C:N 2017 ADO Presentation v1.3
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How to design third-stream audience interaction opportunities to drive engagement and expand audience reach & retention using the Internet-of-things.
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C:N 2017 ADO Presentation v1.3
- 1. Engaging New Audiences Through Interactive Experiences in Digital Storytelling. Janine Hanrahan Managing Director Australian Discovery Orchestra ABSRACT: How to design third-stream audience interaction opportunities to drive engagement and expand audience reach & retention using the Internet-of- things
- 5. Interactive Tools & Platforms
- 6. More Tools Wireframing, System blueprints Flowcharts and diagrams Interactive Prototyping Creating quick personas Interactive Prototyping
- 7. Miranda’s Park 3D World
- 8. ADO Repertoire (forthcoming non-Australian Repertoire) WILLIAM ALWYN Symphony No. 1 (1950) JOSEF SUK Symphony No. 1 in E major, Op. 14 (1898) DARON HAGEN Amelia – ‘Three Sky Interludes’ (2010) JOHN KINSELLA Symphony no. 3 ’Joie de Vivre’ (1990) CHRISTOPHER THEOFANIDIS Symphony No. 1(2009) ARNOLD BAX Symphony No. 7 (1939) MICHAEL KAMEN The New Moon In The Old Moon’s Arms (1999)
- 9. Copland: The Tender Land
- 11. The Imaginarium
Editor's Notes
- GOOD AFTERNOON EVERYONE. MY NAME IS JANINE HANRAHAN, AND I AM THE MANAGING DIRECTOR OF THE AUSTRALIAN DISCOVERY ORCHESTRA. WHEN I CREATED THE ADO IN THE LATTER PART OF 2015, I DID SO ON THE BASIS THAT EVERYTHING THIS NEW ORCHESTRA WOULD BE KNOWN FOR, WOULD MEET THE FOLLOWING 3 CRITERIA: IT WOULD AFFORD OPPORTUNITIES FOR THE VERY CONSIDERABLE NUMBER OF PROFESSIONAL LEVEL ORCHESTRAL MUSICIANS ACROSS AUSTRALIA WHO WERE NOT SALARIED EMPLOYEES IN ONE OF AUSTRALIA’S PERMANENT SYMPHONY ORCHESTRAS – OF WHICH THERE ARE ONLY 6 – PLUS TWO THEATRE ORCHESTRAS. BY COMPARISON WITH GERMANY WHOM HAS SLIGHTLY MORE THAN 3 TIMES THE POPULATION OF AUSTRALIA, GERMANY BOASTS 130 PROFESSIONAL SYMPHONY ORCHESTRAS, INCLUSIVE OF 30 CONCERT ORCHESTRAS AND 80 THEATRE ORCHESTRAS. IN SHORT, AUSTRALIA IS SEVERELY UNDER REPRESENTED BY OPPORTUNITIES FOR HIGHLY SKILLED ORCHESTRA MUSICIANS – WHICH IS WHY THEY ALL GO OVERSEAS! THE ADO WOULD NOT DUPLICATE THE MODEL OF ANY EXISTING SYMPHONY ORCHESTRA AND, MOST IMPORTANTLY, WOULD AVOID BUSINESS MODELS THAT RELIED ON GOVERNMENT SUPPORT OF ANY KIND. TO NOTE: THE ADO IS A FOR-PROFIT COMPANY THAT RELIES ON GENERATING ALL OF ITS INCOME FROM TICKET SALES, ADVERTISING, PRIVATE SPONSORSHIP OR AS AN ORCHESTRA FOR HIRE. 3. THE ORCHESTRA WOULD, AS A PRIORITY, DIRECTLY TACKLE THE ISSUE OF DESIGNING STRATEGIES TO BRING NEW AUDIENCES TO CLASSICAL MUSIC THROUGH CURATING EVENTS IN WHICH WERE EMBEDDED DIGITAL STORYTELLING TECHNIQUES, AND EVOLVING TRENDS AND CAPACITIES IN VIRTUAL AND AUGMENTED REALITY.
- TO DATE WE HAVE COMPLETED VIRTUAL REALITY ENVIRONMENTS FOR AARON COPLAND’S OPERA, ‘THE TENDER LAND’ AND….. [CHANGE SLIDE]
- MIRANDA’S WALTZ (MUSIC BY NEW YORK COMPOSER, SUSAN KANDER) AND THE IMAGINARY SYMPHONY NO.1 BY TONY PICCOLO (DIRECTOR OF CHILDREN’S CHORUS AT THE METROPOLITAN OPERA) AND FORTHCOMING IN AUGUST THIS YEAR, IS A BRILLIANT IMMERSIVE WORLD FOR OUR CONCERT PERFORMANCE OF PUCCINI’S TOSCA. YOU CAN GO ONTO OUR WEBSITE – WWW.AUSTRALIAN DISCOVERY ORCHESTRA.COM ANYTIME (EVEN NOW IF YOU’D LIKE?) AND PLAY INSIDE THESE FULLY INTERACTIVE WORLDS THROUGH EITHER THE FIREFOX OR CHROME BROWSER (BUT NOT SAFARI – AS IT DOESN’T SUPPORT WEB-GL) WE HAVE ALSO EXPERIMENTED WITH WHAT WE CALL “MUSIC MAPS” [CHANGE SLIDE]
- ON WHICH WE OVERLAY VIDEOS, IMAGES, AND GEO-CACHING DATA AS JUST SOME POSSIBILITIES. THERE ARE A VAST ARRAY OF DIGITAL TOOLS WE CAN CHOOSE FROM. HOW WE DETERMINE WHAT TO USE FOR EACH PROJECT WE DO IS BASED ON A PROPRIETARY MULTI-PLATFORM (OTHERWISE KNOWN AS TRANSMEDIA) NARRATIVE TAXONOMY WE HAVE DEVELOPED IN-HOUSE. SOME OF THESE TOOLS AND PLATFORMS INCLUDE: [CHANGE SLIDE]
- 3D AND VR MODELLING WITH OUR TECHNOLOGY PARTNER, ORTELIA INTERACTIVE; THE CONDUCTTR PLATFORM FOR EVENT TIMING DELIVERY OF TRANSMEDIAL ARTEFACTS; KLYNT INTERACTIVE AND PUBLISHING SOFTWARE; MAPS ALIVE; EKO; ADVENTR AND VIDRA TO NOTE, I’M EXCLUDING COMMON SOCIAL MEDIA TOOLS IN THIS LIST BUT WE DO USE THEM IN CONJUNCTION WITH THE ABOVE [CHANGE SLIDE]
- MORE TOOLS INCLUDE ‘GLIFFY’ FOR WIREFRAMING, SYSTEM BLUEPRINTING, FLOW CHARTS AND DIAGRAMS, THE ‘MARVEL APP’ OR ‘MOQUPS’ FOR RAPID PROTOTYPING AND ‘XTENSIO’ FOR CREATING QUICK ILLUSTRATIVE PERSONAS. ALL THESE SOFTWARE PLATFORMS ARE FREE TO USE. BUT FOR ALL THE GREAT THINGS THESE TECHNOLOGY TOOLS DO, THE TECHNOLOGY ITSELF IS NOT THE DRIVER OF OUR DIGITAL BUSINESS STRATEGY SUCCESS TO DATE. THE DRIVER IS CURATING CROSS-PLATFORM NARRATIVES, VIA MULTIPLE PORTALS OF ENTRY, WHICH PROVIDE THE RELEVANT CONTEXT AND MEANING FOR OUR LIVE STREAMED ORCHESTRA EVENTS. TICKET SALES ARE NOT PROMOTED SO MUCH BY EVENT SCHEDULE AS THEY ARE BY FOLLOWING THE DIGITAL NARRATIVE OF THE PRE-CONCERT EXPERIENCE THROUGH TO ITS CONCLUSION. [CHANGE SLIDE]
- BY WAY OF EXAMPLE, IN OUR RECENT CONCERT OF MIRANDA’S WALTZ AND THE IMAGINARY SYMPHONY NO. 1 – [MOUSE OVER!!!] THOSE WHO COMPLETED THE QUEST OF FINDING THEIR WAY INTO THE HEDGE MAZE AT THE CENTRE OF THE PARK AND FROM THERE TO THE MINARETS OF ICE – WERE GIVEN SIGNIFICANTLY DISCOUNTED TICKETS TO ATTEND THE LIVE CONCERT. DURING THEIR ADVENTURE THROUGH TWO DISCRETE LEVELS OF THE GAME – MIRANDA’S PARK BEING LEVEL 1, AND THE IMAGINARIUM, LEVEL 2, BUT ONLY ACCESSBILE BY FINISHING THE QUEST OF LEVEL 1, PLAYERS EXPERIENCE MUSIC FROM BOTH COMPOSITIONS. IN A FURTHER ITERATION OF THIS 3D WORLD WE ARE WORKING ON FOR AMERICAN ORCHESTRAS, MORE INFORMATION ABOUT THE MUSIC ITSELF WILL BE EMBEDDED WITHIN THE GAME WITH ACTIVE LINKS ABLE TO BE CONFIGURED FOR SPECIFIC ORCHESTRA’S NEEDS AND THEIR RESPECTIVE WEB URLS. AS THE INTERACTIVE ELEMENTS CAN REMAIN ON WEBSITES AFTER THE CONCERT EVENT, THIS IN TURN, DRIVES SECONDARY UPTAKE FOR PAY-PER-VIEW AUDIENCES. LET ME BE CLEAR: • IT IS NOT THE LIVE STREAMING THAT IS INNOVATIVE [BEAT] • IT IS NOT THE ACT OF CREATION OF CONTEXTUAL, IMMERSIVE, VISUAL AIDS OFFERED TO AUDIENCES TO DRAW THEM INTO OUR WORLD THAT DRIVES ENGAGEMENT WITH US IT IS NONE OF THESE THINGS IN ISOLATION. IT IS HOW WE MAKE THE EVENT RELEVANT TO THE MANNER IN WHICH PEOPLE CONSUME ALL TYPES OF REMEDIATED EXPERIENCES ACROSS THE INTERNET-OF-THINGS - AND THIS IS THE KEY TAKEAWAY - WHICH FOR NON-CLASSICAL MUSIC AUDIENCES IS COMPLETELY MISSING FROM THEIR SEGMENTED MARKET ‘PUSHED PRODUCT’ AS AGGREGATED TO THEM BY META-DATA ALGORHTHMS. ESSENTIALLY WE BECOME VISIBLE ABOVE THE NOISE OF ‘COMMONALITY’ OF OTHER MUSIC MEDIA CONSUMED PRODUCT, BECAUSE WE LOOK LIKE MEDIA THAT FITS THEIR CONSUMPTION PATTERNS. MOVING AWAY FROM THE TECHNOLOGY ASPECTS OF WHAT WE DO, I WOULD LIKE TO CONCLUDE BY BRIEFLY REFERRING TO THE MUSIC ITSELF WE PERFORM AND HOW WE MAKE REPERTOIRE DECISIONS. [CHANGE SLIDE]
- AS BEFITS THE THE NAME OF THE ADO, THE WORD ‘DISCOVERY’ HAS MULTIPLE MEANINGS AND INTENTIONS. DISCOVERY CAN MEAN, LOOKING AT NEW WAYS OF THINKING ABOUT AND DOING THINGS FROM A BUSINESS PERSPECTIVE, BUT IT ALSO REFERS TO SIMPLY ‘DISCOVERING’ NEW MUSIC – THAT IS – NEW FOR AUDIENCES AND MUSICIANS ALIKE. IT DOESN’T NECESSARILY MEAN THAT THE WORK IS ‘NEW’ – BUT IT MAY BE – AS PER THE PREMIERES OF COMMISSIONED WORKS THE ADO PERFORMS BY AUSTRALIAN COMPOSERS. WITH MAJOR SYMPHONIC ENSEMBLES IN EACH AUSTRALIAN CAPITAL CITY, IT WOULD BE POINTLESS ON EVERY LEVEL FOR US TO DUPLICATE THE GENERALLY STANDARD SYMPHONIC CANON THESE ORCHESTRAS PERFORM WEEK-TO-WEEK. [PAUSE FOR EFFECT!] THE REAL EXCITEMENT IS TAKING EVERYONE ON A JOURNEY OF DISCOVERY IN ALL ASPECTS OF CURATING OUR CONCERTS. [CHANGE SLIDE]
- TO THAT END, WE ARE PARTICULARLY FORTUNATE TO HAVE HAVE ONE OF AUSTRALIA’S MOST ACCOMPLISHED, INTERNATIONALCAREER, CONDUCTORS AS OUR PRINCIPAL CONDUCTOR, AND SOMEONE WHO SHARES OUR PASSION FOR EXPLORING REPERTOIRE THAT, IF NOTHING ELSE, DESERVES TO BE PERFORMED AND TO BE BETTER KNOWN. THE ADO COULD, OF COURSE, DO MORE CONCERTS A YEAR IF WE WANTED TO DO ‘JUST’ CONCERTS, BUT THE CURATION OF EACH OF OUR EVENTS TAKE MANY MONTHS TO EXECUTE – AND ESPECIALLY SO WHEN WE ARE BUILDING 3RD - SCREEN MEDIA SUCH AS ‘THE TENDER LAND’ [MOUSE OVER!!!] INTERESTINGLY, WE EXECUTED THIS PROJECT 8 MONTHS PRIOR TO THE 2016 U.S. PRESIDENTIAL ELECTION. WE FOUND THE SOURCE MATERIAL FOR COPLAND’S 1952 OPERA – BASED LARGELY ON EARLY 1930s AMERICAN XENOPHOBIC DEPORTATION OF MIGRANTS – BOTH LEGAL AND ILLEGAL – AS A RESPONSE TO THE HARSH ECOMONIC CONSEQUENCES OF THE GREAT DEPRESSION, AND EXACERBATED BY THE CALAMITOUS MID-WEST DUST BOWL DROUGHT, EERILY REDOLENT OF CONTEMPORARY POLITICS. WE DIDN’T PLAN TO MAKE THIS CONNECTION, BUT MANY PEOPLE OF OUR AUDIENCE DREW THE SAME CONCLUSION AS WE HAD COME TO MANY MONTHS AFTER THIS CONCERT. THEY WERE ABLE TO DO THIS BECAUSE THE IMMERSIVE MATERIAL WAS STILL ON OUR WEBSITE TO ALLOW POST-CONCERT INTERACTION AND FURHTER EXPLORATION. [WAIT FOR MOVIE TO STOP] [CHANGE SLIDE]
- BUT, EVEN WITH THESE LIMITATIONS IN BEING A SMALL PERFORMING ARTS ORGANISATION, IN THE SHORT TIME WE HAVE BEEN IN EXISTANCE, THE AUSTRALIAN DISCOVERY ORCHESTRA HAS ACHIEVED: A SUBSCIBER AUDIENCE GLOBALLY OF OVER OVER 2000 PEOPLE; OUR INTERACTIVE DIGITAL INITIATIVES HAVE REACHED OVER 11,000 PEOPLE – [PAUSE] AND THAT IS ACTUAL CLICK-THRU IMPRESSIONS; MADE REMARKABLE INROADS IN CULTIVATING NEW, NON-TRADITIONAL, AUDIENCES COMPARED TO MAINSTREAM, FULL-TIME, SYMPHONY ORCHESTRAS IN AUSTRALIA, PRO-RATA, RELATIVE TO THEIR LEGACY SUBSCRIBER BASE;
- [MOUSE OVER] AND SO, GOING FORWARD - TO PLACES LIKE ‘THE IMAGINARIUM’ WE HAVE YET TO DSICOVER - WE WOULD LIKE TO REACH OUT TO OTHER ORCHESTRAS AROUND THE WORLD TO COLLABORATE IN EXPANDING HOW WE CAN CONTINUE TO BUILD OUR AUDIENCE AND SHARE OUR STRATEGIES WITH OTHERS. BECAUSE FOR ALL THAT WE HAVE DISCOVERED, WE STILL HAVE MUCH TO LEARN FROM OTHER PEOPLE AND ORGANISATIONS. ON BEHALF OF THE ADO, WE ARE THRILLED AND PRIVILEGED TO HAVE BEEN AFFORDED THE OPPORTUNITY BY CLASSICAL:NEXT TO BE WITH YOU TODAY. THANK YOU FOR YOUR KIND ATTENTION.