The rise of data and communication technologies (ICT), regarded every bit the third Industrial Revolution has acquired great economical, technological and socio-cultural change today. Information technologies are omnipresent in modern life, fuelling the digital economy while accelerating the production, distribution and consumption of appurtenances and services. New technologies have left no field untouched, and the arts are no exception. Information and communication technologies have accelerated consumption in fine art markets, as internet technologies facilitate global operations and new business models reinforce or complement the established fine art ecosystem. Art institutions increasingly comprehend new media for the display, promotion and conservation of their collections, aiming to create a unique experience for their visitors. Artists engage with social media as cultural branding intensifies in the digital age, while experimenting with new media gives ascension to art forms that push the boundaries of gimmicky fine art and museum collections.

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THDue east IMPACT OF N EW T ECHNOLOGY ON A RT

DR. M ARIOS SAMDANIS

Sotheby's Institute of Art, London

Delight cite as:

Samdanis, K. (2016). "The touch on of new technology on art". In J. Hackforth-Jones, I. Robertson (Eds.), Art

Business Today: 20 Cardinal Topics, London: Lund Humphries, pp. 164-172

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The ascent of information and advice technologies (ICT), regarded as the third

Industrial Revolution has caused great economic, technological and socio-cultural change

today. Data technologies are omnipresent in mod life, fuelling the digital economic system

while accelerating the production, distribution and consumption of goods and services. New

technologies have left no field untouched, and the arts are no exception. Information and

advice technologies have accelerated consumption in art markets, as internet

technologies facilitate global operations and new business organization models reinforce or complement

the established art ecosystem. Art institutions increasingly encompass northew media for the

display, promotion and conservation of their collections, aiming to create a unique experience

for their visitors. Artists appoint with social media every bit cultural branding intensifies in the

digital age, while experimenting with new media gives rise to art forms that push the

boundaries of contemporary art and museum collections.

In other industries, digital technologies have empowered entrepreneurs to create new business

models direct linking producers and consumers while by-passing gatekeepers and

intermediaries. According to Claire McAndrew, the art globe has proven more reluctant to

transform based on the dynamics of eastward-concern. This is because the construction of what

Bourdieu refers to as symbolic value –the perceived significance of a piece of work of art in minds of

fine art professionals and the audience– depends largely on the physical presence of established

intermediaries in the art market place. But, this condition has started to change recently as art

entrepreneurs and traditional art businesses gradually view digital technologies as an

opportunity to reach new markets and deliver more value to their clients and audition. In the

digital historic period, fine art business and technologies are fundamentally entangled. Technologies

facilitate operations and collaborations in the art earth, and art businesses provide fertile

ground for the development and awarding of technologies. In other words, technologies,

business and civilization converge in order to promote art and provide richer experiences for the

buyers and audiences.

International contemporary art, especially since 1989, prospers in a rapidly-changing, neo-

liberal, and global environment. Internet technologies have triggered instant advice

and information delivery, connecting users across the earth. This greater transformation has

an instant effect on the organisation of art product and consumption. Artistic production

and consumption are no longer tightly continued with cities. The globalisation of art markets

has altered the relationship between artists, buyers, audience and the place every bit the context of

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artistic production. Peripheral fine art markets such as Brazil, India, Westward and South Africa, or

South Eastern Asia have gained momentum and exposure considering thoseast markets are now

interconnected with the core art hubs of London, Paris and New York. Via the internet and

online platforms artists tin expose their work worldwide and gain admission to markets which

were incommunicable to reach earlier.

Inside a framework in which the fine art world is actively seeking novelty, the role of

information and advice technologies is increasingly of import in connecting the

periphery with the core. These technologies as well have a directly and indirect effect on art

collectors. They provide admission to collectors, to online galleries and auctions at gimmicky

art hubs. Online platforms do non only connect the cadre to the periphery, but also the

periphery to the periphery, as collectors from emerging economies can access art from other

emerging economies. In a more subtle style new technologies have increased transparency in

terms of prices of works of art, peculiarly auction prices, and in this way collectors can take

more than informed decisions regarding art investments.

Information technologies have intensified the globalisation of art, as local galleries due southell the

work of local artists abroad, or connect the work of local artists with foreign collectors.

International contemporary art nowadays transcends urban and national boundaries .

Immediacy in communications accelerates the creation of a global contemporary fine art market place

that integrates many local art markets in the form of 1, unified and interconnected field of

contemporary art which crosses national boundaries. Equally a result, contemporary art develops

in ii tiers: as local avant-gardes at the fringes of the many art worlds, and every bit a global

commodity disseminated instantly beyond institutional and national boundaries.

In addition, data technologies have fuelled entrepreneurship in the artistic field,

empowering agents to create value in the art market through the evolution of online

business models. According to McAndrew, the development of the online fine art market ecology

has evolved in three stages. The first coincided with the early on dissemination of Net

technologies in the mid-1990s, as a few online galleries, such as art.com, emerged selling

their own online stock. During the second phase that started in mid-2000s, existing players,

such as Sotheby's and Christie's, the Saatchi Gallery or the Gagosian Gallery entered the

online art marketplace. The third stage occurred after 2010, equally the online art marketplace ecology has

been enriched with the entry of intermediaries, such as Artsy, the Saatchi Online, or Etsy all

of which sell the stock of 3rd parties. Interestingly, an increasing number of online art

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businesses target niche markets. ArtViatic, for example, facilitates collector to collector

trading. At the same time, online auction platforms, such equally Artnet, Auctionata and Paddle8

gain momentum.

Online art entrepreneurs create value through digital networks that featherbed intermediaries

linking producers directly to consumers, a process which is known as disintermediation.

Nowadays, online art entrepreneurs attempt to create value at unlike parts of the fine art

ecosystem. Online art businesses reduce data and transaction costs, linking supply and

need for art efficiently. Nevertheless, they do non replace traditional art businesses , which

are still prominent in introducing new artists to the market and managing artists' reputation in

the art world. While the high-segments of the art market are mainly served by auction houses

and fine art galleries with worldwide reputation, online art business organization has fuelled the low and

middle-segments of the art market, equally almost 90% of art traded online sells for up to $l,000.

According to TEFAF Market Report 2015, half-dozen% of online art sale are over $500,000 with only

1% of unit prices over $1M. Anonymity is the main reason backside loftier-end online

transactions, but the majority of blue-chip fine art collectors capeesh the luxurious feel

of participating at live auction. The online art business is, therefore, non expected to perform

in a similar way to online retail in general, such every bit Amazon or EBay both of which create

value for the client by offering a wider selection of products at lower prices. Fine art

consumption, specially at the high-end segment of the market, is a luxury product and

feel which is provided by prestigious brands in the fine art market.

In comparison with online retailers, which compete on the basis of price, selection and

service for customers, art businesses –both online and bricks and mortar– rely on creating

value for artists through their personal relationships and professional person networks. This is

because the procedure of value creation derives from the cultural perception of the business,

which is based on the recognition of art world professionals as connoisseurs in the art market.

As a result, established galleries, art foundations and sale houses maintain their advantage

in the online world, and capitalise based on the trust made tangible by their concrete

presence. Online art businesses exploit the low and middle-segments of the market by

exposing a wider range of artists. Their competitive reward relies on allowing users to

'detect' northew art based on algorithms that track their past behaviour and preferences. In

other words, their business organization models perform based on the long-tail effect, as online art

galleries costless from the constraints of a physical infinite expose a wider selection of emerging

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artists to critical apprehension and commercial appreciation. The Saatchi Online, for case,

applies a free admission policy to all artists (taking fifty% committee on sales), and thus users

can discover a huge number of artists across the world.

Online fine art galleries may reduce inequalities in the art market by democratising access of

artists to the fine art world. However, more recent purely online art businesses have emerged

receiving the support of powerful agents from the fine art and business worlds. The example of

Cocked, which is an aggregator of art market place information and an online trading platform, is a

typical case of a new online venture that seeks to dominate the online art market. Cornering

the support of entrepreneurs and celebrities, Artsy managed to raise an initial capital of

$5.4M. Although information and communication technologies tin can decentralise the power

construction of the art earth, initiatives like Artsy testify that large calibration investments concentrate

activities and ability in unmarried platforms.

Online art businesses have flourished because they offering the possibility of independence from

the established art market place. But, the example of Artsy demonstrates that new interdependencies

arise equally the worlds of fine art and business organization increasingly converge. Inside the digital economy

agents from the fine art earth seek partnerships in the business sphere. The recent collaboration

between Sotheby'south and EBay launches the starting time of a new era in which traditional firms

inside the art world partner with technological companies and online platforms in order to

create new audiences. The contest within the art market is intensified equally more than players

from technology initiate operations inside the fine art world (i.e. Amazon Art).

The convergence between fine art and commerce changes the art world which transforms in

tandem with applied science and business. Independence from the conventions of the art marketplace

leads to new interdependencies that take the form of collaborations between art, business and

applied science. Frequently the qualities of the digital medium bulldoze these collaborations. A recent

partnership between the crowdfunding platform Kickstarter and Fine art Basel aims to support

innovative art. Interestingly, in this case the crowd and not art dealers or curators, decides and

distinguishes which projects volition be realised, thereby democratising creative production.

Ultimately, new technologies enrich the art marketplace ecosystem, providing significant back up

to the margins, by exposing and supportinchiliad artists and projects that practice non have air conditioningcess to the

art world.

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Information and communication technologies also gain momentum within art institutions ,

which incorporate digital technologies to enrich audience feel in terms of on-site and

online learning. Firstly, digital technologies enhance the museum environment as providers

of data near the exhibits, which are often interactive. Apart from sound aids,

enhanced media guides, interactive labels, mobile applications and augmented reality

applications are used in the museum context, and curators nowadays demand to be aware and

integrate those technologies into exhibitions. Enhanced media guides provide a bout of an

exhibition, often including a narrative adult by the curator and multimedia. Similarly,

QR codes are increasingly used in fine art galleries and museums, enabling users to call back

information well-nigh the piece of work by scanning a graphic code similar to a barcode. For example, in

the Museum of New Art in Tasmania, Australia, wireless sensors detect the location and

movement of visitors, providing information on smart devices about nearby artworks. Mobile

applications invite visitors to use their smartphones to think information, and in some cases

to co-create the work of art in augmented reality space.

The emergence and dissemination of smart devices have fuelled mobile applications which in

turn take an touch on on the fine art earth. Mobile apps enable the organisers of fine art fairs to assist

visitors navigate the art fair and the city, by providing live location-based data that

connects users, exhibits and events. Mobile applications are designed to discover and

experience art beyond art institutions. Street Art London is a mobile app that ushers users

through the urban space of London in social club to uncover street fine art. Regarding online learning,

recent initiatives aim to create virtual tours of museums. Google Art Project is an case of

an interdisciplinary collaboration betwixt the high-technology firm and museums around the

world in gild to create virtual tours inside their collections. Virtual tours promote museums'

collections and permit distant admission, which is an additional resources, enabling fine art

professionals and the broader audience to experience museums around the world. In add-on,

information technologies also contribute to conservational issues, while in some cases, 3D

printing helps to recreate damaged art objects.

New technologies are widely applied in art galleries, museums and art fairs aiming to create a

customised learning experience for visitors. This marks a epitome shift, especially for art

institutions, which no longer offer a standardised service for a broader marketplace segment, but

aim to create customised experiences which meet the needs and expectations of private

visitors. The increased utilize of online resource from users generates useful personal

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information. Marketing analytics nowadays, fuelled by the power of big data, enhance the

agreement of audience behaviour before, during and after a visit, and this information

feeds into their programming patterns, their retail activities and the ways in which they

engage with online and offline communities. Digital resources areast a crucial tool in the hands

of art institutions, such as the Tate, to fulfil their socially inspired educational role. New

media, and specifically social media, take contributed to the dissemination of art. Artists like

Ai Weiwei (b.1958) increasingly use social media, such as social networks and blogs in order

to promote their activities, to interact with their fan base, and construct their identities online.

Social media are an essential component of cultural branding, as artists construct authenticity

in the class of digital narratives that increase visibility and emotional engagement with the

audience. Artists also appropriate digital technologies in artistic creativity as a tool and

medium. As a tool, digital technologies have paved the way to art forms such every bit

photomontage, while software is used in terms of digital design leading to new fine art such as

digital sculpture.

Digital technologies used equally a 'medium' of creative practice accept a long history which derives

from the invention of computers and their appropriation in 1960s in the first exhibitions on

art and technology. Exhibitions, su ch equally 'Cybernetic Serendipity' (xix68, London), 'Les

Immateriaux' (1985, Paris), 'Data Dynamics' (2001, New York), ' Incheon Digital Fine art

Festival' (Incheon, 2010), and 'Electronic Superhighway: 2016-1966' (2016, London) are

interdisciplinary explorations at the intersection of art and technology. New technologies

have led to artistic innovations, either by incrementally changing the content of artistic

mediums or by leading to the creation of new mediums. Video art is an example in which the

invention of the video camera has led to the creation of a new art form.

As radical experiments in art and technologies, these works of art are interactive installations

that experiment with software and space, aiming to engage the audience in an interactive

experience. Equally the technological medium progresses, new art forms emerge. For instance,

database fine art, internet art, satellite art, or large information fine art, are some examples of art forms that

emerge every bit artists incorporate digital technologies within their artistic practices. The tension

between fine fine art and new media art is unresolved, every bit the latter is occasionally considered as

'scientific discipline' instead of art, and partially as a niche of contemporary art. Ars Electronica in Linz,

La Gaîté Lyrique in Paris, Foundation for Art and Creative Technologies (FACT) in

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Liverpool are culling institutional structures devoted into interdisciplinary art, supporting

avant-gardes that explore the intersection of fine art and technology.

Convergence is not simply the creation of smart devices, just importantly it marks a procedure

of technological development based on interaction and integration between technological,

business and socio-cultural spheres. In the digital age, new business organization models in the art world

are powered by the qualities of new media. The competitive advantage of online galleries

relies on enabling users to notice new art which is based on the long-tail outcome. Curators

also need to understand the role of new media within the museum context, envisioning new

ways to enact feel of fine art within and across art institutions.

Within this rapidly-changing environment, more than cross-overs amongst industries and fields are

observed. Technological firms like Amazon enter into the online fine art dealing market place; EBay

partners with Sotheby's; Google virtualises museums; and Kickstarter collaborates with Fine art

Basel in order to support creative innovations. The convergence between industries and fields

is expected to intensify producing alternative structures for value creation (independence),

while fostering more collaboration between art and technology firms (interdependence).

Although new technologies correspond a liberating dynamic which would reduce inequalities

in the artistic field, new points of power concentration are expected to sally receiving the

back up of business organisation, technological and cultural elites.

According to Jenkins, media convergence is fuelled by collective intelligence as a driver for

socio-cultural, economic and technological changes. In the artistic field collective intelligence

influences the product and consumption of art in terms of crowdfunding and

democratisation of option; in art institutions which develop services based on visitor-

generated data; in terms of online art galleries that allow users' behaviour and preferences to

shape trends and popularity of artists; in terms of mobile applications through which users

upload and share information about artworks, exhibitions and urban experiences and lastly, in

terms of art critics which take identify equally users interact erratically on social media. Reflecting

the transformation of the global economy and the growth of ultra-high net worth individuals

in emerging economies, information and communication technologies accelerate the

dissemination and consumption of art around the globe. Progressively new technologies pb

to a paradigm shift in the product and consumption of art, drawing more attending to the

periphery while giving rise to novel structures for art business which are supported by the

entanglement betwixt art, technology and commerce.

9

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Anderson, C. (2004). "The Long Tail", Wired Magazine Archive, accessed online on the 15thursday

Dec 2015, URL: http://archive.wired.com/wired/archive/12.x/tail.html.

George, A. (2015). The Curator's Handbook: Museums, Commercial Galleries, Independent

Spaces, London: Thames & Hudson.

Jenkins, H. (2004). "The cultural logic of media convergence", International Journal of

Cultural Studies, 7(1): 33-43.

Khaire, G. (2015). "Art without borders? Online firms and the global fine art marketplace", in

Velthuis, O. & Curioni, B., (eds.), Cosmopolitan Canvases: The Globalization of Markets for

Contemporary Art, Oxford: Oxford Academy Press, pp.102-128.

McAndrew, C. (2015). TEFAF Maastricht Art Market Study 2015, European Fine Art

Foundation.

Paul, C. (2003). Digital Art, London: Thames & Hudson World of Art.

Preece, C. (2015). "The authentic celebrity brand: unpacking Ai Weiwei's celebritised

selves", Journal of Marketing Direction, 31(5-6): 616-645.

Velthuis, O. & Curioni, S.B. (2015). "Making markets global", in Velthuis, O. & Curioni, B.,

(eds.), Cosmopolitan Canvases: The Globalization of Markets for Contemporary Art, Oxford:

Oxford Academy Press, pp.1-28.

Zoran, A. & Buechley, L. (2013). "Hybrid reassemblage: An Exploration of craft, digital

fabrication and artifact uniqueness", Leonardo, 46(1): 4-x.

... However, this manner of conducting business has been challenged by the increasingly readily bachelor information on the Net and the opportunities that new digital communication technologies offer. Digital channels enable collectors and buyers to make more informed buying decisions (Arora and Vermeylen 2013;McAndrew 2015;Samdanis 2016). They facilitate worldwide networking and communication, enable transactions and acquisitions at a distance, and thereby provide the basis for new business organisation opportunities on the art market (Samdanis 2016). ...

... Digital channels enable collectors and buyers to make more than informed buying decisions (Arora and Vermeylen 2013;McAndrew 2015;Samdanis 2016). They facilitate worldwide networking and communication, enable transactions and acquisitions at a altitude, and thereby provide the basis for new business opportunities on the fine art market (Samdanis 2016). Moreover, they allow galleries to reach new markets and to connect these markets more effectively (Adam 2014;Arora and Vermeylen 2013;Khaire 2015). ...

... Auction houses are hosting online auctions, where people can bid from home, and art galleries have recently started creating virtual showrooms where artworks are displayed and offered for sale (Sidorova 2019). Despite these developments, many galleries are notwithstanding using digital possibilities merely for creating their "digital concern cards" (Arora and Vermeylen 2013;Kohle 2014;Samdanis 2016;Sidorova 2019), and take not considered fundamentally changing their business organization models by incorporating a digital strategy, and selling fine art online (Adam 2014;McAndrew 2015;Pownall 2017;Samdanis 2016; Van Miegroet et al. 2019). Considering that younger generations-the "digital natives"-are increasingly falling into the group of potential art buyers and that they accept loftier expectations regarding immediacy and convenience through digital channels, this may be problematic for galleries. ...

  • Beatrix Eastward. Thou. Habelsberger
  • Pawan Five. Bhansing

Compared to other consumer appurtenances markets, art galleries take long been reluctant to innovate through digitisation. However, the global outbreak of COVID-19 forces fine art galleries to reconsider the function of digital channels. This study aims to provide a ameliorate understanding of the art gallery concern model and its related difficulties of integrating digital channels into marketing, communication, and sales. Twenty interviews with gallery owners and managers in Vienna and Salzburg were conducted. They were asked nigh their attitudes towards, opinions on, and experiences with digital channels, and how they reacted to the restrictions caused by COVID-19. The findings verify that COVID-xix has led galleries of whatever type to reconsider their digital strategy. We identified limitations with respect to digital channels: plain presentation of information online; defective or distanced personal interaction; online anonymity that disconnects from the social art surround; increased information and price transparency; a more than commercial advent; express resources for digital adaptations. Galleries striving to integrate digital channels into their business model should pay attention to ensuring that counterpart, as well as digital, channels are integrated into a coherent system where personal contact and the physical location remain the core of the business.

... 215-17). These transformations opened the way for many entrepreneurs with innovative solutions who created value past developing inventive online business models direct linking producers and consumers, or consumers to consumers (C2C), and past finding business solutions that could operate on a global scale, bypassing many traditional intermediaries and gatekeepers, both in the master market (beginning sale of a work of art) and in the secondary market (subsequent sales) (Samdanis 2016). Cryptocurrency, blockchain and artificial intelligence are the nearly relevant innovations that are currently shaping the immediate time to come of the online art market and, most probable, the time to come of the art market every bit a whole (Sidorova 2019). ...

... This divergence can exist explained past the specificity of the art markets. First, a large per centum of the art markets' value originates from the top-segment, which involves the trading of highly valuable and unique items, or nearly unique, each one with its singularity and with a low caste of substitutability, features that do non benefit agents competing on the basis of price (McAndrew 2010, p. 17-19;Samdanis 2016). Second, the virtually relevant customers belong to an older generation (Silent Generation, Baby Boomers) who are more resistant to online buying, in contrast to younger generation (Generation X) and especially with the youngest generation (Millennials, Generation Z). ...

... For all these reasons, it is not surprising to discover that the large bulk of online sales in art markets are made in the lower and mid-toll segments, peculiarly in the case of online-only companies (Moulin 2003, p. 102;Samdanis 2016;Pownall 2017, p. 35;McAndrew 2019, p. 264). Two sectors that profited most from the cyberspace were contemporary photography every bit an fine art class, which benefits from the ease of display in online environments and the universal familiarity with photographic images (Boloten 2016, p. 73), and as well the so chosen "collectible objects", namely ceramics, prints, rare books, memorabilia and silverwork, which are now easily plant by collectors in major aggregator sites, displaying instantaneously the merchandise available for auction on thousands of different vendors from all over the world and allowing to compare prices immediately (McNulty 2014, p. 37). ...

  • Fernandes
  • Afonso

Every twelvemonth online sales represent a higher pct of the sales total in nearly all sectors of the economy, and the art markets are no exception. All the same, in that location are few empirical studies showing how online sales and digital technologies are transforming the art markets at a micro-level. This written report is based on the detailed test of the financial performance of one of the two largest Portuguese auction houses, Cabral Moncada Leilões (CML), over a flow of twelve years (2007–2018), complemented with interviews with its top-managers. Information technology analyses a ready of fiscal indicators (e.m., EBIT, ROA, EQUITY, sales volume, net results, etc.), along with some markers that are specific to the auction sector (e.g., average lot value, number of auctions per year, etc.). From this analysis it is possible to conclude that the deterioration of this company'south financial functioning was the driving forcefulness that led it to explore the potential of digital economic system. In the procedure, its business model inverse dramatically, leading the company to a different market position and to the enlargement of its national and international customer base.

... For artists positioned toward the pole of large-scale production, online tools offering benefits that are bonny to unrecognized artists where gallery representation is unavailable, commissions erode already low margins, or where artwork has no commercial market. Here, online platforms offer advantages of disintermediation (Arora and Vermeylen 2013;Hansson 2015;Samdanis 2016), lower commissions (Tully 2013) access to wider audiences (Hansson 2015), and lower geographic restrictions to building creative person networks and collaborative practices (Budge 2013). In line with the heteronomous principle, entrepreneurial online practices may too exist recognized as the democratization of fine art's product and consumption (Bianchi 2015). ...

  • Peter Booth
  • Sigrid Røyseng Sigrid Røyseng

This article analyzes visual artists' response to online sales and dissemination technologies by mapping the range of corresponding positions and position-takings by professional artists in Norway. We consider whether artists' responses align with traditional logics of artistic consecration identified in Bourdieu's accounts of the field of cultural product, and how these responses correspond to Rogers' theory of improvidence of innovations. Employing multiple correspondence analysis, nosotros find position-takings toward online sales and dissemination can exist structured by a dimension differentiating between technology-oriented optimism and techno-skepticism, between high and neutral levels of risk disfavor toward online technologies, and thirdly between technology adopters and those still at an intentional stage.

Blockchain technology is currently stimulating a broader process of social and industrial transformation impacting several potential areas of adoption (east.g. transactions, tracking and tracing solutions, authenticity, etc …). The acceptance of this technology represents a major claiming for the fine art ecosystem. The literature around relations and applications of blockchain in the art market is fragmented and fails to provide an understanding of the current/potential opportunities of this application. This newspaper explores how blockchain is being adopted in the art sector. Past using a perspective of mobilizing organizational and institutional field theory, this study performs an explorative qualitative assay based on semi-structured interviews with 15 experts from the fine art market. The findings underline the complexity of effective implementation of this technology, the contradictory positions regarding the benefits and business opportunities it offers, likewise as the market players' resistance to change and trust. The theoretical and practical implications are too discussed.

  • E. P. Smolskaya
  • A. S. Barteneva

The study assesses the influence that new technologies, relative to the poetic content and poetry as art, take on the field of public relations. The chief trends in the development of modernistic poetry as an object of online promotion, the ties connecting the digital format equally such to this specific genre and the methods of modernistic media promotion are concerned every bit the key research areas. Digital technologies have produced profound changes in lodge and in the sphere of media. The touch on of online tools and infrastructure both on poetry itself and for the methods on its promotion is too relevant. One should note, the digital reality does not necessarily require the flattening of style, the authority of prose — poesy remains viable. Moreover, in the era of digital devices and the growing dominance of web technologies, poetry acquires new meaning and significance both as an art form and equally a traditional need, which can exist attributed to the domain of the spiritual. The adaptation to the digital reality shapes poesy in several aspects. This trend is reinforced by the development of traditional poetry every bit a type of multimedia content and the proliferation of poetry in social networks. The promotion of poetry has received little attending in both Russian and international academic contexts. PR in verse is usually examined in broader or related frameworks, such as art marketing or publishing. This approach disregards the specificity of poesy as an art form. The available data lacks consistency, and the overwhelming bulk of the relevant articles relate to pop scientific discipline and journalism, not scientific literature. The analysis shows that in the modern historic period, poetry is pivoting on new platforms, online, while poetic content is actively integrating with the multimedia format. Poetry is able to address themes and ideas that resonate within new generations, thus remaining alive and proliferating. This finds proof in the context of online texts: they acquire the status of media which integrate traditional art patterns with the commercialized and blog-oriented digital fine art forms and industries (visual arts, music, etc.). This procedure manifests itself in the growing popularity of poetry among the youth, digitally. New methods of monetizing poetry are emerging, thus increasing the attractiveness of a poetic career.

  • Olav Velthuis Olav Velthuis

Since the late 1990s, contemporary art markets have emerged chop-chop outside of Europe and the The states. Cathay is r s1the world's second largest art market. In counties as diverse equally Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new heart classes. At art auctions in the United states of america, London and Hong Kong, new buyers from emerging economies take driven up prices to tape levels. The issue of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our agreement of them is still in its early stages and empirical inquiry in the field of globalization of high arts is still scarce. This book brings together recent, multidisciplinary, cutting border enquiry on the globalization of art markets. Focusing on different regions, including China, Russian federation, Bharat and Japan, as well as different institutions and organizations, the capacity in this volume study the extent to which fine art markets indeed become global. They testify the various barriers to, and the effects of, globalization on the art market's organizational dynamics and the everyday narratives of people working within the art industry. In doing so, they recognize the coexistence of diverse ecologies of contemporary art exchange, and sketch the presence of resilient local networks of actors and organizations. Some chapters evidence Europe and the Us continue to dominate, especially when taking art market rankings and the most powerful events such as Art Basel into account. All the same, other chapters fence that things such equally fine art fairs are truly global events and that the 'architecture of the art market' which has originally been adult in Europe and the US from the 19th century onwards, is increasingly adopted across the globe.

  • Amit Zoran Amit Zoran
  • Leah Buechley

Digital fabrication, and especially 3D press, is an emerging field that is opening upwardly new possibilities for craft, art and pattern. The procedure, even so, has of import limitations; in particular, digitally designed artifacts are intrinsically reproducible. In stark dissimilarity, traditional craft artifacts are individually produced by hand. The authors combine digital fabrication and arts and crafts in their work involving object destruction and restoration: an intentionally broken crafted artifact and a 3D printed restoration. The motivation is not to restore the original work but to transform it into a new object in which both the destructive event and the restoration are visible and the re-assembled object functions as a memorial.

  • G. Adam

This highly readable and timely book explores the transformation of the modern and contemporary fine art market in the 21st century from a niche trade to a globalised operation worth an estimated $fifty billion a year. Drawing on her personal experience, the author describes in fascinating item the contributions made by a range of actors and institutions to these recent developments. The volume focuses on the development of auction houses into globalised, often cutthroat 'art business' firms; the emergence and modi operandi of 'mega-dealers' and middlemen; the 'new borderland' of selling art on the internet; the radical changes in the profile of art collectors; the phenomenon of the 'branded' artist and the explosion of art fairs. It addresses the negative side to the art market's expansion, particularly its lack of transparency and low-cal regulation. The author's engaging fashion makes this informative text platonic for collectors, students, and anyone interested in learning more than about the evolution of the unprecedented market for art which exists today.

  • Preece

This research extends prior piece of work on celebrity brands to focus on the effect of how actuality is synthetic, communicated and managed in the manufacturing of celebrity. Using a case study arroyo, this newspaper explores the branding of contemporary artist-activist Ai Weiwei, who has emerged as a heroic celebrity figure. We find that authenticity is central to this brand narrative and is derived from a unique vision of the world which is amplified, reproduced and co-created to create emotional appointment. We argue that by analysing the celebrity make as a corporate brand, a more holistic understanding of what constitutes an 'authentic celebrity' can be attained.

  • Henry Jenkins

Responding to the contradictory nature of our current moment of media change, this article will sketch a theory of media convergence that allows us to place major sites of tension and transition shaping the media environs for the coming decade. Media convergence is more than than simply a technological shift. Convergence alters the relationship between existing technologies, industries, markets, genres and audiences.

  • C Anderson

Anderson, C. (2004). "The Long Tail", Wired Magazine Annal, accessed online on the fifteen th December 2015, URL: http://annal.wired.com/wired/annal/12.10/tail.html.