Cultural industry holding hands digital technology culture from mobile phone

The combination of cultural and digital Engineering in the United Kingdom, a series of art galleries, museums, galleries have their own web site, public participation in the cultural facilities from the inside out to live. Ever wonder how close you are to Picasso?　　Or just around you there will be a humble museum, a state-of-the-art exhibition, yes, and soon you will be able to easily get all this information when you press your phone button. The voice of culture from your mobile phone The British minister of Culture, Margarett Hodge, recently announced a grant of 50,000 pounds to the "culture 24" project to fund a new, dreamy smartphone application that will make it easier for people to find galleries, museums or art exhibitions that are closest to them. The program, which is eventually put into use, will make it easy for users to find any museums, galleries, cultural relics or other cultural facilities located nearby.　　The content will be provided by the "Culture 24" database, which covers more than 4,400 cultural venues across the UK. Margarett Hodge said the process will allow those who spend their days at home holding their mobile phones to have a link to the cultural world. The galleries, documents, libraries and cultural heritage are presented quickly and easily. "Hopefully, this program will be popular among people," he said. "The golden comes from a national digital participation program that was established at the Tate Modern art gallery in early March by the British Ministry of Cultural Media and sports.　　The project aims to encourage and support all cultural institutions and to use the development of emerging technologies to promote themselves to a wider audience.　　digital channel to encourage the cultural industry to learn about the cultural industry is part of the National Digital Participation Program, proposed by the British Ministry of Culture and Sports in March this year to encourage cultural industries.　　Over the past 10 years, there have been some interesting changes that have made people aware of how important the combination of culture and the digital World is. In the 2000, not every museum or gallery in the UK had its own web site, and now, in a newly published list, 4 of the top ten museums websites in the world are from Britain. Ten years ago, not all public libraries had internet access, and a 1.2 million-pound investment in mass networks changed the situation, and now all public libraries have their own websites, and most of them are free. Who would have thought that one day the British Museum would have built a Web bookstore and offered 65,000 books of Out-of-print books in 19th century?　　We never dared to think that the Royal Theatre and the National Theatre would be setting up live screens in theaters.　　Margaret, the British culture Minister, expressed satisfaction at the progress, and also suggested that the gap between those who operated the project very successfully and those who were relatively backward was very large. In a recent study, the Council of the Arts of England said that the vast majority of these art institutions are disseminating information about their existing facilities through their websites, but only a small number of them are flexible in using the Internet toThe facilities are linked, for example, to allow visitors to freely invoke digital content on the site and to provide the sharing of their own cultural works. Margaret said that such a gap can not be remedied overnight, but also for the relevant artists to protect intellectual property rights should be given full attention. "Without these creative geniuses providing us with the content resources to disseminate, there is no way to share creative content." "From 2000 to now Britain has spent nearly 200 million euros on the transformation of digital projects."　　The National digital Participation Program, officially released in March 2010, aims to allow another 7.5 million people to connect with the Internet in 2014, and many members of the Association for the National Digital Participation Program are participating in the "culture for more people", which will play a crucial role in advancing the project.　　"Our goal is to use digital media to drive more new audiences to enjoy our rich products of art and culture easily, and to have opportunities for people who are eager to have a deeper understanding," Margaret said.　　10 essential elements of digitalization of cultural institutions in a newly published Project Guide, the reporter learned that as a cultural institution involved in this project, the following 10 essential elements need to be met. The first step is to ensure that the organization itself has such a digital strategic vision, or that the ideals and mission of digitalization and institutional development will not clash.　　Some overly conservative cultural institutions and individuals may not be comfortable with such "high-profile" behavior, which is the biggest obstacle to digitizing. Second, it requires that the content provided by the cultural institutions be attractive to its users or those who simply browse for interest. To allow and encourage others to share, use, and not mind being reused by others.　　Be genuinely happy when such use is given a higher value. Third, always remember innovation without Borders, be good at bringing together people from different institutions, different disciplines, this team may involve business and other different public sector institutions.　　Try a variety of new combinations to achieve the most rapid and digital integration.　　Four, have good control over yourself and the team, be good at sharing with others what you think and discuss better solutions, use all the public resources to understand your collaborators. Five, pay attention to from the user's point of view, do not feel that digital service is not related to the actual service independent content, in fact, they will be very close to the exhibition experience.　　Improving your users ' feelings will help you discover the enormous interplay between the virtual world and the real world.　　Believe you have a large number of picky users, they will give you the most direct and relentless criticism of the digital information you provide, and this will not allow your CIO and the technology officer to spend too much time looking for problems, but to solve them directly.　Seven, don't be too serious. Encourage fast, small-scale experiments, either internally or in the public, not necessarily at once.　Note that technology integration is not an extra expense.　　The ninth, always keep in mind that user-centric rather than management or technology-centric.　　Tenth, for every new partner, be frank about how you want to increase your income. Borrowing channel Media resource content platform complementary The Guardian has built up a huge repository of content over the years. Rather than being in constant progress, let these resources have a clear profit model and work in this way, for example, by linking. "If it weren't for this, we wouldn't have had the opportunity to have our resources spread across the network, and we've never done that before." The Guardian editor Colin Hughes said.　　From Hughes's point of view, the open platform, with thousands of pioneers already starting to use the Guardian's content resources, mostly from the US and the UK, has made more business models come into being and have a far-reaching impact on the platform.　　Apart from political factors and public expectations, cultural institutions have a certain expectation of their own copyrighted products, and are particularly concerned about the possibility of losing their appreciation in the future, or in the digital process of their custody has a certain impact.　　Such fears have always existed, and cultural institutions often estimate the future value of their exhibits, and in such a particular period, especially when it has not yet been transformed into economic efficiency, such free content is more hesitant. To allow cultural institutions to show themselves too openly, it is important to balance the potential future value of their exhibits with their current public values.　　A better measure of public value will probably need to link its social prestige, income, supply and public evaluation.　　A successful business model is to allow a cultural institution to be free and open to all who want to know them, to get the greatest freedom, feeling and experience. Commercial newspaper reporter Wang Ke/compiling