CCCB LAB THE CCCB ON THE WEB By Lucia Calvo and Maria FarrĂ s With the collaboration of the CCCB departments DECEMBER 2011
WWW. CCCB.ORG /LAB A CCCB_LAB publication Centre de Cultura ContemporĂ nia de Barcelona (CCCB) Montalegre, 5 08001 Barcelona T. 93 306 41 00 Blog: www.cccb.org/lab E-mail: firstname.lastname@example.org Twitter: @cccblab
CCCB LAB THE CCCB ON THE WEB The so-called social web is an excellent space for conversation, for sharing knowledge on a subject or for creating communities. As cultural institutions we have learned that the public is no longer passive and demands to play an active role in this conversation in order to become a contributor. The “philosophy 2.0” has entered cultural institutions through their communication and press departments, and despite this being a recent phenomenon, no centres or museums remain that do not have a more or less active presence on the social networks. However, the use of tools 2.0 is just the tip of the iceberg of another, deeper-reaching process that affects other spheres: work methodologies and processes, design of activities and programming, curatorship, etc. 
«The CCCB on the Web» summarises the first phase of the Centre de Cultura Contemporània de Barcelona (CCCB) on the Internet, focusing above all on communication. The desire for constant learning and updating obliges us, however, to back a permanent awareness of participative processes on the path that leads from interaction to co-creation. 
· 03 ·
This document presents the status of the CCCB on the Web at the current time (November 2011) and covers the principles and criteria that we have applied in the management of tools 2.0 up to the present, while trying to establish a methodology adapted to the Centre’s needs and objectives. It also proposes style guidelines to ensure that the CCCB’s online communication be as coherent as possible with our conceptual lines as with general Internet principles. «The CCCB on the Web» aims to be simultaneously an internal tool (for creating order, reflecting on tools 2.0 and establishing methodology) and an external tool (for sharing the experience). It is a document that suggests a path for the process of change in which we are immersed; a constant work in progress that we wish to share and that will very surely require further revisions.
· 04 ·
The desire for constant learning and updating obliges us to back a permanent awareness of participative processes on the path that leads from interaction to co-creation.
INSUA, J. CCCB LAB una visió de conjunt [online]. Barcelona: Labzine, 2010 [Consulted 8 September 2011].
Available at: http://issuu.com/icicccb/docs/cccblab
Sessió I+C+i: Institucions culturals 2.0? [online]. Barcelona: Icionline, April 2010 [Consulted 8 September 2011].
Available at: http://www.cccb.org/icionline/instituciones-culturales-20/
Sessió I+C+i: 2.0: De la interacció a la co-creació [online]. Barcelona: Icionline, September 2011 [Consulted 8 September 2011].
Available at: http://www.cccb.org/icionline/ici-5-20-dela-interaccion-a-la-co-creacion/
SANGÜESA, R.; LAPUENTE, I. Una invitació al disseny de processos de participació [en línia]. Barcelona: CCCB LAB, 2011 [Consulted 8 September 2011].
· 05 ·
Available at: http://www.cccb.org/lab/ici/una-invitacio-
CCCB_LAB THE CCCB ON THE WEB
PRINCIPLES OF THE CCCB ON THE INTERNET These are the principles that inspire the CCCB’s Internet communication policy:
7. We are not the sole voice of knowledge. Observe and learn from cultural exchange through numerous sources, movements and users online (eduex, cultura 2.0) who are experts in the field.
1. The horizontal, non-hierarchical nature of online communication. Communication via the Internet is ideally peer to peer communication.
8. Promotion of participative projects with specific objectives that range from collaboration to co-creation with user communities.
2. Quality versus quantity: it is not only important how many people follow us, but how we interact and what common objectives we share. We have to try and contribute contents of quality in our interaction with Internet users.
9. Co-responsibility and netiquette: respect for operating and behavioural standards established on the Web. 10. Representation of the values and conceptual lines of the CCCB: in profiles 2.0, opinions are not issued on a subject when the Centre has not made its position clear on it.
3. Public service vocation: inform and respond to consultations from followers. 4. Transparency: provide truthful information without advertising or deceitful objectives. 5. Dialogue and open debate around the Centre’s principal core themes: city and public space, literature, film, music and innovation and research in the cultural sphere, etc. 6. Recognition of the contents and the work of other institutions, people and movements online and offline that work for culture and share values and themes with the CCCB.
· 06 ·
CCCB_LAB THE CCCB ON THE WEB
STATE OF THE QUESTION: PROFILES & SERVICES 2.0 The CCCB organises its presence in the different tools according to the users being addressed and the subjects being tackled
• Follow subjects and people linked to the Centre’s activity. • Recommend documentation of other cultural activities that are not our own but that have a relationship with the CCCB’s core themes. • Broadcast events live (Live Twittering).
• Corporate profile: Addressing the general public to tackle agenda and programming issues.
The CCCB uses other services 2.0 such as the functions of unified repository and platform for re-disseminating contents (videos, photographs, PDF documents and links).
• Thematic profiles: Addressing user communities interested in specific themes. CCCBLab, CCCBEducació, Kosmopolis, Xcèntric Cinema, Anilla Cultural Latinoamérica-Europa and Public Space.
- Vimeo (video) - Ustream (streaming) - Flickr (photography ) - Delicious (links) - Issuu (PDF & documents) - Prezi (presentations)
These specific profiles have been developed on the Web through Twitter and Facebook, the two tools that the Centre’s team use regularly with the following objectives: • Strengthening interaction and conversation with the users. • Receive and respond to comments, complaints and suggestions. • Provide information about programming. • Disseminate links and documentation connected with the activities • Cross-post own content generated on the blogs and websites of the CCCB. • Share multimedia materials derived from activities (chronicles, videos, interviews, conferences), generated by both the Centre itself and by Internet users.
· 07 ·
Since June 2011, the CCCB has been using the Vimeo platform as a tool for the publication and distribution of all its audiovisual contents: interviews, reports, promotional videos and conferences and debates. Since the year 2008 the CCCB had made use of Youtube (http://www.youtube.com/cccbarcelona), which is now given secondary use exclusively for promotional videos. The CCCB Lab had its own video channel on the platform Blip.tv (http://cccblab.blip.tv/), where it published audiovisual contents related with innovation and research in the cultural sphere: interviews with all the speakers participating in sessions of the I+C+i season as well as other CCCB Lab activities. At the time of writing this document, it is planned that all new videos generated on the CCCB Lab’s blip.tv channel will be unified into a specific replay list on the CCCB’s Vimeo channel. All those specific CCCB projects with a high volume of associated videos will have their own replay list on Vimeo.
We make use of Ustream for the live video streaming of certain events. The CCCB uses this service to offer users press conferences, debates, conferences, musical performances and festivals online. PHOTOGRAPHY Flickr http://www.flickr.com/photos/cccb/ The CCCB makes use of photography to leave a documentary record of nearly all the own activities that take place at the Centre. A selection of photographic reports on activities at the Centre (debates, festivals, exhibitions, etc.) is published on Flickr to share it with the community of users of this social network. The CCCB also participates on Flickr to interact with user communities linked to the world of photography.
· 08 ·
PDFS AND DOCUMENTS
The CCCB has 3 Delicious accounts, the social service for the storage and classification of websites. In the case of the CCCB account, the tool is used to provide press dossiers online. The CCCB’s press team selects some of the most outstanding articles on the Centre’s activity that are published in digital media. The CCCB Lab (http://www.delicious.com/ icionline) uses Delicious to publish all the documentation generated in each of the I+C+i (Research and innovation in the cultural sphere) seasonal sessions. Kosmopolis (http://www.delicious.com/kosmopolis) has a Delicious account for recommending interesting articles and materials linked with the authors and themes of the different editions of the Amplified Literature Fest.
The educational notebooks generated by CCCB Educació, some activity leaflets and the prologues of the exhibition catalogues are three kinds of documents that the CCCB has opted to digitalise and e-publish on Issuu to improve their visualisation. The reasons are that the Issuu service considerably improves the consultation and reading online of these documents and facilitates their downloading and re-dissemination of their contents. The CCCB Lab (http://issuu.com/icicccb) also publishes on Issuu: the I+C+i hand programmes and other digital publications that it generates periodically. PRESENTATIONS Prezi Prezi is a tool with great potential for dissemination which allows presentations to be made online incorporating the notion of movement, which allows more original presentations to be created. To date it has been used by CCCB Educació for producing virtual visits to exhibitions and by CCCB Lab for preparing presentations of its activities.
· 09 ·
Calendar and general programming of the CCCB
Web: http://www.cccb.org Blog: VEUS CCCB http://www.cccb.org/veus
Innovation and research in the cultural sphere
LAB web and blog: http://www.cccb.org/lab I+C+i online: http://www.cccb.org/icionline
Oral, written and e-literature
Web: http://www.cccb.org/kosmopolis Tumblr Kosmopolis Diary: http://kosmopolis11.tumblr.com/ Wiki Bookcamp Kosmopolis: kosmopolis2011.pbworks.com/
European Prize for the Public & Urban Space, urban design, architecture
Anilla Cultural Latinoamérica-Europa
Networking between cultural institutions
· 10 ·
SERVICES 2.0 Twitter Facebook Youtube Ustream Flickr Issuu Delicious Foursquare
@cececebe http://www.facebook.com/CCCB.Barcelona http://www.youtube.com/cccbarcelona http://www.ustream.tv/user/cccbarcelona http://www.flickr.com/photos/cccb/ http://issuu.com/cccb http://www.delicious.com/cccb http://4sq.com/da9rZT
Twitter Facebook Delicious Issuu Blip.tv
@cccblab http://www.facebook.com/CCCB Lab http://www.delicious.com/icionline http://issuu.com/icicccb http://cccblab.blip.tv/
Twitter Facebook Delicious
@kosmopolis_cccb http://www.facebook.com/Kosmopolis http://www.delicious.com/kosmopolis
路 11 路
OWN TOOLS FOR PARTICIPATION
The CCCB has designed tools and projects for participation that required interaction with the public and gave added value to the activity:
GLOBAL SCREEN http://pantallaglobal.cccb.org POST-IT CITY http://www.cccb.org/es/post-it
PROJECTS WITH THEIR OWN WEBSITES • • • • • • • • • • •
ATOPIA. DICTIONARY OF CULTURAL MALAISE : http://www.cccb.org/atopia/ BAMAKO http://www.cccb.org/ca/bamako BLOG J.G. BALLARD http://www.cccb.org/blogballard/ BOOKCAMP KOSMOPOLIS http://kosmopolis2011.pbworks.com/ BRANGULÍ WAS HERE. WERE YOU? http://www.brangulivaseraqui.com/ KOSMOPOLIS DIARY http://kosmopolis11.tumblr.com/ THE CITY OF HORRORS http://www.cccb.org/laciutatdelshorrors/ YOUR VOICE http://www.cccb.org/veus/la-teva-veu/ VIEWS CCCB http://www.cccb.org/mirades WALLS http://www.cccb.org/es/murs CCCB INTERACTIVE BROWSER http://www.cccb.org/navegador
• • • • • •
· 12 ·
CERDÀ YEAR http://www.anycerda.org/web/ KOSMOPOLIS http://www.cccb.org/kosmopolis/ NANO http://www.cccb.org/nano NOW http://www.cccb.org/now PUBLIC SPACE http://www.publicspace.org/ XCÈNTRIC http://www.cccb.org/xcentric
CCCB_LAB THE CCCB ON THE WEB
USAGE CRITERIA FOR PROFILES & SERVICES 2.0 In order to guarantee a presence of quality that is coherent and sustainable with the resources available, we are establishing a series of guidelines for the management of the current services 2.0 as well as for the opening of new accounts.
and, in the case of specific identities 2.0, be fully familiar with the contents that interest the user community they are addressing. Every time it is intended to register a new account linked to the CCCB or to any of its own activities, it will be necessary to consult it beforehand with the person responsible for digital communication at the CCCB. Those staff members who manage tools 2.0 cannot use them for personal purposes. If a staff member wishes to have an own account and link it professionally to the CCCB, this must be communicated in advance and the CCCB’s principles on the Web (point 2) must be taken into account.
Prior planning Online communication has to be coordinated some time in advance between the programmers and coordinators of an activity and the person responsible for digital communication at the CCCB. The main criterion to take into account is prior planning: before making use of a tool we should think about what it is that we want to communicate, why and whom we want to address, and what the communication strategy should be. The answer to these questions will guide us when it comes to deciding whether it is necessary to make use of tools 2.0 and which might be the most suitable.
Accounts of collaborating groups/collectives The CCCB only takes responsibility for the management of the digital communication of own projects produced by the Centre. In the case of the activities of collaborating groups, the CCCB will take on a basic dissemination role (cross-posting of contents and of the group account) through the Centre’s corporate channels. Any online campaign or initiative by a group or collaborator that goes beyond general dissemination must be consulted with the person responsible for digital communication.
Management of own accounts: the CCCB’s identities 2.0 All the CCCB’s tools 2.0 that involve the management of a community and of specific cultural contents have to be managed by a person in charge of their updating and maintenance. This person must form part of the CCCB team
· 13 ·
Languages of communication
The main criterion to take into account is prior planning: before making use of a tool we should think about what it is that we want to communicate, why and whom we want to address, and what the communication strategy should be.
The main language for communication by the CCCB via the tools 2.0 is Catalan. However, communication by the CCCB is trilingual (Catalan, Spanish and English) and according to the audience that we are addressing, we may use any one of these three languages. When we disseminate contents, we will use their original source language (Catalan, Spanish, English or any other language). Identification The CCCB’s profiles 2.0 have to be identified with the corporate logo or corresponding graphic image. The profile descriptions and all the contents that we generate and share on the web 2.0 must be identified as CCCB projects (through the logo or alternatively in writing).
· 14 ·
CCCB_LAB THE CCCB ON THE WEB
CRITERIA FOR EDITORIAL & PUBLICATION ON BLOGS The CCCB has two blogs: a corporate blog, VEUS CCCB and another specialising in research and cultural innovation, the CCCB LAB blog.
• BLOC LAB http://www.cccb.org/lab Gathers all the knowledge that is generated at the Centre around the mutation of genres and formats and the work methodologies and work processes that may be explained by workers, collaborators, curators, the technical team, etc. It is a tool for external communication to the general – non-specialised – public to make them aware of the Centre’s transformation towards a virtual CCCB (exhibitions, new audiences, participation 2.0, etc.), as well as other objectives explained in the founding document of the CCCB LAB. 
• VEUS CCCB http://www.cccb.org/veus Is the corporate blog of the Centre de Cultura Contemporània de Barcelona. It is a tool for external communication and interaction with the Centre’s public. It represents a new way of communicating the CCCB’s projects to all the voices involved in the Centre’s activity: workers, collaborators, curators, artists, technical team.
· 15 ·
What are the CCCB blogs used for?
More uses of the blog:
• To address the public of the CCCB’s activities in a closer and more direct way. • To explain the activities of the Departments from angles different to the usual ones. To show how an activity is made possible and the less visible side of the CCCB. • To raise awareness regarding aspects of the team’s work that usually remain forgotten once the activity has been programmed or, that for reasons of space or time, end up not being explained. • To debate around the CCCB’s main lines of programming. • To publish chronicles, criticisms and articles and promote future activities. • To explain how the departments are changing: what they are doing to innovate and adapt to the new cultural reality of the 21st century. • To make known who the team is and what each staff member / collaborator / curator does at the CCCB. To chat with the public and find out what they think about the CCCB’s work and activity. • To network: to meet and contact people with interests and professional activities similar to those of the team and collaborators.
• Recommendations/criticisms/commentaries on articles and news, websites, music, programming of our own and other cultural centres, etc. • Explanation of curious facts and anecdotes. • Summaries of team participation at sector meetings or congresses. • Proposals for ideas about our department with regard to receiving feedback from the public. How should we write in the blog? • It is necessary to use a direct, simple and clear style. We can allow ourselves a more personal style. • The texts must preferably be short and have to be accompanied by an image or multimedia resource (video, audio and links) that makes them more attractive. • In the case that we want to publish a more elaborate background article, it will be published attached to an introductory (summary) post of the article. • All the texts of the blogs are signed with the name of the author and a brief description of who the author is. The signature is also recognition of the author and a good form of communicating to the public who is who at the CCCB. Articles can be signed in the name of the department or of a team when texts are more informative, neutral and less personal.
· 16 ·
VEUS CCCB i CCCB LAB representen la veu de la institució a través de les moltes veus de treballadors i col·laboradors.
Do not lose sight of the fact that we represent the CCCB
On comments • The author of a post must review it to see if any comments have been received and respond to those comments personally in order to open up a conversation with readers. • The editor of the blog will moderate all comments and will not publish comments that are offensive or contain no argument.
• VEUS CCCB and CCCB LAB represent the voice of the institution through the many voices of staff and collaborators. If we make criticisms, we will make use of professional criteria, never personal criteria. • Our opinions will be connected to the CCCB’s public image, and for this reason we must be coherent with the Centre’s general lines and philosophy. Restrictions
• No offensive or advertising contents will be published. • We will request permission from our colleagues before writing about them. • We will avoid publishing texts about programming that is not yet confirmed.
Document fundacional CCCB LAB [online]. Barcelona: CCCB Lab, November 2009 [Consulted on 8 September 2011].
Available at: www.cccb.org/lab/wp-content/themes/ default/docs/dossier_03_ca.pdf
Attribution • If we quote another blog or publication, we will always link to the original source (if this is possible) • If we use photographs that we have found on the web, we will always use credits and link to the author.
· 17 ·
CCCB_LAB THE CCCB ON THE WEB
RELAYING ACTIVITIES THROUGH TWITTER conference that may be of interest for the audience to seek further information. For example: if the speaker makes a literary reference, it is useful to find that reference on the Internet and post a link for it. • Compile support material: It is also very important to be able to have access to the PowerPoint file or support material that the speaker will use during the conference. It can serve us as documentation for our own purposes and we can also offer it to our followers as a complement (added value) to the relay. • Contact with the Twitter community interested in the theme of the activity or in the speaker. Days before the activity, we will do a search for possible followers of ours on Twitter who are especially interested in the activity theme and contact them personally so that they take part in the live relay and add value to it with their tweets. • Prior search for tags, basic key words (hashtags)* with which we will define our activity.
We propose some practical recommendations in case we want to relay an event live using Twitter (=live Twittering). The tips or suggestions are organised according to the phase of the activity: 1. Before the activity 2. During the activity 3. Once the activity is over
BEFORE THE ACTIVITY • It is necessary to seek documentation on the participant(s): biographies, links to articles, webs, blogs, Twitter accounts, etc. We should also already have all the information that the CCCB has generated around the activity (link to the activity file, interviews, articles in the blogs, etc.) well organised. It is preferable that all this documentation be online to be able to provide links for our followers. • If the event is a conference, we will try to get hold of a copy in printed format beforehand: To be able to organise following via Twitter and the listing of the main ideas of the conference properly, it is highly recommended to have a copy of the text that the speaker will give, in advance. Thus we will also be able to document the broadcast better, searching for links for points of the
*TAGS OR HASHTAGS: Communication via Twitter often functions via tags or hashtags (words preceded by the hash sign #). They are key words that serve as a thematic guide (#politics #democracy), for the classification of contents or quotations that we publish. Hashtags are also used to name an
· 18 ·
event (#kosmopolis #k11) or the key theme of the event (#literature).
Useful tools and tips for preparing a broadcast: • Ensure that the place where you will be following the activity has a good WiFi connection - Prepare a document with some general tweets of the conference and all the documentation that you have compiled to provide it during the broadcast. - Have a URL address shortener handy: Despite the Twitter account management programmes such as Hootsuite and Tweetdeck already incorporating the shorten URLs function, it is a good idea to have some tool to hand to make longer URLs shorter. - Use a social networks management programme. These tools allow you to manage tweets and hashtags, and visualise and monitor the impact that the broadcast is having. • MUUTER: http://muuter.com/ A tool that allows you to “silence” Twitter users. When we broadcast a conference, we produce a large number of tweets one after another, and that may annoy some of our followers who do not want to know about the conference. We can suggest to them, before beginning the broadcast, that they use the Muuter to silence our tweets.
Example: Conference by Lipovetsky on “The future of the cities” within the debate “THE FUTURE” The main hashtags could be #city (if we want to emphasise the theme of the conference) or #lipovetsky (if we want to highlight the author) or #debatefuture (if we want to highlight the global event). Each tweet that we write can include these hashtags (all 3, 2 or 1, according to the space that we have available) which will mean that people from all around the world interested in #city or #lipovetsky #debatefuture, may find and view what we are saying and follow us more easily. • Once we have decided on the hashtag, it is important to publicise it in the days leading up to and the day itself of the activity. We will have to present the event just before it begins (authors, place, date and starting time) and notify that we will be broadcasting from it live. If a direct address for streaming exists, provide it. We can save this tweet in case it is necessary to remind people of it once more later on (especially the streaming address, which we will have to repeat several times during the conference in case any followers have joined us later).
· 19 ·
• How do we explain it? STYLE FOR WRITING TWEETS - Zemos98 proposes tweets structured in the following way #hashtag event + @usernamespeaker (if s/he has one) + “Quote inside quotation marks” Another option, if we do not want to do direct quotes but summaries of contents is: #hashtag event + #hashtag speaker + text that we want to highlight - We must use a simple, direct and understandable style. - We are offering a service and have to try to be as serious as possible, without losing sight of the fact that Twitter is a conversational tool and we must be able to respond with the style that our followers expect from us: close, informal and direct.
DURING THE ACTIVITY • Open document in Word: It is useful to have an open Word document containing the main #hashtags for the conference noted down, as well as other links that we have found during the prior documentation phase. That will allow us to document the broadcast with links and not lose time searching for information. • What do we explain? TYPE OF RELAYING. As suggested by Zemos98 in the article “Live Twittering” , a good formula for relaying conferences/events is to try and accumulate the largest number of interesting or representative phrases around what the speaker is saying. The idea is that someone who is not attending the event physically can follow live or read later about the most prominent contents of a conference. It is important that one single person is dedicated exclusively to the broadcast because it is a job that requires concentration. There is no need to try and follow sentence by sentence what the speaker is saying, but rather make a summary, through tweets, of everything that is occurring (including reactions of the audience, questions, etc)
Tips for broadcasting events via Twitter • Choose the language that we believe will most interest our followers – If there is a streaming, the user speaks English and the interpretation is into Catalan, it might be a good idea to write the tweets in Spanish in order to cover all 3 languages. • If we make a mistake, we can erase a tweet. If something does not work, it is a good idea to accept that there has been an error (we can write a tweet explaining that the
· 20 ·
A good formula for relaying conferences/events is to try and accumulate the largest number of interesting or representative phrases around what the speaker is saying.
streaming is down). At all times, we have to be aware that there are people following us and we may make a mistake and explain it. • Always be alert to whether anyone has asked a question or made a complaint. In these cases it is important to listen to what they are saying to us and respond directly. • Remember the MUUTE (silencer) and streaming address. • When the round of questions begins, offer the possibility for Twitter followers to ask questions via Twitter so that they can be answered. If there is a lot of activity in the real-life round of questions, perhaps it is best not to say anything else on Twitter in case the questions of our followers cannot be attended to.
same phrase/content that you have written because s/he finds it interesting, useful, positive, etc. The RT or retweet is a way of redisseminating contents, a code that Twitter users have for echoing and valuing contents published by other users. If the tweets are retweeted a lot, that is a good sign! You have managed to please your followers and your message will reach more people!
ONCE THE ACTIVITY IS OVER • We have to close the direct broadcast with a goodbye tweet, informing people that the event has finished. If there have been very active followers, who have taken part with questions or have RETWEETED* our contents, it is important to publicly thank them for their contribution.
ZEMOS98. Live twittering en [pcdunia] [online].
Zemos98 [Consulted on 8 September 2011].
Available at http://publicaciones.zemos98.org/spip. php?article1381
*RETWEET: On Twitter, when content appears with the initial RT before it, it means that a user has retweeted that content. What it means is that s/he has wanted to repeat the
· 21 ·
CCCB_LAB THE CCCB ON THE WEB
LINES OF WORK • Progressive integration of all the contents generated by the CCCB into a single contents portal that will become a place of reference and debate for users with regard to contemporary culture. The experience of the user at the CCCB must take into account both the physical environment (building, exhibition space, etc.) and the virtual environment (web, social networks, mobiles, etc.). • Define a general policy of authors’ rights with licences that allow a reuse and dissemination of cultural contents, in so far as is possible. • Quantitative and qualitative analysis of the different digital and real-life activities at the CCCB. Definition of a methodology that measures efficiency and the quality of contents and interaction with users.
«The CCCB on the Web» presents the strategy that has been followed up to now by the CCCB to create and share contents, services and participatory projects on the Internet. This document is also the starting point for advancing towards new challenges and future lines of work, which will allow the CCCB to be well positioned on the Internet in the second decade of the 21st century. To be able to innovate, we consider that firstly it is necessary to carry out a critical internal reflection on the use and abuse of social networks and the Internet. Backing a new way of working and of promoting culture in harmony with the current times leads us to define a series of steps to be followed: • Permanently research the new tools available in the digital world, paying special attention to those that optimise human, intellectual and creative resources. In this sense, it is necessary to define strategies for the use and application of mobile technologies and videostreaming. • Make deeper inroads into the culture of participation so that if the project requires it, participation is designed in advance and taking into account that different levels exist that range from interaction to co-creation with users. The communication and dissemination of the Centre’s activity is a priority objective but the philosophy 2.0 should reach all spheres of the CCCB.
These objectives have to be achieved with the transversal work of the entire CCCB team and the guidance of the Centre’s systems department. An integrated and global strategy is necessary so that the design, production and creation of virtual projects can be worked on jointly and in a sustainable way with the intellectual, human and economic resources that we have in house.
· 22 ·
An integrated and global strategy is necessary so that the design, production and creation of virtual projects can be worked on jointly and in a sustainable way.
路 23 路
Published on Jan 8, 2012
Published on Jan 8, 2012
«The CCCB on the Web» summarises the first phase of the Centre de Cultura Contemporània de Barcelona (CCCB) on the Internet, focusing above...