 🔗 Like it or not. The paths of Manchester Arenas are linked and I’m proud of my association with both these venues. I’m proud of this city, its attitude and resilience. Its a place where I’ve spent many years and have many friends and colleagues. 🐝 I love the attitude of this city. “Think we can’t do it? Watch us!’” It’s been a difficult time. It’s regrettable that fans have been inconvenienced and disappointed in the past weeks. But, Co-op Live, will open, it will be a success and Manchester will have two giants of the event industry to be rightly proud of. 👀 Think differently? Watch us! Take That move Co-op Live shows to rival arena after chaos https://lnkd.in/eNZutqwH

New Post: UK government steps in to stop London MSG Sphere plans from being scrapped - https://lnkd.in/gNxCWQY5 - The UK government have made a push for a Las Vegas-style Sphere to be created in London, following initial plans being scrapped by Mayor Sadiq Khan. READ MORE: U2 live in Las Vegas: a dazzling opening night at the $2 billion Sphere Plans for the venue – which would have a capacity of 21,500 – were first announced back in 2018 by the Madison Square Garden Entertainment Corp (MSG), the team behind the iconic New York venue of the same name. It would have been the largest concert arena in the UK. However, after five years of planning for the venue, hopes of it coming to fruition were quashed last month, when the London Mayor intervened in the decision, citing the “unacceptable negative impact” it would have on the local residents. This comes after the proposed venue raised concerns from those living in the area, who highlighted the strains on local infrastructure and health risks. Similarly, the London Assembly environment committee warned of the unacceptable light levels that would be made by the venue – with the finished product set to have an estimated 1million LED light bulbs on its exterior. Now, it has been reported by The Standard that MP Michael Gove has ordered a six-week pause, as he considers calling in the Mayor’s decision. According to the outlet, Gove’s department is working to instruct Khan not to scrap planning proposals via a letter to the London Legacy Development Corporation. This would ask the Mayor to “consider whether he should direct under section 77 of the Town and Country Planning Act that the application should be referred to him for determination.” “The Secretary of State hereby prohibits Your Local Planning Authority from implementing the Mayor’s direction of November 20 to refuse permission,” the letter reads. The secretary of state has the power to overrule the Mayor in his decision to scrap the plans for the London Sphere, and Gove has suggested that he wants an opportunity to look over the plans for the development. Rendering of the MSG Sphere in London. CREDIT: Press In the 2018 planning application for the venue, MSG requested that a 1.9-hectare (4.7-acre) site in Stratford, which was originally used as a coach park during the 2012 London Olympics, be turned into a music venue. Futuristic mock-up images were later published in 2019. The company then shared further details about the new space in September the following year – including the news that Network Rail had withdrawn its initial objection to the construction of the arena. Plans to build a smaller 1,500-capacity venue inside the orb-like arena that could provide a platform for grassroots artists were also documented by the MSG, as well as shops and restaurants. It was around this time that more interjections about the proposed venue arose, however, despite these concerns, the MSG Sphere was still ap

🇪🇺 Preparing with Nele Hertling two sessions for the European Festivals Association summit in Usedom, here are some of the questions we will address: 🌳 *Mon. 13 May: Denis de Rougemont Lab: Experimenting democracy* Why do we choose to create a festival? To promote an artistic form, to respond to a local need or commission? How does an idea, vision, desire germinate? How does a founder (a person, a group) mobilise around this idea, analyse needs, find resources and strengths? How is the festival project organised over time, and what are the consequences for the group in terms of its composition, skills, mode of action and governance? What weakens the core group or, on the contrary, makes it more robust? 🏡 *Tue. 14 May: Festival Cities and Regions Workshop* ❓ What is new in your relation between cities and festivals that you think is relevant to share with the other cities and regions? ❓ What are the methodologies used by cities and regions to consult their festivals: How do cities and regions initiate and strengthen their dialogue with their festivals? How do cities ‘value’ their festivals - in which policy areas and actions do they address festivals? How do festivals define their relation with their cities beyond funding opportunities? We are tapping into the variety of experiences and political ideas of relation ❓ What is the state of play of the work in progress of the EFFE Seal for Festival Cities and Regions focusing on Environmental Sustainability. 😎 Hope to see you at the Baltic Sea! (or in Berlin 15-16 May) ➕ Programme of the summit: https://lnkd.in/gRSw9K-V ⚡ The EFFE Seal for Festival Cities and Regions: https://lnkd.in/eHjbhp4R #culture #festival #europe #germany #berlin 👀 Nathalie Perrin-Gilbert Jochen Schäfsmeier Elisabeth Champollion Jorge Losana Jochen Christian Sandig Martin Bailly Pascal Keiser

The challenges facing Canada’s cultural sector are not unlike those facing fine arts, performing arts and humanities faculties in the post-secondary education sector, and indeed they are mutually dependent and reinforcing. They both require substantial public support and ongoing investment to remain viable, even though individual artists and institutions may be successful outliers. They both share similar structural issues in financial models, political power, and the need to be measured on terms and timelines that have little currency in a society driven by the quarterly returns of Nvidia stock and election cycles. They both need their customers to also be their advocates (audiences, students), and they both find challenges in articulating value to a wider public facing hitherto-unknown-to-humanity access to excellent cultural content and programming online. What I wonder about is whether both of these sectors, who are abundant with brilliant minds and creative, energetic talents, will somehow find themselves leading the conversation about their collective futures rather than have others do it for them. It has to be an urgent, all-hands-on-deck, intergenerational, inclusive, generous, profoundly tolerant and humane, effort because the threats facing both sectors are very real. https://lnkd.in/gBTC6QC9