Smart Concerts: Orchestras in the Age of Edutainment

Provides a summary of the recent shift in concert programming, and discusses four strategies for enhancing the concert experience: contextual programming, dramatization of music, visual enhancements, and embedded interpretation

Lessons Learned about Change Capital in the Arts: Reflections on a four-year evaluation of Nonprofit Finance Fund's Leading for the Future initiative

This report takes stock of a four-year evaluation of Leading for the Future: Innovative Support for Artistic Excellence (LFF), an experimental $15 million funding initiative administered by Nonprofit Finance Fund (NFF) with support from the Doris Duke Charitable Foundation (DDCF). The purpose of this analysis is to reflect critically on what was learned from the initiative for the benefit of funders, individual philanthropists and others with an interest in the theory and practice of capitalization as applied to nonprofit arts organizations.The LFF initiative was unique in its exclusive focus on change capital – substantial, flexible, multi-year capital intended to transform how an organization operates and delivers its programs, with the long-term goal of increasing reliable revenue, net of costs. By definition, change capital aims to strengthen an organization's financial position.Ten performing arts organizations received$1 million in change capital, drawn down according to individual plans for change, and an additional $75,000 in planning funds. Exit grants of up to$225,000 were awarded to organizations that made the most progress on their change efforts, for the purpose of advancing ongoing change efforts or seeding new plans.1 The 10 grantees invested LFF change capital in a wide variety of "business model transformations" ranging from building technologies with the potential to attract new donors and audiences, to experimenting with different models for touring, to investing in marketing and development capacities.NFF has previously published a series of working papers, case studies and video highlights from the LFF initiative, exploring the concepts of capital and financial reporting for capital, and documenting the 10 grantees' experiences.2 We will avoid citing the accomplishments and challenges of specific grantees in this report, and focus instead on program level issues and ideas that might be helpful to future investors of change capital. Indeed, the LFF initiative has played out against the backdrop of a national dialogue about capitalization in the nonprofit arts sector, both learning from, and contributing to, a good deal of productive thinking about capital.While the LFF initiative involved large grants, much was learned that might be of value to funders with more modest resources who are interested in exploring the role of capital in the artistic and financial health of the sector

Cultural Engagement in California's Inland Regions

Cultural Engagement in California's Inland Regions explores patterns of cultural engagement in the San Joaquin Valley and the Inland Empire. Two major data collection efforts were undertaken. The first was a door-to-door intercept survey of more than 1,000 randomly selected households in six distinctly different neighborhoods, three in the Fresno area and three in Riverside and San Bernardino. The second was a self-administered survey of more than 5,000 residents of the two regions, promoted as the "California Cultural Census" and conducted online and through intercept work at various locations and events. It is important to note that this second data set aggregates multiple samples, including respondents who were selected at the convenience of outreach organizations. Although weighted to reduce potential biases, these data are not representative of all adults in the two regions. Results paint a detailed picture of the breadth and depth of cultural engagement in the two regions and reveal a range of activity in music, theater and drama, reading and writing, dance, and visual arts and crafts -- much of which occurs off the radar" of the traditional infrastructure of nonprofit arts organizations and facilities. The study identifies specific types of activities which, if supported at higher levels, might equitably raise participation levels and achieve higher levels of cultural vitality in millions of homes and hundreds of communities. It concludes that cultural providers and funders should look deeper into the fabric of their communities for new partners, new settings and innovative approaches to drawing residents into cultural experiences. This briefing provides a high level summary of the study's key findings, as well as discussion questions for cultural providers and funders. Comprehensive results are available at www.irvine.org, including an executive summary and detailed results by artistic discipline

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity

Philadelphia-Camden Cultural Participation Benchmarking Project: Neighborhood Survey

This document presents the findings of a neighborhood survey undertaken by Alan S Brown & Associates for the Benchmark Project. The study employed a door-to-door intercept methodology using a random sample of addresses in each of five neighborhoods—three in North Philadelphia and two in Camden, NJ. The resident survey, based on themes from Research for Action’s focus group work, investigated a broad range of cultural and creative activities and venues to build a participation profile of adults in the survey neighborhoods. The report also summarizes data on the social context of residents of these predominantly low-income neighborhoods. In his presentation on the research, Alan Brown outlines a framework for thinking about cultural participation based on level of creative control. The resident survey was administered by the Point Breeze Performing Arts Center, based in South Philadelphia, under the direction of senior vice president Alfred Brown. The team completed 602 interviews, approximately 120 in each neighborhood, between June and October 2004

Spatial patterns of tree yield explained by endogenous forces through a correspondence between the Ising model and ecology.

Spatial patterning of periodic dynamics is a dramatic and ubiquitous ecological phenomenon arising in systems ranging from diseases to plants to mammals. The degree to which spatial correlations in cyclic dynamics are the result of endogenous factors related to local dynamics vs. exogenous forcing has been one of the central questions in ecology for nearly a century. With the goal of obtaining a robust explanation for correlations over space and time in dynamics that would apply to many systems, we base our analysis on the Ising model of statistical physics, which provides a fundamental mechanism of spatial patterning. We show, using 5 y of data on over 6,500 trees in a pistachio orchard, that annual nut production, in different years, exhibits both large-scale synchrony and self-similar, power-law decaying correlations consistent with the Ising model near criticality. Our approach demonstrates the possibility that short-range interactions can lead to long-range correlations over space and time of cyclic dynamics even in the presence of large environmental variability. We propose that root grafting could be the common mechanism leading to positive short-range interactions that explains the ubiquity of masting, correlated seed production over space through time, by trees

A Soldier\u27s Life:The Civil War Experiences of Ben C. Johnson

A Soldier\u27s Life:The Civil War Experiences of Ben C. Johnson (Originally Entitled, Sketches of the Sixth Regiment Michigan Infantry) Edited, with an introduction, by Alan S. Brown This issue of Faculty Contributions, A Soldier\u27s Life, is a significant contribution to the literature appearing during the Civil War Centennial. It is particularly appropriate in that the unit with which this diary is concerned, the 6th Michigan Infantry Regiment, rendezvoused in Kalamazoo, Michigan on August 20, 1861. It is hoped that the tales that are presented will enable the reader to have empathy with the trials and tribulations of one soldier who participated in one of the most distressing events in the history of the United States. George G. Mallinson, Dean, School of Graduate Studie

A Comment on “Is Information Systems a Science?”

In this paper, we respond to McBride’s (2018) paper on whether information systems is a science. We first argue that information systems is indeed a science in that it draws from and creates knowledge in a form similar to many different disciplines, including psychology, sociology, mathematics, economics, computer science, and engineering. We counter the flawed logic of methodical extremists who believe that their approach represents the best or only path to knowledge. Specifically, we argue that many different methods of inquiry and discovery are appropriate in information systems and that each has its strengths and weaknesses