Type or paste a DOI name into the text box. Since 1994, The Paper Store and our paper geeks have written more than 25,000 research papers! We’re the biggest research paper about culture geeks on the internet! Just look around our geeky site.
Try to count how many papers we’ve written! Do you know anyone who has written this many papers? We’ve been doing it for years and can out-research anyone! You’re not a term paper wizard.
You need help with your report and having a private geek with thousands of examples represents a prime solution! Get help from our site, pick out an example term paper to help you write your own. Our cool price is set with budget-conscious college students in mind! Page plus free bibliography– less than the price of a real, live geeky tutor! 2008 The Paper Store Enterprises, Inc. All research papers are owned by The Paper Store Enterprises, Inc. Our work is designed only to assist students in the preparation of their own work.
Essays From YOUR Web Site and Earn Money! CLICK HERE TO BECOME OUR AFFILIATE! Please forward this error screen to web6. Our research so far has shown that the discussion about cultural performance and quality measurement is less about audit and reporting and more about cultural and creative practice. Next step for us is continuing analysing our research data and planning some additional research that would follow the adoption and use of this system by cultural organisations and examining how the metrics system impacts on their organisational practice and vice versa. D Culture Metrics project which involved researchers from the Institute for Cultural Practices, The University of Manchester, in collaboration with a partnership of arts and cultural organisations and a technology partner, Culture Counts. Arts and cultural policy increasingly requires arts organisations to demonstrate the public value and outcomes of publicly funded work, through evidence and evaluation.
At the same time arts organisations want to be able to demonstrate the quality of this work in ways they understand and control. In the project, we explored how organisations already use social media data with increasing sophistication to generate and continue conversations with their audiences and to promote their brand values and missions, as well as arts experiences and events. We found that organisations regularly bring together and triangulate data to understand their audiences and inform programming and producing decisions. D project from Abigail Gilmore and John Knell, with some insights into the process for the research and some early findings. The results of this test event, combined with data already collected in the Gallery by University of Manchester Arts Management students the week before, were then displayed and discussed.
How should we understand them in terms of the implications for what the data can be used for? What provisions are made for responses and effects of arts and culture which don’t happen in the short window between experiencing events and exhibitions and undertaking the survey, and that can be delayed by some time? Another question raised was about the relation between the use of social media data as object of further interpretation and the taxonomy of self, peer, public? In their presentation Kostas Arvanitis and Chiara Zuanni introduced follow-on research from the Culture Metrics project, which explores and combines social media data with analysis of audience experiences.
Focusing on current methodologies for the collection and analysis of social media data, they discussed the relation between this data and the data collected by the Culture Counts system, highlighting the organisational challenges of a data-rich cultural professional practice. Different platforms, different users, different uses? How can arts organisations use social media, digital technologies and big data more strategically? What implications for cultural policy derive from the use of this data?
Roundtable: from left, Nick Merriman, Alison Clark, chair Abi Gilmore, Cimeon Ellerton, Hasan Bakshi. With the proliferation of big data, from diverse sources, his concerns include the question of data standards and how we might understand these in relation to bigger data. Cimeon Ellerton, The Audience Agency, talked of his experience in developing audience data through services such as Audience Finder. For him, the priorities remain the standardisation of data and also the need to aggregate data whilst encouraging arts organisations to be open.
Alison Clark, Arts Council England North, said she feels arts organisations continue to have a fear of social media and of sharing. There isa sense that the more organisations value data, the less they are likely to share data. The discussion suggested that concerns for technologically-determined funding decisions are balanced by the opportunities to create better transparency and accountability. In June and July 2015, our Research Associate Franzi Florack interviewed a range of cultural partners who are involved in the development of Culture Metrics. She spoke to representatives of the Manchester Jazz Festival, Octagon Theatre Bolton, Manchester Museum, Hallé and the Royal Opera House.