Phase 1 (May 2020) State/Territory Snapshots
Audience readiness to attend events varies around Australia.
Download the Phase 1 (May 2020) Snapshot reports for key States/Territories.
Snapshot reports are available for key States/Territories
The national results from Phase 1 of the Audience Outlook Monitor were released on 18 May 2020. You can now access Snapshot Reports for key States/Territories, thanks to support from State arts agencies, including Creative Victoria, Create NSW, Arts Queensland, Department of the Premier and Cabinet (Arts SA) and Department of Local Government, Sport and Cultural Industries (WA).
Download the Snapshots
Navigate and click the images below to access the Snapshots for each State/Territory.
Use the dashboard to get results for your artform and region
Survey data from Australian respondents has been aggregated in a freely available dashboard. Click the image below to access the dashboard and start exploring the data.
About the Audience Outlook Monitor
The Audience Outlook Monitor is tracking how audiences feel about returning to events in the context of the COVID-19 pandemic.
Phase 1 data was collected between 6 and 14 May 2020, forming a baseline against which future changes can be tracked.
Government agencies around Australia are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions about re-opening.
How to find out more
To receive these directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.
If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au
Subscribe for updates
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Fact Sheet: Museums and Galleries
Download a Fact Sheet that dives deeper into museums and galleries.
Museums and galleries have an important role to play in the recovery of the culture sector
Initial findings of the Audience Outlook Monitor were released on 18 May 2020, confirming the challenging conditions for re-engaging audiences with arts and culture events.
This Fact Sheet provides further observations into the insights about museums and galleries. Many respondents say they are likely to return to museums before attending concerts or events in seated venues. While many are relaxed about safety guidelines, some are very cautious. Exactly how museums apply social distancing will be important in rebuilding trust with cultural events of all kinds.
Download the Fact Sheet
Click the image below to access the Fact Sheet.
Register for a webinar
The Australia Council is presenting a webinar at 11am AEST on Wednesday 10th June 2020. Join Tandi Palmer Williams, Managing Director, Patternmakers and Alex Marsden, National Director, Australian Museums and Galleries Association as they discuss findings from the Audience Outlook Monitor in relation to the museum and galleries sector.
Use the dashboard to get results for your artform and region
Survey data from over 23,000 Australian respondents has been aggregated in a freely available dashboard. Click the image below to access the dashboard and start exploring the data.
About the Audience Outlook Monitor
The results now available represent the first phase of a three-phase study that will track how audiences feel about returning to events in the context of the COVID-19 pandemic.
Data was collected between 6 and 14 May 2020, forming a baseline against which future changes can be tracked. Data will be collected from audiences again in July and September 2020, as restrictions are lifted on the number of people allowed to gather for cultural events.
Six government agencies are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions about re-opening.
How to find out more
More Snapshot Reports, Fact Sheets and resources will be made available in the coming weeks. To receive these directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.
If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au
Subscribe for updates
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Survey questions in the Audience Outlook Monitor Survey
Access a copy of the questions contained in the Australian Audience Outlook Monitor Survey for Phase 1 & 2. Phase 3 & 4 questions coming soon.
The survey questions used in the Audience Outlook Monitor are available for download
The questions were developed by US research agency WolfBrown, with input from Australian research partner Patternmakers, supporting partners Australia Council for the Arts and state arts agencies around Australia, along with a range of partners internationally.
The questionnaire was tested in a series of focus groups with arts managers and audience members in Australia and the USA. It was piloted in the USA with a database of audience members, before being rolled out in Australia.
Background
Made possible with support from the Australia Council for the Arts, and state arts agencies around Australia, the Audience Outlook Monitor is a tracking study of audience sentiments during the pandemic.
Over 120 organisations are participating by sending a survey to a sample of their audience. This data is being collated and aggregated in a cross-sector dashboard that will be available to everyone in the sector.
Read more information about the methodology.
Where can I go for further information?
To be the first to hear of future announcements about the study, subscribe by entering your email address below. You can also opt in to Patternmakers’ regular Culture Insight & Innovation Updates, which cover research, tools and resources from around the world.
If you have a question about the study, or an idea to share, please contact us at info@thepatternmakers.com.au.
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Subscribe for updates
Fact Sheet: Performing Arts
Analysis of 22,791 past attendees of performing arts events is now available.
Download a Fact Sheet that dives deeper into the challenges for performing arts.
Refund policies and social distancing are key to re-engaging audiences with performing arts events
Initial findings of the Audience Outlook Monitor were released on 18 May 2020, confirming the challenging conditions for re-engaging audiences with arts and culture events.
This Fact Sheet provides further insight into the 22,000+ respondents who attend performing arts events, and their feelings on ticket pricing, refund policies, venue safety measures and audience communications.
Download the Fact Sheet
Click the image below to access the Fact Sheet.
Use the dashboard to get results for your artform and region
Survey data from Australian respondents has been aggregated in a freely available dashboard. Click the image below to access the dashboard and start exploring the data.
About the Audience Outlook Monitor
The results now available represent the first phase of a three-phase study that will track how audiences feel about returning to events in the context of the COVID-19 pandemic.
Data was collected between 6 and 14 May 2020, forming a baseline against which future changes can be tracked. Data will be collected from audiences again in July and September 2020, as restrictions are lifted on the number of people allowed to gather for cultural events.
Six government agencies are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions about re-opening.
How to find out more
More Snapshot Reports, Fact Sheets and resources will be made available in the coming weeks. To receive these directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.
If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au
Subscribe for updates
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Key findings: Phase One
Results from Phase 1 (May 2020) of the Audience Outlook Monitor.
Read about the initial findings and download a Snapshot Report.
Initial results from the Audience Outlook Monitor
By and large, audiences plan to return to arts and culture events in future (85%), with 78% planning to attend just as they did before the COVID-19 pandemic and 7% even more often.
However, the results show that in the short-term, the pandemic will affect who comes back to arts and culture events and how soon, the types of events they visit, and the size of events that they feel comfortable attending.
Venue safety measures are critical, with 96% saying their decision to attend will be influenced by the measures put in place.
Browse the first Snapshot Report to read the national headlines, or download it as a PDF.
Use the dashboard to get results for your artform and region
Survey data from over 23,000 Australian respondents has been aggregated in a freely available dashboard:
About the Audience Outlook Monitor
The results now available represent the first phase of a three-phase study that will track how audiences feel about returning to events in the context of the COVID-19 pandemic.
Data was collected between 6 and 14 May 2020, forming a baseline against which future changes can be tracked. Data will be collected from audiences again in July and September 2020, as restrictions are lifted on the number of people allowed to gather for cultural events.
Six government agencies are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions about re-opening.
How to find out more
More Snapshot Reports, Fact Sheets and resources will be made available in the coming weeks. To receive these directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.
If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au
Subscribe for updates
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Details of the Audience Outlook Monitor in Australia
The Audience Outlook Monitor is underway in Australia. It’s one of the largest collaborative data gathering exercises ever undertaken. Here’s how it works exactly - and how you can access the results.
The Audience Outlook Monitor is a collaborative study of arts audiences, designed to help guide decisions about programming events in the context of the COVID-19 pandemic.
The Audience Outlook Monitor is made possible with support from the Australia Council for the Arts, and state arts agencies around Australia.
Over 120 organisations are participating by sending a survey to a sample of their audience. This data is being collated and aggregated in a cross-sector dashboard that is available to everyone in the sector.
Who has participated and why?
The participating organisations were invited in consultation with our supporting partners. Rather than ask every organisation around the country to participate, our approach was to select a sample of organisations from each state/territory, and get a balance of regions, artforms, types and sizes.
Selected organisations needed to have a minimum number of audience members in their database to participate, so that there would be stability in the cohort across the study.
Our team liaised directly with the participating organisations to help them extract a random sample of audience members from their database, and set up the survey invitation as an email campaign.
You can download a list of the 2022 participating organisations here and the 2021 participating organisations here.
Are the findings nationally representative?
This is not a study of the general population. It is designed to deeply understand a particular segment of the population: those who attend arts and culture events like concerts, festivals, museums, galleries, author talks and art workshops.
The data was collected from recent attendees of participating organisations. The findings are reflective of the databases of arts and culture organisations.
The findings provide a large dataset for analysis that enables us to breakdown the findings at the State/Territory level, and filter by different artforms.
Will participating organisations see their own data?
In Australia, the Audience Outlook Monitor has been designed as a cross-sector collaborative study that will be available to all, including independent artists and organisations without large audience databases.
Individual respondents and organisations will not be identified in the dashboard. However, it will be possible to filter the data to access a detailed picture of different artforms, regions and demographic segments. Combining the data in this way allows us to more clearly identify trends affecting different parts of the sector.
While individual organisations won’t be identified in the dashboard, participating organisations can register their interest to access a de-identified CSV file showing the results collected from their specific sample of audience members.
Is international benchmarking possible?
Our research partner WolfBrown is spearheading an international effort to monitor audiences’ readiness to attend arts and cultural programs.
To stay in touch with news about the international study, you can visit the global Audience Outlook Monitor homepage, and register to receive updates from WolfBrown.
How will the results be shared?
The findings will be available here on the Patternmakers website, and on the websites of supporting partners. Participating organisations will be directly notified.
We will be publishing Snapshot Reports and Fact Sheets, illuminating key topics within the findings.
State snapshots will be distributed by supporting partners in each jurisdiction.
Where can I go for further information?
To be the first to hear of future announcements about the study, subscribe by entering your email address below. You can also opt in to Patternmakers’ regular Culture Insight & Innovation Updates, which cover research, tools and resources from around the world.
If you have a question or an idea to share regarding this data, please contact us at info@thepatternmakers.com.au.
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Subscribe for updates
Connecting with arts audiences online: Fact Sheet
As more artists and cultural organisations look to grow their audiences online, we’ve assembled a Fact Sheet with statistics, insights and resources for digital strategy, marketing and distribution.
Last week. I delivered a webinar entitled ‘What Audiences Want Online’ for the Australia Council for the Arts’ Creative Connections webinar series. It was fun!
I regretted the name of the session, but you’ll have to watch the webinar to find out why!
Watch the webinar here, and scroll down to see a list of resources related to the content of the webinar: digital strategy, marketing and distribution of cultural experiences.
Webinar: What audiences want online
Fact Sheet: Connecting with Audiences Online
If the content of the webinar appeals, and you want to know more about the sources and resources I referred to, you can download the below Fact Sheet: Connecting with Audiences Online.
Thank you to our Research Administrator Aurora Nowosad who helped me to publish this as a Fact Sheet.
Video: six digital professionals share their insights
In the process of preparing the content for the session, I reached out to a number of colleagues working in digital technology.
I wanted to hear about audience engagement, from the point of view of others working closely with artists and cultural organisations (not just a data geek like me!). This included with a web developer, a digital transformation professional, a digital strategist, a digital inclusion researcher and a creative entrepreneur.
Head over to my last post to watch the video and hear what they had to say. Particular thanks go to digital strategist Michael Edson, whose wisdom helped me identify a better way to come at the topic of audience engagement.
Other useful resources on digital engagement
REMIX Academy launched recently with 500+ online talks on topics like digital business models, content creation and creative entrepreneurship. The REMIX guys know their business models, so of course full access to the content involves a (very affordable) paid plan, but you can access 10 hours worth of webinars for free.
The Audience Agency have some helpful guidance for digital strategy (start with this article in Arts Professional).
I’ve been reading Katie Moffat’s Digital Snapshot for years. Another favourite newsletter with digital storytelling finds is the Storythings newsletter.
Still more?
If you have specific questions, please get in touch with me via LinkedIn or Twitter.
To stay in the loop with new research and resources generally, subscribe to Patternmakers’ semi regular Culture Insight & Innovation Updates.
You can listen to the first five episodes of the Theory of Creativity Podcast now, and look out for the upcoming episode on digital storytelling metrics and measurements.
Tandi Palmer Williams
Patternmakers
Managing Director
Tandi leads Patternmakers’ research projects, and is a regular speaker, trainer and writer on audience research and public value in cultural organisations.
Past posts:
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop
6 digital professionals share their insights about engaging audiences online
Six digital professionals share their insights about audience engagement, including a web developer, a digital strategist, a digital transformation consultant and a creative entrepreneur.
This week, I’m delivering a webinar entitled ‘What Audiences Want Online’ for the Australia Council for the Arts’ Creative Connections webinar series.
In the process of preparing the content for the session, I reached out to a number of colleagues working in digital technology.
I wanted to hear about audience engagement, from the point of view of others working closely with artists and cultural organisations (not just a data geek like me!). This included with a web developer, a digital transformation professional, a digital strategist, a digital inclusion researcher and a creative entrepreneur.
I’m so glad I did. Not only are their insights useful for culture professionals thinking about sharing work online - but I learned a lot too (ego - be gone!). Thank you to all the people below who helped me make the webinar much more interesting, nuanced and useful.
Read more about the contributors below.
…
Indigo Holcombe-James
Research fellow in the Technology, Communications and Policy Lab at RMIT
‘It’s important to remember that [digital] inequity applies to audiences as well as cultural sector practitioners. If we want to ensure that the cultural sector is as inclusive as possible in these strange times, acknowledging digital inequity is a critical first step.’
You can read more about Indigo’s work in The Conversation article, on Twitter, her website. You can read her thesis and visit the Australian Digital Inclusion Index (which provides some helpful demographic insights).
Peter Tullin
Co-Founder - REMIX Summits & CultureLabel.com
‘Don’t start with the tech or the platform, think about the need… study the landscape… think deeply about the consumer of the content. What customer journey are you creating and why is it different from what exists already?’
Pete is delivering a free webinar on digital business models and monetising digital work this Friday.
REMIX also just launched the Remix Academy, which will have hours of free content, condensing some of these trends. it will also give you access to over 500 talks from amazing content creators around the world.
Jane Peacock
Digital Coach & Advisor at Your Coach.Digital
‘Right now, the opportunity is to be the people that are building the community… Digital is an enabler of connection. Those who are doing it well are starting to build collaborative ecosystems around what they do, getting active in telling their brand story and reaching out and connecting with people. That’s what we’re seeking; connection.’
At the time of posting, Jane is offering free workshop/ ideation sessions to help businesses pivot. She’s happy to do an hour for free as long as time permits.
Jasper Visser
Consultant specialising in community leadership, sustainable development, and digital transformation
‘Cultural institutions that are successful with digital engagement combine ‘reaching’ and ‘engaging’ activities in an ongoing conversation with their audience. Reach out to a new audience, address a shared interest, find a shared purpose with a new group of people, and then engage them by telling a unique and compelling story that only you can tell.’
Jasper references the (free!) publication the Digital Engagement Framework along with podcasts Explore the Symphony from the National Arts Centre in Ottawa and 20000 Hz: Cremona.
You can read more case studies on his blog www.themuseumofthefuture.com
Yuan Wang
Founder of Yump, web development agency specialising in user experience for not-for-profit organisations
‘Before a person can make a decision about whether to support an organisation… they have to first develop a connection with the website. To develop a connection with your audience, you have to create trust with your content, and to create trust, you need two key ingredients: credibility and authenticity.’
Case studies of Yump's work are online at https://yump.com.au/work/ and they share insights and helpful tips about online engagement on their blog https://yump.com.au/blog/
Michael Edson
Digital strategist working with tech, culture, democracy, & the SDGs
“If you want to ask a powerful question that helps your team see what could be possible, that helps you serve the people you serve and love, the question isn’t “what do people engage with online”, it’s more, “What do we stand for, WHO do we stand for? And what can we do together? I think the answers aren’t in your conference room, Directors Suite or creative studios. They’re out there in the world, so - go out and find them.”
Since the Covid-19 crisis broke, Michael has been working with 13 institutions and leaders across 18 time zones. He says, ‘Audiences, users, PEOPLE, are inventing a new kind of digital culture, a new kind of platform in the home that is cultural, emotional, connected, and open to play and experimentation in a way we've never seen before. I encourage your audience, everyone, to look outward from their institutions and join together with communities to develop the cultural language for what is happening to us now — and to help shape the culture we want to have when the crisis eases.’
Michael is organising free workshops, an evening of Ignite talks, and peer-to-peer meetings for cultural leaders and practitioners — find out more at https://usingdata.com/covid19.
…
Header image features Jasper Visser at work. Image credit: Dmitry Smirnov / Strelka Institute
Tandi Palmer Williams
Patternmakers
Managing Director
Tandi leads Patternmakers’ research projects, and is a regular speaker, trainer and writer on audience research and public value in cultural organisations.
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop
The art of adaptation
A journalist friend asked our MD recently how the culture sector is adapting, and whether she was seeing exciting examples of digital innovation already emerging from the crisis.
To which she answered yes. And, no. And not yet. Here’s why.
A journalist friend asked me recently how the culture sector is adapting, and whether I was seeing exciting examples of digital innovation already emerging from the crisis.
To which I answered yes. And, no. And not yet. Here’s why.
Why I said ‘yes’
Yes, some cultural experiences are rapidly moving online. Like the Melbourne Symphony Orchestra streaming live performances on YouTube mere hours after announcements that performing arts venues in Victoria would close.
In the past few weeks we've seen some incredible offerings emerge. In fact, there were a lot of cultural offerings already online, some of them crying out for a larger audience to find them. From the treasure troves of Europeana (the online collections of over 3,500 European museums, libraries and archives) to innovative contemporary performance experiences like AudioPlay (an interactive audio theatre game for kids), there are some impressive options to choose from.
But it's important to state that many of these digital experiences have been years in the making, required significant investment and deep thinking by teams of highly-trained people.
Which brings me to the ‘no’ part of my answer.
Why I said ‘no’
There are a lot of artists (and large cultural organisations) out there who are still in crisis mode, who overnight lost their income and their potential to earn one for the forseeable future. The events and experiences they have worked on for months or years are (in the short term at least) now redundant.
For those professionals (who FYI were already in one of the most highly educated yet underpaid professions in our country) it's critical that they get the support they need to survive. Only with the benefit of food, shelter and security, for themselves and their families, can they even contemplate making new work for a new world, or ‘adapting’ works for online consumption.
Which brings me to the task of digital adaptation itself, and why my final answer is 'not yet'.
Why I said ‘not yet’
Having previously been Research Manager for technology innovation program the Digital R&D Fund for the Arts in England, I know that the digital environment brings its own opportunities and challenges. I've seen many tech innovation projects fall short of their goals because creating engaging experiences online is not straightforward.
Yes, the world's online population is now your potential audience (and it’s spending more time online than ever before), but you’re also competing with the world's artists, institutions, influencers and broadcasters.
Adapting a gig designed for the physical world and expecting equivalent digital attendance is not a given. Adapting an exhibition designed for the physical world and expecting an equivalent experience is not a given. Adapting a product designed for the physical world and expecting equivalent sales is definitely not a given.
Digital cultural experiences are different. Not better, or worse, but definitely different.
Producing great quality digital experiences requires in-depth knowledge of the capabilities and limitations of digital platforms, and the attitudes and behaviours of digital audiences (#attentionspans!).
For instance, online, you can lose that visceral feeling of ‘live’-ness, but you can gain new forms of access, with cameras able to provide close ups of actors you would never see in a theatre (NT Live was one of the first to master this for cinema audiences).
With mobile technology like apps, there’s no captive audience waiting for the show to start, but you can reach people anywhere. And there's more potential for interactivity, and personalised experiences, like Karen, an experimental mobile theatre experience by Blast Theory that psychologically profiles you as you play, adapting the performance to you.
One of the big elephant-sized questions in the room is the extent to which audiences are willing to pay for digital experiences, and the relative cost of developing high quality offerings online. I Lost My Gig has calculated that more than $325 million has been lost from the performing arts industry since the pandemic began, and only time will tell what proportion can be 'recovered' online in the coming months and years.
I answered 'not yet' because mastering the art of adaptation is going to take time. And money (there is more to this than live-streaming events on YouTube). If we're serious about quality (in the arts is there any other way?) it's going to require new innovation programs, accelerators, training and capacity building. New techniques, new platforms, new business models. New partnerships and collaborations between cultural organisations and technology firms, artists and software programmers, musicians and graphic designers, producers and UX experts.
My team will be working on providing insight to artists and cultural organisations about audience demand, tastes, preferences, behaviour and spending, and how the situation is changing. We'll be releasing new data sets, running webinars, facilitating digital focus groups and testing products.
Collectively, we're going to have to do a lot of failing before we see gold. But if that journalist asks me again in a year's time, I know I'll be sharing examples of products and experiences that we simply can't comprehend today.
Ultimately, it will be artists who show us the art of what's possible online, assuming they get the investment and support they need. There is literally no-one better placed to blow our virtual socks off. But not yet. Patience!
This article was first published on LinkedIn
Image credit: David Collins for Audio Play
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop
Announcing new research on audience sentiment in the era of COVID-19
We’re pleased to announce that Patternmakers and WolfBrown will be conducting new research to support the arts and culture sector with robust and responsive intelligence to inform critical decision-making and planning over the coming months.
In this post, we share what this research is about, the topics it will be exploring, who it’s designed for, and ways to get involved.
We’re grateful for the support of the Australia Council for the Arts, Creative Victoria, Create NSW, Arts Queensland, and other partners to be announced.
The COVID-19 pandemic has meant the closure and cancellation of every arts event in the country. It’s critical that artists and cultural organisations can access insight to help them plan ahead.
Not least among the challenges is the extreme uncertainty that we are dealing with, and how much things are likely to change in the coming months.
I’m pleased to announce that Patternmakers and WolfBrown will be conducting new research to support the sector with robust and responsive intelligence to inform critical decision-making and planning over the coming months.
We’re grateful for the support of our partners the Australia Council for the Arts, Creative Victoria, Arts Queensland and other agencies soon to be announced. Below you can read more about this work and how to get involved.
What is this about?
The purpose of the study is to understand audience attitudes and track behaviours associated with participation in arts and culture in Australia amid the COVID-19 pandemic.
Data collected through this study will provide a robust evidence base and identify opportunities for the sector to address the implications of the pandemic. By providing community insights for programming, marketing, fundraising and operations, this work aims to ensure the sector can adapt and recover following the worst of the health crisis.
We believe that this insight will form a key component to the sector’s recovery from this crisis and support the future of arts participation in Australia.
What topics will you be exploring?
A preliminary list of research topics for the study includes:
Changing participation in live events in arts venues, public spaces, and museums and galleries, and associated activities like eating out and using public transport
Interest and intent to participate in the future, including confidence and trust in institutions, and conditions under which people will feel comfortable returning to arts events
Feedback on actions by arts institutions about COVID-19, including customer service, donations and credit approaches for cancelled arts programs
Participation and level of interest in virtual arts experiences, such as live streaming of performances, virtual exhibitions and arts apps – whether paid, free, or by donation
How the above vary according to personal and household characteristics, including age, gender, location, household type, income level, education, work status and attitudinal outlook.
In the coming days and weeks, we’ll be asking arts professionals to share their ideas and give their input into the research design.
Why is this needed now?
We’re setting this study up now, so we can track how things change over time.
According to the leader of the study, Alan Brown, ‘Right now, everything depends on the epidemiological progression of the virus, and the regulations put in place to keep the public safe and to minimise health risks. At some point in the future, mandatory closures will be lifted, but this doesn’t mean that audiences will be ready to return.
There is expectation that some younger audiences might be willing to re-enter the marketplace for cultural programs earlier, while older audiences might not be ready to go out again for some time.
We believe that now is the time to start reliable stream of data collection around audience attitudes and likelihood to attend the arts now and in the future.’
Why a tracking study?
With a baseline of data, we’ll be able to observe changes when they occur, and be able to identify opportunities for the resumption of programming based on a reliable picture of likely demand. We believe rigorous data collection will empower artists, arts organisations and government to make informed decisions in a highly uncertain environment.
Understandably, the sector is intensely focused on managing costs whilst keeping audiences engaged. But the financial risks will also be present on the upside of the recovery, when decisions about gearing up staff, and committing to venues, bookings and artist guarantees must be made.
How did this come about?
In response to the health crisis, WolfBrown is spearheading an international effort to monitor audiences’ readiness to plan visits to arts and cultural programs, with the goal of bringing high quality data to the sector’s decision-making about when and how it is time to resume programming.
Patternmakers will be leading the Australian deployment of the study, with support from government agencies around Australia.
Additional partners are expected to join the study in the coming weeks.
How will it work?
This study will consist of a longitudinal tracking study with multiple waves of data collection over the coming months.
Working through national and State-based funding bodies, cohorts of participating organisations will be invited to deploy an online survey to samples of their audiences.
The survey will be administered online, so that the sector can quickly gather and have access to results in real-time. The data will also be made available in an online dashboard tool, administered by WolfBrown. This will enable users to filter the results to find out how relevant audience segments are responding.
Aggregate results will be summarised in a series of Snapshot Reports and disseminated regularly through partners’ communications channels.
Where can I go for further information?
To be the first to hear of future announcements about the study, subscribe to Patternmakers’ Culture Insight & Innovation Updates (please type your email in at the bottom of this page to sign up).
If you would like to understand how your organisation can be involved, please contact us at info@thepatternmakers.com.au.
About the Author
Tandi Palmer Williams
Managing Director
Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.
Delivery partners
Supporting partners
Past posts on this blog
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop:
Digital arts experiences to enjoy from home
With arts venues, events and festivals being cancelled or postponed for the foreseeable future, it’s a good time to start exploring the offerings online.
Here are a list of great quality digital arts resources you can consume from home, including arts education resources for families.
With arts venues, events and festivals being cancelled or postponed for the foreseeable future, it’s a good time to start exploring the offerings online.
Here are a list of great quality digital arts resources you can consume from home, including arts education resources for families.
Many of these are completely made available for free or at low-cost to the user, so if you love something, you might consider making a donation to help out artists and arts organisations at this time.
For kids and families
Author talks and workshops
In the next fortnight, the Sydney Opera House will be streaming live digital workshops such as Staging Stories and the Story Factory workshop.
For any parents wanting to give their kids some quality arts education at home, all of the SOH digital education resources are available online with teacher notes.
Storyline Online has a collection of favourite kids books read by famous people, like Arnie the Doughnut read by Chris O’Dowd.
Digital art apps for kids
There are some amazing art apps designed especially for kids by some of the world’s most iconic cultural institutions.
As part of the Kennedy Center Education Artist-in-Residence at Home, Mo Willems invites you into his studio every day for his LUNCH DOODLE. Learners worldwide can draw, doodle and explore new ways of writing by visiting Mo’s studio virtually once a day for the next few weeks.
Tate Kids has art making games, quizzes and videos that will make parents want to play too!
NGAkids interactives offer an entertaining and informative introduction to art and art history, from the US National Gallery of Art. There are a variety of computer-based activities and things to do at home.
Artsology helps kids learn to appreciate the arts by providing them with the opportunity to play games, conduct investigations, and explore different forms of art.
Kids Think Design explores careers in fashion design, graphic design, interior design, book design, product design, film and theatre, architecture, animation, and environmental design.
Virtual museum experiences
From the Sydney Opera House’s Digital Education team, families can access LIVE digital tours from home this week, such as the Guwanyi Walama tour of the Aboriginal history of the site.
The British Museum, located in the heart of London, allows virtual visitors to tour the Great Court and discover the ancient Rosetta Stone and Egyptian mummies.
The San Diego Zoo has a website just for kids with amazing videos, activities, and games.
You can also tour Yellowstone National Park, and explore the surface of Mars on the Curiosity Rover.
For adults
Virtual art exhibitions and talks
The NGV is sharing daily content and inspiration using the hashtag #NGVEveryDay. You can also visit the NGV website for virtual exhibition tours and talks, and explore NGV Channel for videos, essays and interviews. They’ll be sending frequent updates in their e-newsletter, with lots more content to follow and activities for kids and families especially for school holidays.
For those unable to proceed with travel plans, the Google Arts and Culture app, available on iOS and Android (and web), is like Google Street View for galleries and places of cultural interest. It allows the user to explore highlights or entire floors of institutions like MoMA New York, Uffizi Gallery, Florence and The State Hermintage Museum in Russia.
Virtual orchestras
The Berliner Philharmoniker can be enjoyed from your TV, computer, tablet or smartphone thanks to the Digital Concert Hall. Each season, around 40 concerts are broadcasted live in HD and there are hundreds of recordings, numerous interviews, Education Programme films. Redeem the voucher code BERLINPHIL by 31 March and receive free access to all concerts and films in the Digital Concert Hall.
Courses
MoMA has a range of free online courses, on topics like What is Contemporary Art? and Seeing Through Photographs.
Author and speaker Catherine Deveny is sharing her TEN online writing classes for free on Facebook (by donation). The first two episodes are already available and more coming soon.
With thanks to all those who have contributed suggestions, including the Sydney Opera House, NGV.
We’d also like to credit other pages and posts where we have sourced this list from, including Jules Buckland on Facebook.
If you have items to add to this list, email us at info@thepatternmakers.com.au
Cover illustration by Rose Blake is from Meet the Artist: Andy Warhol published by Tate at https://www.tate.org.uk/kids/make/paint-draw/make-pop-art-warhol
Be in the loop
We're listening...
This week, we’re launching a podcast. ‘Theory of Creativity’ is a series of weekly interviews with experts in research, economics, innovation, advocacy and policy. Here’s some of the reasons why we’re taking time out from client work, to do some listening and learning.
This week, we’re launching a podcast. ‘Theory of Creativity’ is a series of weekly interviews with experts in research, economics, innovation, advocacy and policy.
It has meant time away from client work, my team and my family. I’ve been asked ‘why’, ‘why now’, ‘why a podcast’ and my favourite, ‘shouldn’t you charge people for that advice?’ Here are my answers.
Where did the idea come from?
After participating in the Australia Council’s Arts Leaders Program 2016-2018, I reflected that many of our conversations on the program related to one of three central needs for arts and cultural organisations: reaching more people, securing funding and creating positive impacts through our work.
I’ve spent 10 years in the arts as a researcher, and seen how the right ideas and insights can enable teams to achieve ambitious goals. But applying insights in the arts is not straightforward. Partly because there are complex tensions between what’s artistically interesting, financially viable and socially impactful.
A new decade is here, and I firmly believe in the power of the arts to be a force for good in the world. But if we’re to realise the full potential of a creative society, as a sector we need to be bigger, better and stronger. With this podcast, I’m making sure cultural professionals can access the best possible thinking and insights, from experts that really know their stuff.
Who is on the podcast?
All the guests on Theory of Creativity are leaders in their field. In the first season, this includes experts in audience research, economics, policy and design thinking - who know how to apply these tools in the arts sector.
For many of the interviews, I’m joined by an Australian arts leader, including many of my colleagues on the leadership program. I’m grateful to colleagues who collaborated with me in developing the podcast: Simon Abrahams, Amy Maiden, Jade Lillie, Erin Milne, Kate Eltham, Morwenna Collett, Anna Reece and many more - you know who you are!
What is in each episode?
Listeners can expect to hear a friendly and frank interview with an expert. Each episode goes for about 45 minutes, and in that time, we cover, the details of their practice, key successes and challenges for that field, and tips for those applying these techniques in their organisations.
We also cover useful resources, further reading, and what lies ahead in their area of expertise. At 45 minutes, it’s designed to be digestible during a commute or workout.
Why a podcast?
Podcasts are the only media that I believe give you your time back. All other media - whether that be reading article, attending a discussion event, doing online training - require you to give up your time to engage.
Podcasts are designed to be consumed while commuting, cooking, walking, doing the laundry. As a busy working mum myself, I’m hooked on podcasts! If you haven’t yet got into podcasting - give it a go!
Who is it for?
The target audience for the podcast is leaders and mid-career professionals in the arts and culture sector. So, people working in theatre companies, museums, galleries, festivals. They might be CEOs or Artistic Directors, Marketing Managers, Program Officers or Directors of Development.
It’s for anyone who is thirsty for more knowledge, more insight, who believes that we have greater potential as a sector.
How have you produced the podcast?
Pretty much everything has been done in-house by me and my wonderful team. I used the media room at our co-working space Hub Hyde Park to conduct interviews. I bought a second hand Yeti microphone to interview while I’m travelling. I also use Skype for some interviews. In editing, we used free Audacity software. I purchased a music track by Pop Villains on music platform Premium Beat. Our freelance designer Marchelle Matthew produced the artwork for the podcast, and set us up with templates in Canva. My colleagues Jodie Bombardier and Aurora Nowosad produce the show notes for every episode, using transcription service Rev. The podcast is published via Whooshka, a free podcasting platform, and that pushes the episodes through to Apple iTunes and Spotify,
Knowing absolutely nothing about podcasting before I started, it has been a sharp learning curve, and really this is only the beginning. I could list 100 things that aren’t right about our first episodes, but I’m super proud that they are done and out there in the world. Now we can start work finding ways to improve the experience for our listeners.
I was able to access a small amount of seed funding from the Australia Council, which has enabled me to cover some key costs for the first season. Otherwise, we have done it all on a shoestring with a few late nights!
Shouldn’t you charge people for that advice?
This one’s easy. No. We’re honoured to work one-on-one with our clients - and we put in 110% on every job. But as a sector we have so much to do!
This podcast is about serving our wider community of culture professionals. If this helps us serve you better, job done.
What are your aspirations for the podcast?
I hope this podcast helps arts and cultural professionals stay informed about the techniques that are available to them, and to be wise to the success factors for applying them in their own organisation. I hope it helps build research literacy in the sector, and that we have better conversations because of it.
I hope it allows for more nuance, in discussing complex topics.
By undertaking the interviews, I hope to build my own understanding how how they can be applied in combination to grow and strengthen organisations. Already I’ve learned so much!
Ultimately, I hope that it helps us collectively to reach more people and do more good in the world.
I’d love to hear your ideas. You can get in touch any time with us at theoryofcreativity@thepatternmakers.com.au
About the Author
Tandi Palmer Williams
Managing Director, Patternmakers
Tandi is a researcher and management consultant in the cultural sector (and now, host of the Theory of Creativity podcast!)
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop
Resolutions for a new and different year
Our team is back at work after the holiday season. It's early days, but we know we want to work differently in 2020. Here are some of our #newyearsresolutions.
As we welcome in a new decade, it's time for new ways of working.
This summer, Australia's tragic bushfires have had such an enormous impact: environmentally, socially, politically. It feels like the universe has shifted and we all need to rethink our place within it.
My team met for our first team meeting of the year yesterday, and I won't lie. I didn't get that exciting 'back to school' feeling that I usually do. It felt wrong to say 'happy new year!', chat about our holidays, how much we ate and what Santa brought for our kids.
Mostly, we talked about the fires (#AustraliaisBurning), about single-use plastics, about sustainable travel. We talked about how wrong many of our summer traditions feel (fireworks, plastic toys, Christmas lights, shopping on the sales).
We started to reflect on all our roles and responsibilities: what the Government should be doing, what businesses should be doing, and what we should be doing as individuals. As a team we are only at the beginning of this journey, and though we had lots of great questions (we are research geeks after all) we had few answers.
I don't yet have the answers of how Patternmakers will change, but over lunch a set of #newyearsresolutions emerged. I'm sharing them here to say publicly: we will be working differently in 2020 and beyond.
Patternmakers Resolutions for 2020
We will think about the impact of our decisions, and use our skills to help others understand the impact of theirs.
We will continue to serve the arts and culture sector as a force for good in the world - and we'll explore working with other good causes where we can make a difference.
We will be active citizens: openly reflecting, joining discussions and sharing our ideas publicly and often.
We will work with teams that want to make a bigger contribution.
We’ll prioritise the exciting and meaningful research questions to tackle, over #vanitymetrics and #boxticking.
We’ll be stronger and smarter, not bigger.
We will travel; slowly & consciously.
We’ll stay true to our core values of integrity, support, creativity and positivity.
We’ll put as much effort into looking after ourselves and eachother, as we do into helping others.
Do you have new year's resolutions this year?
...
The image featured above is from a Team Day we had in 2018, organised by Penny Cannan with Parva Little Things. We made our own lip balm and body scrub using pantry items like coffee grounds, essential oils and salt. I'd choose something like this over the pub any day!
Our 2019 team highlights
2019 has brought its successes and challenges. In this post, MD Tandi Palmer Williams reflects on the highlights and learnings.
2019 is the last year of the decade, and in many ways it has felt like a coming of age. It’s now my fifth year in business, having started freelancing as a research consultant in 2016, and I’m finally beginning to feel settled - though the learnings just keep coming!
As a team, we’ve achieved so much, but there is still so much work to do! Arts and cultural organisations are lagging behind other not-for-profit sectors in terms of capturing data about their impact, and our fundraising is not yet delivering the rates of return seen in other sectors.
But there is a lot to feel good about too - and one of my big lessons is to pause more, express gratitude and reflect on how far we’ve come. Here are some of our team’s highlights of the year that was 2019.
Audience Research Toolkit released
After two years in development, involving a needs analysis, data collection, co-design workshops, and user testing, Creative Victoria’s Audience Research Toolkit was launched.
Designed to help the small-to-medium creative arts sector conduct ‘DIY‘ research in-house, we developed the toolkit’s tools, templates and guidance for surveys, focus groups and data analytics.
I spoke with artsHub about the toolkit and how it can help creative arts organisations develop audiences and build engagement.
Visit the toolkit at www.creative.vic.gov.au/toolkit
GENEXT report published
We were delighted to see our research for the Museum of Contemporary Art Australia (MCA) published as a report, ‘By young people, for young people: A report on the impact of GENEXT at the MCA’.
The research found that by empowering a committee of teenagers to program regular festival-style museum ‘take-overs’, the institution has created a safe space for young people to express themselves. It has also led to audience development: past participants in GENEXT are more likely to attend the MCA, make art themselves, buy works of art and donate to arts organisations.
The research was reported in the Sydney Morning Herald in September.
Speaking about audience development
In August I was thrilled to co-present at Performing Arts Connections in QLD with our client, Rebecca Bennell from The Cube Wodonga. We talked about Actioning Change: converting research to reality in regional venues.
Since working together on an audience development plan in 2017, The Cube has gone on to grow ticket sales, increase membership income and diversify their audience. Rebecca shared what has worked, and what hasn’t, and I spoke about the lessons for audience development.
It’s been a real honour to work in partnership in this way and see what a great team can do with research.
On stage with Rebecca Bennell at PAC
Presenting at Culture 2.0 in St Petersburg
In November I was invited to speak on a panel as a part of the St Petersburg International Cultural Forum. The subject was where the world is heading, and how cultural institutions are innovating in relation to global trends.
It was an honour to be one of the only Australians at the event, but it was challenging too! Speaking to a foreign audience, with live translation in Russian and Chinese, it really put my speaking skills to the test, in a good way!
It also forced me to ‘zoom out’ on our work and put it in the context of global issues. I spoke about how Australian cultural institutions are delivering public value and contributing to topics like climate change, diversity and migration, and youth mental health.
On stage at Culture 2.0 in St Petersburg. Image credit:
Working with a team of legends
One of the highlights of this year, and of my life generally, has been working with a team of super bright, incredibly talented and supportive people.
Our newest team member Bianca Mulet is our rising star, creating sharp insights from all kinds of data. Dr Catherine Davis has brought sociology to our team, which we have all learned so much from, and Jodie Bombardier our Operations Manager connects all the dots behind the scenes to make everything flow!
In 2020, we’re looking forward to having Aurora Nowosad back after her baby break, and farewelling Catherine as she takes on new challenges. It’s such an honour to work with these stars and I’m incredibly grateful for their support and commitment to our vision.
There are many, many more highlights - but I’ll leave it there for this year. The working year is not quite done and there are deadlines to be hit, presents to wrap and sparkling wine to drink!
Over summer, I’ll be sharing some predictions for 2020, and how we can continue working together to grow culture, creativity and community.
See you then!
About the Author
Tandi Palmer Williams
Managing Director
Patternmakers’ Founder and Managing Director Tandi Palmer Williams is an experienced consultant and arts and culture research specialist.
Be in the loop
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
What had us talking in 2019
In 2019 our MD Tandi Palmer Williams took to LinkedIn to share ideas with you. Here are the top articles that had us talking.
The end of the year is a great time for reflection, and a great opportunity to take a look at what’s unfolded this year, what’s worked well and where to improve, before bracing for the next.
Tandi took to LinkedIn this year, to share ideas on audience development, strategic planning and data culture. Here are some highlights:
First-time visitors need more than a map
A visit to the #TateModern had us thinking about how we give first-time attendees the best possible experience.
What constitutes a 'promising program' in the arts?
The Australian Institute of Family Studies has a definition of 'promising' and 'emerging' programs. Would this work in the arts?
Do you know when to act and when to evaluate?
As leaders, we need to judge when to pause and evaluate our work. But no-one wants 'analysis paralysis'. What if there was a decision-tree help guide our evaluation decisions?
Are micro-experiments they key to developing audiences?
Two years after working together, we looked back on a past client and everything they've achieved since. It led to some ideas about how small experiments can add up to big changes.
What if the arts sector was data-rich?
Arts and culture organisations are along the least likely to measure their success - but we chose to see that as an opportunity.
Power moves: How evaluation can help you prepare for multi-year funding applications
For our arts & culture colleagues applying for funding this year, we shared some ideas about how research and evaluation can help you refine your strategic direction and test new ideas.
Header image credit: Photo by Jason Leung on Unsplash
Be in the loop
What got us talking in 2019
In 2019 our MD Tandi Palmer Williams took to LinkedIn to share ideas with you. Here are the top articles that had us talking.
The end of the year is a great time for reflection, and a great opportunity to take a look at what’s unfolded this year, what’s worked well and where to improve, before bracing for the next.
Tandi took to LinkedIn this year, to share ideas on audience development, strategic planning and data culture. Here are some highlights:
First-time visitors need more than a map
A visit to the #TateModern had us thinking about how we give first-time attendees the best possible experience.
What constitutes a 'promising program' in the arts?
The Australian Institute of Family Studies has a definition of 'promising' and 'emerging' programs. Would this work in the arts?
Do you know when to act and when to evaluate?
As leaders, we need to judge when to pause and evaluate our work. But no-one wants 'analysis paralysis'. What if there was a decision-tree help guide our evaluation decisions?
Are micro-experiments they key to developing audiences?
Two years after working together, we looked back on a past client and everything they've achieved since. It led to some ideas about how small experiments can add up to big changes.
What if the arts sector was data-rich?
Arts and culture organisations are along the least likely to measure their success - but we chose to see that as an opportunity.
Power moves: How evaluation can help you prepare for multi-year funding applications
For our arts & culture colleagues applying for funding this year, we shared some ideas about how research and evaluation can help you refine your strategic direction and test new ideas.
Header image credit: Photo by Jason Leung on Unsplash
Be in the loop
2019 team highlights
2019 has brought its successes and challenges. In this post, MD Tandi Palmer Williams reflects on the highlights and learnings.
2019 is the last year of the decade, and in many ways it has felt like a coming of age. It’s now my fifth year in business, having started freelancing as a research consultant in 2016, and I’m finally beginning to feel settled - though the learnings just keep coming!
As a team, we’ve achieved so much, but there is still so much work to do! Arts and cultural organisations are lagging behind other not-for-profit sectors in terms of capturing data about their impact, and our fundraising is not yet delivering the rates of return seen in other sectors.
But there is a lot to feel good about too - and one of my big lessons is to pause more, express gratitude and reflect on how far we’ve come. Here are some of our team’s highlights of the year that was 2019.
Audience Research Toolkit released
After two years in development, involving a needs analysis, data collection, co-design workshops, and user testing, Creative Victoria’s Audience Research Toolkit was launched.
Designed to help the small-to-medium creative arts sector conduct ‘DIY‘ research in-house, we developed the toolkit’s tools, templates and guidance for surveys, focus groups and data analytics.
I spoke with artsHub about the toolkit and how it can help creative arts organisations develop audiences and build engagement.
Visit the toolkit at www.creative.vic.gov.au/toolkit
GENEXT report published
We were delighted to see our research for the Museum of Contemporary Art Australia (MCA) published as a report, ‘By young people, for young people: A report on the impact of GENEXT at the MCA’.
The research found that by empowering a committee of teenagers to program regular festival-style museum ‘take-overs’, the institution has created a safe space for young people to express themselves. It has also led to audience development: past participants in GENEXT are more likely to attend the MCA, make art themselves, buy works of art and donate to arts organisations.
The research was reported in the Sydney Morning Herald in September.
Speaking about audience development
In August I was thrilled to co-present at Performing Arts Connections in QLD with our client, Rebecca Bennell from The Cube Wodonga. We talked about Actioning Change: converting research to reality in regional venues.
Since working together on an audience development plan in 2017, The Cube has gone on to grow ticket sales, increase membership income and diversify their audience. Rebecca shared what has worked, and what hasn’t, and I spoke about the lessons for audience development.
It’s been a real honour to work in partnership in this way and see what a great team can do with research.
On stage with Rebecca Bennell at PAC
Presenting at Culture 2.0 in St Petersburg
In November I was invited to speak on a panel as a part of the St Petersburg International Cultural Forum. The subject was where the world is heading, and how cultural institutions are innovating in relation to global trends.
It was an honour to be one of the only Australians at the event, but it was challenging too! Speaking to a foreign audience, with live translation in Russian and Chinese, it really put my speaking skills to the test, in a good way!
It also forced me to ‘zoom out’ on our work and put it in the context of global issues. I spoke about how Australian cultural institutions are delivering public value and contributing to topics like climate change, diversity and migration, and youth mental health.
On stage at Culture 2.0 in St Petersburg. Image credit:
Working with a team of legends
One of the highlights of this year, and of my life generally, has been working with a team of super bright, incredibly talented and supportive people.
Our newest team member Bianca Mulet is our rising star, creating sharp insights from all kinds of data. Dr Catherine Davis has brought sociology to our team, which we have all learned so much from, and Jodie Bombardier our Operations Manager connects all the dots behind the scenes to make everything flow!
In 2020, we’re looking forward to having Aurora Nowosad back after her baby break, and farewelling Catherine as she takes on new challenges. It’s such an honour to work with these stars and I’m incredibly grateful for their support and commitment to our vision.
There are many, many more highlights - but I’ll leave it there for this year. The working year is not quite done and there are deadlines to be hit, presents to wrap and sparkling wine to drink!
Over summer, I’ll be sharing some predictions for 2020, and how we can continue working together to grow culture, creativity and community.
See you then!
About the Author
Tandi Palmer Williams
Managing Director
Patternmakers’ Founder and Managing Director Tandi Palmer Williams is an experienced consultant and arts and culture research specialist.
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop
Patternmakers policy on research incentives
At Patternmakers, we use incentives to motivate participation in our research projects. This page explains why we use incentives and what we consider in designing appropriate incentives. It also explains how we distribute them to participants.
At Patternmakers, we use incentives for participants who take part in our research projects. This page explains why we use incentives and what we consider in designing appropriate incentives.
What are incentives?
Incentives can take a number of forms, such as cash, a gift card or gift such as movie tickets. In line with industry practice, incentives are usually given to all participants who attend focus groups. For surveys, usual industry practice is to run a Prize Draw, whereby all respondents have a chance to win a prize.
We govern our use of incentives by the Australian Market and Social Research Society (AMSRS), and relevant State/Territory guidelines on prize draws.
Why we use incentives?
At Patternmakers we use incentives for two reasons.
Firstly, they are used to motivate participation and ensure the best possible response rate in surveys and attendance for focus groups. Administering research processes involves significant investment of time and money, and we want to make sure we maximise participation and hear from as many people as possible.
Secondly, we use incentives to motivate people who aren’t engaged with the subject organisation for the research topic. Research has shown that using incentives helps reduce bias by motivating a broad range of people to participate.
In our experience, a lack of incentive for participants results in poor levels of attendance, and skewed participation, leading to inefficiencies in our overall research project. Not using incentives can affect the robustness of the data collected.
As a research agency, it is our job to ensure we achieve target response rates for the highest level of rigour possible. When working with clients, we will always negotiate the nature of the incentive to align with the organisation’s model.
How do cash incentives work?
If you have signed up to participate in a focus group with a cash incentive, the incentive will be paid on the day, at the conclusion of the group.
The facilitator will distribute the incentives to all participants present on the night. If you cannot make it on the day, unfortunately we cannot pay the incentive.
How do Prize Draws work?
If you have completed a survey with a prize draw, you will be asked to provide your name and contact details at the end of the survey. These details are confidential and will not be connected with your survey responses, unless you give your explicit permission.
At the end of the survey, you will also be able to read the terms of the draw, including what date the prize will be drawn and how the winner will be contacted.
We select the winner using a random number generator. The winner is then contacted by email. If we do not hear back from with winner within two weeks, we will select another winner.
You can read more about the AMSRS Guideline on Incentives for Participation in Market and Social Research here:
About the Author
Tandi Palmer Williams
Managing Director
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
Be in the loop
Why every program manager needs a research toolkit
From 2017 to 2019, Patternmakers developed an Audience Research Toolkit in collaboration with Creative Victoria, Thirst Creative, and almost 300 stakeholders from the Victorian creative arts sector.
In this post, MD Tandi Palmer Williams shares some of the process, and her tips for people using the toolkit to conduct research.
In the past 10 years, audience research has become an essential tool for arts managers.
If you want to reach new people, develop audiences and deepen engagement, then research is part of your core business.
Why we care
Even though we make a living from consulting, I firmly believe that every arts officer, manager and director should have the ability to run their own research processes in-house.
When I first started working in the arts, after seven years in finance and economics, I was amazed at all the powerful, high quality work taking place; programs literally changing people’s lives for the better. But I was also horrified at a dearth of evidence.
Compared to other sectors, the arts has not embraced evidence-based practices (for reasons I recently discussed on LinkedIn) and in 2016 I established Patternmakers with a mission to help build a strong, vibrant, creative ‘data culture’ in the Australian creative industries.
I believed then (and still do) that we need to become proficient in use of data analysis, research and evaluation - and do it in a way that aligns with our values. Research, if done well, should support the creative process, not undermine it. It should be ethical and responsible - and creative!
Which is why, in 2016, that I was thrilled to be the successful tenderer to work with Creative Victoria to develop an Audience Research Toolkit for the small to medium creative arts sector in Victoria.
How it worked
From the outset, it was an ambitious project. Over the following two years, we would undertake a multi-stage development process that included:
Research with stakeholders in the creative arts sector, including a series of interviews and a survey of 225 representatives from the small to medium sector
Co-design workshops with representatives from regional Victorian galleries, festivals, producers, presenters, Creative Victoria staff and digital agency Thirst Creative
Development of tools, templates and guidelines (i.e. long hours workshopping, drafting, editing, proofing)
Testing of the tools with eight creative arts organisations from regional Victoria.
Once the tools had been reviewed, revised and signed-off, Creative Victoria worked with Thirst Creative and its own in-house marketing and communications teams to upload all the content online. And, voila!
What we learned
We found through the process that many creative arts organisations want to conduct research, but lack either the time, money, or specialist skills to actually deliver it.
The co-design process showed that the toolkit needed to be accessible, engaging, and dynamic - helping people on their journey. For some, it might be their first ever experience of research, while others would need help to improve the quality of their research activity.
Anecdotally, we had observed that many organisations were already using Survey Monkey to send out surveys. But very few were getting meaningful results. We worked backwards to identify the issues and built tools and guidance to help people do it well, even on a tight budget.
We learned that technical talk would instantly put people off. We had to find ways to talk about technical issues without the jargon. It was a great exercise in simplifying things down to key principles.
How to use the toolkit
My advice for anyone planning audience research is to:
Start small. Select an achievable goal (e.g. running a single focus group or a one-off survey) and do it well. You don’t need to survey after every workshop or performance, you just don’t.
Incentivise participation. Use a carefully designed cash-equivalent incentive to make sure you get a good response rate. If your results aren’t reliable, it can be a time-waster.
Apply insights. Set aside time to analyse, interpret, report and action the results. If you think it’s about collecting data, you’ve missed the point.
Communicate. Share your plans with your community. Say thank you to those who participated, and make sure you share what you’ve learned and actioned before you embark on the next thing. People get tired of doing surveys if they don’t see it being actioned.
Feedback
I’m looking forward to seeing how the toolkit is used throughout the sector.
One of my favourite features of the toolkit is the feedback functionality, which allows you to mark helpful and unhelpful tools, and ask questions.
If we can work together to continue refining the tools, the result will be a valuable asset that will benefit us all.
We firmly believe that creative arts organisations that build a strong, creative, vibrant ‘data culture’ are those that will change the world for the better. And we’re already well on the way!
About the Author
Tandi Palmer Williams
Managing Director
Patternmakers’ Founder and Managing Director Tandi Palmer Williams is an experienced consultant and arts and culture research specialist.
Between 2013 and 2015, she was Research Manager for the Digital R&D Fund for the Arts, based at Nesta in London.
Be in the loop
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3
5 signs you're ready to benefit from research and evaluation
Our team has decades of experience delivering research and evaluation projects. And there are a few things that we’ve noticed about ‘research readiness’. Here are five signs that organisations are primed to get maximum value from research and evaluation projects.
After a 15 year career as an analyst and consultant, I’ve seen how some organisations get exceptional value from research and evaluation projects. I’ve also seen organisations evaluating for the wrong reasons, and Managers who just aren’t ready to embrace the process.
Here are the five readiness factors:
Capacity
Successfully project-managing a research project takes time and effort. At Patternmakers we ask our clients appoint a project manager to shepherd projects from kick-off to completion and implementation. It’s best that the project manager sets aside a half day each week through the duration of the project. This means they can coordinate meetings, provide feedback on deliverables, and help communicate the right messages about the project to stakeholders.
Creating capacity, and building it into your workplan, ensures that you can manage the project effectively and engage stakeholders to get the maximum benefit from the process.
Curiosity
At its essence, research is about asking questions, and seeking robust evidence to answer them with accuracy. Evaluation is all of those things, plus making a judgment or drawing a conclusion at the end of it. One of my mentors, Professor Roberta Ryan, taught me early in my career that if you already know the answer, it’s not actually research.
We’re looking to work with people that are thirsty for new insight, that don’t know it all already, and they are ready to open their minds to discovering new insights and learning new ideas. This is where the magic happens.
Candour
I believe that those who openly share their learnings with others are leaders. It can be scary to put our hands up and tell others about things that didn’t work. But for our organisations to progress, we need to cultivate a culture of openness, learning and reflection.
I believe that every program manager and director has something valuable to share. I also firmly believe that we all need a ‘critical friend’, who can tell it to you straight, while practicing deep empathy.
At Patternmakers we’re honoured to play that role for our clients and partners. And there’s nothing more refreshing than simply telling it like it is.
Commitment
If you think it’s about collecting data, you’ve missed the point. Research isn’t really about the data, it isn’t even about analysis or findings. The value comes from identifying actionable insight - and implementing it. This requires enormous commitment. It also delivers enormous value. That’s why our projects don’t end with a report on key findings. We work with our clients to identify opportunities, prioritise the most important actions and develop implementation plans. We also follow up to help see it through, and reflect on the impact, which to be honest is often extraordinary. But it starts with commitment to continuous improvement.
Care
There’s a reason Patternmakers established a specialism in culture, creativity and community. It’s because we care deeply about the arts, cultural expression, recreation and bringing people together.
I left the professional services world having worked with people and organisations with dubious ethics. Today, I’m very deliberate in selecting clients and partners that demonstrate exceptionally high standards of integrity and care for others.
We develop respectful, warm, long-term relationships with our clients, who we care for, and who care for us. It makes us want to jump out of bed each morning and bring extraordinary energy to our work.
If these factors resonate with you, you might be ready to embark on something extraordinary. Good luck!
About the Author
Tandi Palmer Williams
Managing Director
Patternmakers’ Founder and Managing Director Tandi Palmer Williams is an experienced consultant and arts and culture research specialist.
Between 2013 and 2015, she was Research Manager for the Digital R&D Fund for the Arts, based at Nesta in London.
Categories
- 2016 5
- 2017 8
- 2018 12
- 2019 11
- 2020 3
- 2021 7
- 2022 23
- 2023 21
- 2024 1
- About Patternmakers 35
- Accessibility 4
- Arts 73
- Audience development 79
- Beyond the Bio 8
- COVID-19 70
- Capacity building 3
- Career Advice 9
- Case Studies 2
- Coronavirus 2
- Culture 72
- Culture Panel 1
- Dance 3
- Data art 2
- Data culture 69
- Digital art 4
- Education 2
- Evaluation 75
- First Nations 3
- Indigenous 2
- Innovation 78
- Interviews 3
- Manifesto 1
- Opportunities 4
- Our services 4
- Performing Arts 5
- Postcode Analysis 1
- Privacy 6
- Project updates 25
- Publications 1
- Research 99
- Resources 6
- Strategic Planning 5
- Tandi Palmer Williams 7
- Theory of Creativity Podcast 1
- Thought leadership 16
- Tips & Tricks 13
- Toolkit 5
- Top 5 2
- Touring 3
- Trends 3