Webinar 2: Digital

The second Academy Camp illustrated the indispensability of bridging the gap between information and experience and relying on collaborative design approaches from the very beginning. Watch and learn from our key experts in this webinar on the topic of Digital.

Webinar chapters (Part 1)


Mercedes Giovinazzo, Interarts

Evaluation Methods – European Capital of Culture 2025
Prof. Dr. Jochen Mayerl (Chemnitz University of Technology)

Classic and digital methods the team uses to monitor the position of the public towards Chemnitz: diverse levels of monitoring (Media context, social media, trend data, panel data) are paired with varying forms of data collection employed (surveys, qualitative interviews, city comparison, webscraping of tweets). Open Science can be a big change in the culture of science, enhancing transparency and replicability.

Matera 2019

Rossella Tarantino (delivery team Matera 2019)

Use of Open Data as a common good: not only for accountability but rather to empower people, generate knowledge that is useful to scholars, journalists, students, designers and artists for personalized research interests. Employ platforms as a tool to empower others, create new knowledge or communicate and collect data at once.

Let’s open the open data!

Matteo Moretti (Sheldon.studio)

The biggest problem: so far open data is only manageable for experts in data science. The aim is to reduce the distance between average users and open data through designing informative experiences. Enable a broader audience to understand that social and political issues are complex issues through a social design perspective. Lessons learnt: utilise transmedia formats to bridge the digital to the physical and vice versa to reach several groupings of audiences and make them feel part of the ECOC, and frame the open data portal as a strategic communication asset to inform those interested daily during the event (blend of several categories – transmedia approach).

Participatory Data on Public Space

Pau Garcia (Elisava School of Design and Engineering and Domestic Data Streamers)

The objective is to bring emotions and experience to the reading of data to make the numbers approachable for the public. Data is not important per se but what comes with it and which possibilities it provides. Interactive ways to create data also in real world can even take on a life of their own as artistic and social experiments. To render visible the impact of one’s opinion in public space is an effective way to encourage discussion.

The future holds many opportunities for maker communities.

Steve Manthorp (University of Leeds – Cultural Institute)

Opportunities for audience engagement: creating a balanced programme is important to equally attract the local or the international communities. Interactive projects that connect the city to other places across borders are a possible solution to create links, e.g. through electronic communication or geolocation. Communities may often be anti-authoritarian, do not want to be told what to do. There is also an individualism present in maker communities - to pursue their own creative ideas and visions, therefore, community management is needed.

Chemnitz 2025 – Trust & Black Swan

Calum Bowden (Trust & Black Swan)

How to engage analog and digital and communities? When thinking about creating a community, think about meeting the gaps in provision/access. Exploit existing digital platforms and infrastructures to foster participation. Facilitate layers of participation, so there are choices in terms of levels of engagement. Everyone can contribute to a community and this engenders trust. Be aware that community management is a full-time job.

Webinar chapters (Part 2)

Organisational notes

Nicole McNeilly (lead trainer, NM Research and Consultancy)

Where and how is the digital revolutionising European Capitals of Culture, how do we plan and deliver them?

C the unseen – Digital content, communications and transmedia storytelling

Sarah Buser (Director and Dramaturge, expert in Augmented Reality)

Think of AR as a tool to play with the construction of reality, to add an overlay to reality. It allows situating a thought in the everyday life surroundings, thus creating a stage in itself. If the world is a stage, then it changes the way you can tell the story and the audience is activated as a player in the digital space; through the interaction, the story-telling becomes a co-creative process. Being in a space makes you think differently about space, and what we know about a space defines how we see it. Digital stories might seem to create a distance from the experience but it is an inclusive third space: everyone is able to have their own experience, no one is left out.

Digital ECOCs: tools for future scenarios planning

Nicole McNeilly (lead trainer, NM Research and Consultancy)

Future scenario planning as a practical exercise for ECOCs to employ strategic methods for flexible, long-term planning. Helps to overcome challenges more easily. Why use it as ECOC? It helps to structure the four years of preparation, build resilience, be audience-focused and future-ready for their needs, enhance communication to them, work more purpose driven, making smarter decisions. Digital context: digital programming and community building provide new opportunities to reach audiences and ways of working/communicating.

New opportunities in digital and hybrid artistic programming

Štěpán Kleník (Brainz Disruptive)

Virtual and augmented reality as tools to create depth of experience and thus reach stronger participant outcomes. Change the audience’s perspective by creating strong emotions in living historic moments. . A format to provide new, authentic and intensive experiences during and after Covid – the digital can bring the culture to the audience: use VR to bring the theatre/the cinema to the people, e.g. by renting the equipment.

Digital commissioning for public space – User-led culture

Samantha Lindley (Threshold Studios)

Data as means to develop cultural programmes, achieve audience objectives and support ambitions of place. Embed people and place them into commissions to develop new audiences, use public space to democratize access to culture. Managing risk: develop a consistent process of evaluation and impact – a user-led approach is key to meet audience expectations; choose positive instead of political messaging due to the risk of political tensions. Creating opportunities to have shared experiences is most important.

What is an online community? In what ways are online communities distinct from a community IRL?

Ela Kagel (SUPERMARKT Berlin)

Consider the principles of effective community design. Checklist for online events and community calls, what is important for your community? Getting the right people on board: create a map, decentralised, that maps out the people we trust and need to see in the community (from core to periphery groups). Set expectations: engage volunteers through interesting offers (content offers: newsletter, informative Discord channel …) and give specific roles with clear tasks to individuals depending on their capacities, fostering collective leadership. Create a framework for governance and Code of Conduct to define the work ethics and enhance conflict resolution work (e.g. https://communityrule.info/).