(THIS ROOM IS A SCULPTURE CALLED) PROPHECY is a body of newly commissioned work by pioneering multi-media artist Auriea Harvey. Curated by Pita Arreola, PROPHECY is an allegorical rendering of a spiritual journey, charting a course to reclaim grace and … Continue reading
Building on the momentum of Twin it! 3D for Europe’s Culture (June 2023 – June 2024), the Europeana Initiative and the European Commission launched Twin it! Part II campaign to run during the Polish, Danish and Cypriot Rotating Presidencies of the Council … Continue reading
Topic: art & new media technologies
Managing Arts Projects with Societal Impact (MAPSI) refers to a specialisation in management of artistic projects with societal impact and aims to create an international network focusing on educating cultural managers and facilitators to manage and mediate artistic and cultural projects with societal impact. Subscribe to MAPSI’s e-mailing list! Continue reading
How cultural institutions can renew themselves? How can heritage professionals create the conditions for the visitors to leave the role of observers and instead be active contributors to the development of heritage? How can the consumers become producers of cultural heritage? How can cultural heritage be co-created? RICHES is trying to answer these questions through a series of co-creation sessions. The outcomes of these initiatives will be presented during 5 December’s afternoon programme of the First RICHES International Conference, being held in Pisa, at the Museum of Graphics of Palazzo Lanfranchi (4-5 December 2014). Continue reading
On 2 October 2014, the European Commission published two reports, coinciding with the international conference held in Rome, at the National Central Library, on occasion of the Italian Presidency of the EU. The conference aimed at urging cultural institutions in Europe to put more cultural heritage online, with the government support. The Commission will continue to monitor progress in this area through periodic reports and by chairing expert groups on digitisation and digital preservation and monitoring the correct transposition of the Orphan Works Directive. Continue reading
Decoda has supported the Dance E-Space Pilot since Summer 2014 by including us in the Summer Dancing Festival 2014. They have been instrumental in connecting the Pilot partners with various freelance artists, practitioners, teachers, learners and researchers. Decoda has played a crucial role in finding a range of content which the Pilot is now using to test its applications. Photo: Christian Kipp and Summer Dancing/Decoda. Continue reading
image: ‘The Greeting’ choreographed by Lucinda Coleman. Remnant Dance is a Perth-‐based collective of performing artists with a vision to “create, make, connect” through creative practice and professional arts performance. Continue reading
Janine Prins of WAAG Society retraces her experience as anthropologist and announces the RICHES co-creation sessions. Continue reading
The company works primarily with Dance Theatre, with a constant enthusiasm for fusing artistic disciplines and indulging in vibrant aesthetics. They supported the dance Pilot of Europeana Space. Images credit: The Camera Club, London and Foteini Christofilopoulou Continue reading
Artistic Director of J Squared Dance Company, Jennifer Essex has recently contributed to the E-Space Dance Pilot. Learn more about her work and her latest project Distance Duet. Continue reading
MemorySharing is a project which aims to create a new way for increasing the value of a community’s memories and private documents, by combining web technologies, scientific accuracy and creative approach in the multimedia sharing/telling of contents. Its main objective is to connect generations, actively engaging aged and young people. MemorySharing is a project by the cultural association Acquario della Memoria, whose essential aim is to experiment effective and innovative ways of transmitting the value of past’s memories. Continue reading
Many of the objects within the archive collection have been sourced directly from Davies and her collaborators’ personal collections, whilst other items have been kindly lent by institutions and private contributors. Almost all of these objects that would otherwise remain inaccessible and unavailable appear online for the first time, and in many cases represent the first time objects have been viewed by anyone since their original date of creation. Continue reading
