What will culture be like in the next decade?


With an interest in the development of future art ecosystems. The first issue is about the new infrastructure is being built around artistic practices that engage with advanced technologies and incorporate studies at the Serpentine, Galleries, program digital commissions over recent years working with artists like he touched i. l in Chiang and sessile be Evans. I spoke to Ben Vickers the Serpentine chief technology officer, one of the authors of the report and a central figure in key rating and developing digital and online at in the UK and beyond over the last decade. Ben, we've been in a situation where suddenly cultural organizations across the world were forced not to have physical spaces and enter into the digital realm in a very meaningful way, even if they hadn't necessarily prepared to. Firstly. How do you think they responded? And also? How has that made you now? Reflect on this report. Well I, think one of the things that's interesting, is we? We made the decision to delay the report. It was actually meant to launch on the day that we locked down in the UK. And at the time that felt like come a real problem. But what's interesting, having launched it now, the beginning of July is the. Many of the issues the we're raising had become like the central issues, the institutions facing and already in the report. We were asking questions of like. What does it mean to produce a museum? That doesn't have an exhibition space. In terms of how I think that people have handled it. I mean I think it's a huge challenge and one of the issues that we raised in the report is there's been this kind of systemic underinvestment and under thinking of this area so I think that it's been very very difficult for institutions to adapt, and I think. Another area that we identified was the. When you go online, you'll suddenly competing with all these other areas with video games Netflix's etc.. And that's a great challenge so I. Don't think the challenge has been met particularly well, but I think that it has promoted this like sense of urgency and kind of. A win of the existential risk in not taking these issues on I think one of the crucial factors is that so much of the kind of stuff that's been online has been about real world stuff which has been digitised as opposed to born digital stuff so the key thing, the crux of this report is about art and advanced technologies which he call a x eighty, so tell us what is a at and what? What is it that you're trying to get at three this report about it so I think the thing that we're specifically interested in is we've had kind of wave of disruption as a result of the Internet to the way in which culture is produced in how it's distributed, but what? We've observed what we've been focused on the center of the last four or five years. Is the the several of these waves coming? whether it be augmented reality via a blockchain. EXCETERA and all of these in themselves have hugely disruptive potential and many artists working with these technologies in producing works have the potential for the own systems of distribution, the in many ways shortcut at the traditional systems of our so what we're focused on is how can the off field as a kind of systemic Ho engage in the subject and play like apart because we feel that if it doesn't that many of these decisions. Decisions are going to be made for it so specifically. We're talking about the auto industry. That's right, so tell us what how do you define what the auto industry, so I guess the what we're focused on is the kind of back end processes of the world and I think this this applies to more than just the role of our technology. It applies to the fact that over the course of the last decade in particular. Does a been a kind of divergence between the way that the

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