Jeann Ardhita Kembangkhana Negoitated Project Word Count: 8,548
Fig. 1 - The Starry Night
Introduction Hypothesis In today’s society, art history is considered less important. Budget cuts for Arts education are simply adding to the argument. This report is going to propose a new & engaging way for the younger generation to study art history and change their perception about the subject.
Introduction Art is not an essential part of education these days. After the 2008 recession, the government decided to eliminate a budget for arts education, simply because science and math are viewed as more essential to learn. The economic recession provided an ultimatum for the government to make the executive decision. For instance, Arts Council of England faced 29.6% budget cuts from the government in 2014 (BBC UK), which saw them go from £449 million to a £349 million drop. Rather than focusing our energy on trying to change the government’s decision about this, we can choose to channel this creative energy into something positive. Making art education accessible to the world is not something new; someone else out there already initiated it. Which means that we can teach art education everywhere and anywhere nowadays, we just have to make it fun and engaging enough for the audience. This report is going to explore the argument that art is an essential tool to learn for children’s development and exploring creative ways to make it fun and engaging to learn.
Fig. 2 - La Perruche et la Sirene
"Art ain’t about paint, it ain’t about canvas. It’s about ideas. Too many people died without getting their mind out to the world" – Thornton Dial Sr., 1993
The Importance of Art
Fig. 3 - Left Brain
Before going further into this report. First of all, we are going to explore why learning art is important and relevant to every generation. According to Professor Graham Black, whom we had the chance to interview about the importance of art. He states that arts education might not have a sudden impact for society, but it does have a longer impact. In order to find out about the importance of learning art, we must understand its effect on our intellectual capacity. As humans we are a very complex species; our brain activity works simultaneously with our mentality. The book of life (2015) believes that art guides us to the door of morality, through understanding others and ourselves. Learning art develops brain activity. Psychologist Roger Sperry won a Nobel prize on 1975 based on his research about left brain and right brain activity. He discovered that our two sides of brain work differently but simultaneously. Our left-brain works in an analytical and sequential way of verbal and information process, where as our right brain works on intuitive and simultaneous way of visual and information process (UCMAS, 2007). Although the two sides of brain work differently, they still work together to enable us function as human.
Fig. 4 - Right Brain
If we don’t start to teach art to our society, we will face a bitter world. We can’t see the effect now, however the effect will start to impact the society slowly in a psychological way, until it becomes a long lasting impact. Fortunately, there have been activities and on-going campaigns to keep arts education running; whether inside the school or outside. For example, this year (2016) EBacc will be debated in the parliament, this will be an opportunity to open up the petition ‘The campaign to reform the EBacc’ which needs 100,000 signatures, as of right now EBacc is only made for English, Mathematics, History or Geography, Science, and Language (Department for Education, 2016). Sir Peter Bazalgette, The Arts council chief published an article in The Guardian in 2014 explaining why we have to recognise the huge value of arts and culture to society. He begins by explaining the reason why the arts council make public and private investments in the arts; highlighting that it is because of the inherent value of culture. How it entertains, enhances lifestyle, and defines national identities. And then he went to his second argument, how the arts affect our society. He explained that we understand the fact that art is therapeutic (please see cartogram fior full information at Appendix page 63). It is not as important as the health
Fig. 5 Henri Rousseau’s Inspired Kid painting
service, but it does help. Organisations such as the Royal Philharmonic, run workshops for patients with Dementia, while Colchester and Ipswich museum offers a prescription scheme in GP’s surgeries for homeless people. NHS Mersey Trust too, puts musicians in residences to work with mental health patients. All of the projects are supported by Arts Council England. The impact of these schemes are such that they see improvement in literacy for students who take part in drama class and better performance in maths and languages when they take music class. In terms of learning art, we would have to understand the fact that history is playing an important role in it. For example, tracing back the route of a particular style of painting or technique. Recently President Obama made an uncomfortable choice of argument, he preferably encourages people to study economy trades rather than a Art history degree (Arsty, 2015). With this argument, Professor Ann C. Johns from the University of Texas wrote back to justify the importance of learning art. In her letter, she argued that teaching art is about teaching culture around us and the history of our culture as humankind.
Professor Graham Black has been working in the sector of museum visitor engagement for 4 decades. He argues that the importance of learning history is to be able to understand the past and present so that we will be able to prepare ourselves for the future. Learning art history is most likely the same. Art history teaches us about how expressing your emotion and opinion matters to the world, challenging the society around you or expressing your emotions towards someone close to you. The Guardian Online (2015) published an article titled ‘Teen opinion: why art is important’ by Safah. She argued that art is good for the soul. She raises an opinion where she mentions, that art is not only in the gallery or museum, but art is everywhere. Art comes in every form of creation. Whether it is the exterior, for example visually appealing colour mix. Or interior, for example making a sculpture because it has a meaning. Art offers a different perspective on how to see life.
"The world will be saved by beauty" – Dostoevsky
Fig. 6 - Suprematist Composition
“Those who cannot remember the past are condemned to repeat it”
– George Santayana
enjoyment as therapeutic I think it just gives you time to kind of relax. Like in other subjects you’re like always working, facts and everything; in art you have to concentrate, but in different way.
enjoyment from art
- Year 10
I get a lot of joy out of finishing a piece of work and like being able to say that’s good, the composition of the picture is good. I’ve done my best and it’s turned out well.
enjoyment as buzz You get a real buzz out of doing a concert or something.
- Year 9
From the book Arts Education in Secondary Schools: Effective and Effectiveness Fig. 7 - Art Class Effectiveness Infographic
- Year 9
What are the effects
of arts
education?
In the book Arts education in Secondary schools: Effects and Effectiveness (2000), they conducted research on various secondary schools, focused on how student felt about learning art. The enjoyment of art was measured generally by asking them questions about their feelings towards art class. Some of them were positive, they mentioned that it is their enjoyable part of the week. However, others answered that it is just another activity in school. The researcher also conducted a research on how art can bring excitement and energy to the students. Where the students responded by saying that presenting their final piece or performing is giving them a thrill. Last but not least, they also tested the hypothesis of art being therapeutic. Both students and children felt that making art releases tension and gives a calming effect. Lastly, we can finally draw a conclusion and argue the fact that art is important for personal mental health. It is also important for social behaviour and for our society. Teaching art for children is developing their social awareness, how they can express their feelings. Art is food for the soul.
Fig. 8 - Portrait of Marie-Therese Walter
What do you think?
90% THINK ART IS IMPORTANT
90% THINK ART IS IMPORTANT FOR CHILDREN DEVELOPMENT
87% THINK ART IS IMPORTANT TO ENABLE CREATIVE GROWTH
57% ADMIT THEY WOULD RATHER RAISE A CREATIVE
70% See Appendix page 17 for full survey
83%
6-12
Fig. 9 - Survey Infographic 1
We conducted a research by asking 30 parents to fill in our online questionnaire about arts education and children’s social engagement (Figure 9), 97% agree that art is important to introduce to children and for their development. If they had to choose between raising a creative or smart child, 57% said they would choose creative and 43% chose smart. In Question number 6, we asked them to choose the statement they most agree with and 87% agree that it is important to expose children to art because it enables them to grow up as a creative individual. In conclusion, the research we have extracted from different sources and research we have conducted of our own justify the argument we are trying to make. Which is the importance of art for our society.
vv
Budget cuts and their impact
Fig. 10 - Le basin aux nympheas
Gross Value Added
ÂŁ76.9 5% The Cultural and Creative Industries.
represent
UK economy
Fig. 11 - GVA Infographic
billion
The Arts council of England (ACE) have been dealing with funding cuts from the government dating four years back from which they have seen a total loss of £457 million. And from that number, the council decided to make a 6.9% equal cut for arts organisations as of 2011/2012 and 14.9% as of 2014/2015 for regular funding of organisations. According to BBC UK (2015), ACE were also asked to make 50% cuts of their administrative. 15% budgets cuts are set for National museums as well. ACE maintains that the budgets cuts will definitely bring a significant impact to this country’s cultural life. We know that after the 2008 world recession, there have been so many budget cuts not only for the creative industry funding but also for other industries such as sport. Moreover, we are focusing on how budget cuts might affect the society we live in. The Warwick Commission recently published a report (2015), titled Enrich Britain: Culture, Creativity and Growth. Creative Industries before and after the recession, are growing larger. Globally the estimation of our Gross Value Added (GVA) is around £76.9 billion, according to the Department of Creative Media & Spirt or DCMS. The number makes up 5.0% of the UK economy. Even though our GVA is not as high as other sectors of economy growth such as Research & Development or Financial services, we are still contributing to the economy. Creative industries are often underrated because people seem to have misinterpretations of our
Fig. 12 - Egyptian Papyrus
industry being easier than others such as science or technology. But given the fact that our industry contributes a lot to our cultural sector, we cannot afford to underestimate it. The creative industry shapes the country’s outlook; it shapes the country’s cultural capital. The Guardian published an articled written by Grayson Perry in 2012 titled ‘Leaving arts subject out of Ebacc will deprive poor children of culture’, in which he explained that many of our children can only learn art in school because not many are lucky enough to have their parents sit with them and have conversation about the importance of art and cultural awareness. Which is unfortunate, because it means learning art is not accessible enough for everyone. And this is where the term Cultural Capital comes to play. Cultural capital is very important for this report’s discussion as it brings positive but also negative impact to the society. The term was originally popularised in 1986 by French sociologist, Pierre Bourdieu. He noticed a pattern in our society, the fact that those who have the privilege to access knowledge have a higher status in life. This term can be a positive impact to society if everyone strives to be someone who’s knowledgeable. But this term can be a negative impact if it is misused, for example to exclude yourself from someone else or feeling arrogant about it. We as a society need to strive positively to keep ourselves knowledgeable about everything, enrich our cultural awareness and better selves.
Fig. 13 - Composition with Red, Yellow, and Blue
I have no special talent I am only passionately curious – Albert Einstein
Nowadays, the term cultural capital is used as a separator in society’s social hierarchy. Divide society into two, the one who are smart and knowledgeable have a higher status in the society. Furthermore, because art is only an instrumental lesson for the education system. It gives out the impression that only the ones who have the privilege can study art or consumes art. Since the enlightenment period which was over 500 years ago, the art world has been very much dominated by Caucasian and/or majority male Caucasians in terms of artists and curators. According to research conducted by The East London Fawcett (2013), of 134 commercial galleries representing 3163 artists, 78% of them were men. The theory and statistics are giving the impression of art being exclusive. Where as we want art to be accessible, and can be taught to everyone. We believe in democratising art. However, we can see that democratising art is an emerging trend in the art world. Surprising fact, Anny Shaw from The Art Newspaper has recently published news article about after many years Black British artists can finally be written into art history. They will publish the first database of works by black artists in the UK public collections. And also Saatchi Gallery (2015) will show its first all-female exhibition called Champagne Life, the exhibition is a celebratory event for the gallery’s 30th birthday.
Digitisation of Art
Every aspect of art historical knowledge was shaken at its foundation
– Johanna Drucker
In the journal titled Is there a ‘digital’ Art history? (2013) by Johanna Drucker, she wrote from the perspective of scholars, how they view digitisation of art history. She explained that art history as an education has struggled to fit in, in this digital age, were most scholars are still championing traditional approaches. However, she also looked at how digital methods can benefit the teaching of art history. In her example, she chose The Arnolfini Portrait by Jan van Eyck. She explained how connecting the dots is fairly easy to do if we use digital methods. By analysing the painting’s pigment, we would be able to see where it came from and it can describe the situation more likely on the Western medieval time. And also we can connect it to trading system and economy at the time. In the bigger context, we can also learn about world history at the time. Which brings us back to our argument, that through art history we can learn world history by connecting information. Digital methods are making it easier for us to access such information.
Fig. JanVan VanEyck Eyck– –Arnolfini ArnolfiniHochzeit Hochzeitillustration Fig. 13 14 -Jan
Artsy (2016) published an article by the infamous curator Hans Ulrich Obrist titled ‘What is the future of Art?’. Throughout the article, he explained how the internet brings a new perspective into the art world. In his conclusion he said that we must remain open for new ideas, as the future depends on sharing and collaborating. In 2015, WGSN published a consumer trend report titled Art Seen: The Globalization of the Art World. The report covers how the art world is becoming much more accessible nowadays, for example the phone application Artsy connects artists and galleries to buyers straight from Internet. Instagram is a platform for artists to post their new artwork. Also, the term Art Selfie has emerged, this is where the audience post about their time in museums or galleries. We also asked Professor Graham Black about the changes he saw in the art scene, and one of the biggest changes is new media. New media is a positive clash. All of the above arguments are giving the project a window of opportunity. Digitisation and Democratising Art is the next big thing in the art world (please cartogram on appendix page 63). We had the chance to interview Ms Liza Gilmartin who works as an art teacher in secondary school, she mentioned that she uses Tablets and Pcs in the classroom.
Fig. 15 - Art Class with iPad illustration
After
Fig. 16 - Getty Images’ website
Fig. 18 - Artsy Folio
Fig. 17 - Getty Edu website
Before
Fig. 19 - Google Cultural Institute
Every child is an Artist
- Pablo Picasso
Before Artsy and Google Art Project (Figure 18 & 19), there have been platforms that attempted to digitise art. Websites such as Getty Images and Getty Edu (Figure 16 & 17) serve the purpose of educating or providing an online database to anyone who wants to access it. Even though their database has credibility and wider context, it is still lacking in marketing and visual brand appeal for anyone who wants to access it.
Fig. 20 - Sunflowers
Artsy have launched Artsy Education or The Art Genome Project where we can go to their website and learn about art. The Google Art Project showcases current exhibition artworks in order for people to learn from the internet. These two platforms offer fresh and modern takes on the digitisation of art. We have not yet found any platform that serves solely to teach children about art history outside the school system. We want to position ourselves as engaging, similar to Dumb Ways to Die the games or Toca Boca the children’s games developer, but at the same time still serves an academic purpose.
Engaging
Academic
Fig. 21 - Brand Perceptual Map
Juvenile
Distant
“Year seven love hearing about Van Gogh's life, his ear, not selling his work and his suicide. Hearing about How Frida Kahlo and her accident and it brings them to life. They remember these facts as its not just how to paint it.� - Ms. Gilmartin
The big idea is to make art history fun and engaging to learn through a digital platform. The way to make the project viable is to work alongside with Google Cultural Institute to produce Google Art Project for kids. We chose GCI to collaborate with us because we share the same ethos, we want everyone to be able to learn art history wherever and whenever they want to. Ms Gilmartin mentioned about how her students love to hear stories about painters, such a Van Gogh, his personal life and his suicidal thoughts and also about Friday Kahlo’s accident. It is an eye opener for them to connect to the artworks. Professor Black also mentioned our love of objects comes because there a story behind, them is worth keeping in mind. We want to engage children with story telling in our project. We had the chance to also test the big idea by asking parents on our online questionnaire, 47% answered that the idea is good and other 47% said its alright. Meaning that the parents are more incline to explore the idea and that there is a gap in the market.
Fig. 22 - The Swing
Google Art Project for Kids Mintel published a report about visitor attractions on December 2015, focusing on what seems to be the trend in society. They describe using virtual reality and beacon technology as an emerging trend for the digital environment in museums. For example, the British Museum have paired up with Google Art Project to create 360-degree view of the museums to be digitalised on Google’s Website. While the National History Museum have just recently launched their virtual reality learning.
Fig. 23 - Rouge Triomphant (Triumphant Red)
Case Study “Founded in 2011, the google cultural institute is a not-for-profit initiative that partners with cultural organizations to bring the world’s cultural heritage online. we build free tools and technologies for the cultural sector to showcase and share their gems, making them more widely accessible to a global audience.” – Google Cultural Institute, 2011
Case Examination They are working towards making cultural knowledge accessible for everyone. Using digital methods is their winning factor, as they are all about technological innovation, and merging technology with society’s lifestyle. Google taps into almost every sector in technological innovation – It is all about The Google experience. From virtual reality to high-resolution cameras. Google is democratising the accessibility of information. They believe everyone should access the same information and everyone has the right to it. Because Google is tapping into almost every aspect of our lives – it is impossible to make their design specific to a certain demographic. Which is great of course, because it needs to be versatile. In Google’s Cultural Institute (GCI) website, they have a tool where we can create our own gallery or personalisation of our favourite artworks and it looks like it works in terms of personalisation trend that has been going on since the invention of Instagram where everyone can have a voice on the internet and share their interest.
Analysis Why do they exist: • Google was able to identify the problem of today’s society. Which is the lack of cultural awareness. They simply seized the opportunity, by democratising the knowledge and giving us the privilege to learn. Everything goes back to Google’s brand identity, which is to deliver information to your screen by just one click. • Nowadays accessing information is so easy; where as accessing our cultural heritage is limited due to resources. Google Cultural Project realises that everyone has the right to access it, because it is mankind’s cultural history. Identify problem: • Google has grown from just a search-engine company to a cutting-edge innovative technology company – it is slightly unfortunate the fact that they haven’t developed specific sub brands or projects related to children, who will live in the future. Considering the fact that by monitoring the company’s movement, they have allowed themselves to grow and extend a long-term company life span. • Although, their applications such as Google cardboard worked compatibly with iPhone, they limit themselves by having most of their applications only compatible to Android.
Possible Solutions • Therefore, referring back to our first point at the ‘Identify Problem’ point. This is where we think Google Art Project for Kids might come in handy because it does have its place in the market. • Making a versatile and childlike design will perhaps be slightly difficult for this project because it needs to fit Google’s versatile visual language and at the same time it still need to be appealing for children. • Google Art Project for Kids itself has to be very selective, because of the ethical issue for children. Explicit content such as nudity or violence is sometimes portrayed in the artworks. We will be working carefully on selecting which artworks go into the project.
We intend to work with Google Cultural Institute to produce an amazing tool, from our research, found that Google Cultural Institute have been working with museums and galleries to enable visitors accessing their materials online. We are not pursuing the fact that we can replace the whole museums or galleries with a digital environment. We intend to enhance visitor’s information about the exhibition before they go to visit museums or if they don’t have time to visit museums. And also for children who want to learn and develop an interest towards art.
Fig. 24 - The Dance
Brand Personality Relatable Informative Passionate Fun
Brand Attributes Arts & Culture Art Accessibility
Brand Essence Art accessibility for Children to Learn
Educative Engaging children’s interest
Brand Authority
Credibility Art Experience Fun Education Accessibility
Brand Promise
Fig. 25 - Brand Essence Model
Strengths
1. It will be a viable project. With technological innovation, it will be manageable to create the experience. Working with Google Cultural Institute is definitely beneficial, because it allows the project to develop the experience further with the help of Google’s technological innovation
2. The project has no competitors so far. Other developers seem to focus more on engaging children to learn science or computer coding. And no one is focusin on engaging children to learn art history 3. It is definitely a new way to learn history. Because again, society has come to terms, with the fact that science and technology is much more important so much so that there have been innovative occurrences on how to make science and technology appear interesting enough for children to learn. But, society fails to understand that learning history is also important. Which is probably why there is not much out there that is making learning history interesting enough for children 4. It is transferable. The project allows it self to transform from the intangible digital experience to tangible experience. Because digitising art it self comes from tangible artworks 5. Because it is transferable, it allows the project to be interactive. Which then allows the project to be fun and engaging for children.
Weaknesses
1. The project is technically not innovative enough. It is about combining two existing ideas and applying it into the context of art history education 2. The project addresses a very broad consumer archetype
Opportunity 1. Google Art Project is celebrating their 5 years of age. It will be timely to produce Google Art Project for Kids this year 2. Because the project is transferable from intangible experience to tangible experience. It has the opportunity to work with museums and galleries, to reach its full potential 3. And also we can work with parents, as it is the goal to educate children about the importance of art 4. The project can also work with app developers, game developer company, and others to create experiential game for children.
Threats 1. Because the project has a very broad consumer archetype, it is hard to make a design that appeals to all of them 2. If the project’s copy or tone of voice is too serious, it could be too academic for children to engage with 3. On the other hand, the platform could not be too fun as it will make it less educative for children. It needs to have the right amount of fun and academia.
Adults of the Future
Fig. 26 - Crowd
Generation Z
2
billion globally worldy
59%
Fig. 27 - Infographic on Generation Z
The project’s ideal consumer is someone who is culturally aware of their surroundings, globally forward thinking and ready to explore new things. On the curve of innovation, they will fall into The early majority section. We realise that when we chose to target a younger audience for the project, we automatically target their parents too. Typically, our consumer will be an explorer family. Where the parent(s) will be someone who works in the creative industry, advertising, psychology, media, etc. Because they know the importance of exposing their children to art. However, it does not mean that we only target them; we are open to anyone who shares our ethos. Whether they work in research development, science, and even business.
Explorer Family Both parents and children are constantly connected to technology, activities that can be done together are important for them, shared experience such as travelling together. Parents who keep their social media up to date, by uploading family pictures doing these activities for example, visiting museums or going on holiday to somewhere like Spain on Easter break. Professor Graham mentioned in his interview that the increased number of the explorer family is affecting the increase in numbers of museum visitor. In his book Transforming Museums in the 21st century (2012), he mentioned the term ‘Arts socialisation’. Where parents take their children to museums or galleries who in turns will adopt the same style of parenting. This family unit will always try to balance everything in their household. In terms of decision-making, children’s opinion will be as important as parents’ opinion. On the other hand, they spoil their children as much as they over protect them from the ‘outside’ world. We had the chance to interview single mother of one, Collena. We asked her about her parenting style, and she answered that she is strict but at the same time still gentle and appreciative. She mentioned that her daughter always goes shopping with her, because Melissa tends to get picky about her items and also it is a good time to bond. She also mentioned that as much as her child loves to browse the internet, she gets worried about inappropriate content showing up.
Fig. 28 - Wheels on the bus
They self-learn almost everything in their life, therefore the autodidact of learning art history is a possibility. And that is why there is a gap in the market. The mission is for us to communicate a better way for children to learn art history through the digital world. It does not need to fulfil the purpose of teaching art outside the classroom, but it can fulfil the sense of awareness to a younger audience about art history. When we asked Collena about Melissa’s art class, she mentioned that Melissa is very good at art class and Melissa herself said she enjoys it very much.
Curve of Innovation
Laggards Later Majority
Late Majority
Early Majority Early Adopters Innovators
Fig. 29 - Curve of Innovation
In this household, the child is usually someone who’s been exposed to the internet since they were an infant. Someone who watched their parents work on a computer. Their parents introduced them to playing games or browsing the internet through a tablet. Therefore, they tend to socialise digitally. They will generally be 7 – 12 years old at this moment. According to Strauss & Howe (1998), they are called The Net Generation. But the term Generation Z seems to be more relevant. According to Consumer Insight from WGSN (2013), Generation Z are the true digital natives at this point. Growing up to be introduced to smartphones, tablets, video games, and others. They are heavily influenced by the virtual worlds, new media. They are much more comfortable to interact socially through online platforms. An innovation agency, Happen published a journal focusing on Generation Z titled ‘The New Kids on the Block’ (2014). In the characteristic section, Generation Z is categorised as being worldly. From the research they have conducted, 59% of them will have already travelled to more than 11 countries by the age of 16. Growing up being connected to the world, they are much more exposed to other cultures and tend to be more receptive to others. Technology is an essential platform for them.
Even though they seem glued to their tablet screens, they are globally connected. Accessing the information from the internet is already an old news for them, because they see much more interesting activities to do online. Such as how easy it is for them to create their own content and actively put their voice out there. Melissa already uploaded her videos onto Youtube, where she sings and dances to Gospel songs. On the other hand, their parents fill in their after-school activities with instrumental lessons such as Ballet or Piano. In this case, Melissa is taking Piano classes privately. Moreover, since all of the information can be easily accessed now, self-taught is also a common activity for them to do, so, for them someone ‘cool’ is someone who is knowledgeable. They tend to learn everything online by googling ‘how to do?’ question or watch tutorial Youtube videos. In this particular age, these consumers are still developing interests. Constantly trying new things, with trials and errors. Because of their self-taught character, they become better problem solvers. They are also visual learners; they have been exposed to visuals almost as much as they have been exposed with the digital world. Collena mentioned that as much as she wants Melissa to study medicine, she is already showing an interest in veterinarian studies. But Melissa is still loving her art class and enjoys dancing. When we explained to Collena about Google Art Project for Kids, she seemed very positive as she explained how sometimes it is hard for her to go down to London to visit the museum. If there is a platform where she and her children can go to explore art digitally it will be great to explore.
Fig. 30 - The Starry Nights
Project Timeline Marketing Timeline Digital Marketing & TV Advertisement
Year 1 Introducing Online Platform Introducing Virtual Reality Partnership with Internet Matters
Digital Marketing
Year 2 Sponsor & Produce Workshops for Families at Museums & Galleries in London
Year 3 Introduce Merchandise, available to purchase at gift shops in Museums & Galleries
Project Development Fig. 31 - Project Timeline
Year 1 Introducing Online Platform Introducing Virtual Reality
Partnership with Internet Matters
Bringing the project to Reality
The platform is invented to make art accessible for children. The way we approach children’s accessibility is by approaching their visual language and tone of voice. We will select few art pieces to showcase every week, according to open art exhibitions all over the world. Google Art Project for Kids will showcase the art pieces but also tells stories of how the work was created by the artist. We wanted to incorporate storytelling inside the project because of the insight we extract from Ms. Gilmartin. She mentioned that her students love to hear stories about the artists and looking at the paintings. Google Art Project for kids offers three features. One is the online platform where parents and children can access it, second is the virtual reality experiences, and the third is family art workshops where parents can learn how to utilise art skills in a way to help their children for art projects in school.
According to their research (2015), 48% of parents thinks that their children know more about Internet than they do and 73% of children agree too. 64% of parents also agree that the Internet is not safe for children and 54% of children admit it too. Our platform encourages children to learn art online however the implication lies on how much limitation parents are willing to give children to spend online for safety reasons which of course seems to be fair. We want to add credibility into our project to let parents know that Google Art Project for Kids is safe for children to use. We are planning to seek sponsorship from Internet Matters from the beginning of our project development. We are also looking to partner with Arts Council England, which we will discuss on the 2nd year of project plan.
In terms of Internet safety for children, BBC and Google have recently supported a non-profit organisation, Internet Matters (2014). The organisation is dedicated to help parents keep their children safe online. Big UK Internet service providers, such as BT, Sky, TalkTalk and Virgin Media, back them. They are also backed by the UK Council for Children Internet Safety (UKCCIS). Fig. 32 - Internet Matters Logo
See Appendix page 17 for full survey
70% 30% RESTAURANT EVENT
43% 2-3 HR
WEEKEND ACTIVITY
43% 0-1 HR
GADGET TIME According to Collena she supervises her daughter if she is on the internet and if she uses the internet it has to also be something useful for both of them. She supervises her daughter on Youtube too in case inappropriate content appears. Which is why Google Art Project for kids is strictly for log in only, because it is safer and allows families to uniquely personalise their own gallery which is one of the online platform’s features. From our online questionnaire, 43% of parents admit that they allow their children to access gadget up to 3 hours daily (Figure 32).
47% NO
30% YES
70% YES
PARENT SUPERVISION
30% NO
SOCIAL MEDIA ALLOWANCE
70%
83% 6-12
Fig. 33 - Survey Infographic 2
Fig. 34 - Design Recipe
Illustration
Fig. 35 - Portrait of Marie-Therese Walter remake Picasso
Everything you can imagine is real
- Pablo Picasso
Stanford Children’s Hospital (2016) published an online article titled The Growing Child: School-Age (6 to 12 Years), they divided the article into 4 sections. The first section asks question of ‘what can my child do at this age?’, in the age 6 – 7 year olds they are able to paint and draw, they also enjoy many activities, stay busy, and they usually practice skills to become better. In the age 10 – 12 year olds, they are able to do more advance activity such as sewing. In the next section ‘what does my child understand?’ it explains that 6 – 7 year olds understand the concept of numbers, they can explain objects and their use. The 8 – 9 year old draws and paints in a much more advanced style and understands the concept of it. The 10 – 12 year old has already started to write stories using their imagination, they read well too. Children at this stage are open to learning new skills and practicing them; generally they are visual learners.
In the book Once Upon a Time: Illustrations from Fairytales, Fables, Primers, Pop Ups, and other Children’s Books by Amy Weinstein (1957), she mentioned that the concept of Illustration Books were heavily inspired by the 18th century enlightenment theory of education and the evolving concepts of childhood. Which means Illustration have been used since the enlightenment to illustrate stories for children, meaning it has been proven effective all along for children’s development. We want to recreate the artworks by using fresh and modern child like illustrations, where it will be fun and engaging. We want them to use their imagination and familiarise themselves with the shape of the artworks when they were a kid so when they get older, they can associate the paintings with their childhood memories and art history will become innate to them. In the book Words About Pictures by Perry Nodelman (1990), picture books are attempts to teach art appreciation for children.
Fig. 36 - Online Platform Mock Up 1
View on Cardboard
Fig. 37 - Online Platform Mock Up 2
View on Cardboard
Fig. 38 - Online Platform Mock Up 3
Another Reality
Children use fantasy not to get out of, but to get into the real world
- John Holt, How Children Learn
Stanley G. Weinbaum in 1935 published a short story about science fiction and virtual reality. It was the first time that the concept of virtual reality was invented. Since 2000 to the present day, multi million-dollar technology companies have been developing virtual reality. For example, Oculus, founded in 2012 by Palmer Luckey and Brendan Iribe solely serve its purpose to become a Virtual Reality technology company. They have been developing the technology since then and entered the market through gaming experience, Oculus Rift. They stated that the Rift is only for gaming experience (2015). The industry has developed so far then and now the technology have been developed in cinematic experience. Jaunt VR is a start-up company focusing on developing the cinematic experience, Jaunt VR is reportedly getting big investment from Disney and Madison Square Garden for the technology development, it is approximately for about $100 million dollars. In late 2014, Palmer Luckey sold Oculus VR to Facebook CEO and Founder Mark Zuckerberg for $2 billion (Vanity Fair, 2015). Zuckerberg revealed that Facebook will start distributing the headset to consumer in early 2016, which he celebrated by posting the news to his own Facebook account, ‘Today we start shipping Oculus Rift! Another big milestone towards the future of computing’. Revealed his own prediction of how consumers nowadays want to communicate.
Fig. 39 - Virtual Reality
‘Eventually I think we are going to have technology were we can communicate our full sensory experience and emotion to someone through thought’
– Mark Zuckerberg at Vanity Fair’s Interview, 2014
MINTEL published a report about Children’s Media in 2014, they did an online survey asking 446 internet users who have children aged 7 – 10 years old about interactive media (video games, videos, virtual environment, etc.) and 39% of them answered ‘I would be more likely to use an interactive media with my child if it had an educational purpose’, while 37% of answered ‘Using interactive media is or would be a good opportunity for me to spend time with my child’. However, in reality at the time it reported only 35% already uses interactive media to their children and 51% is not interested in using it. However, in all fairness, back in 2014 the value of interactive media was not adopted into the system.
WGSN published a consumer trend report in 2015 titled ‘digital vacation’. The report gathered information and news around the travel experiences offered by hotels and airlines from around the world. It is not just a marketing ploy, but it is offering the experience for potential consumers before they book their holidays. For example, Marriot Hotel, Qantas, and British Airways are offering the experiences through virtual reality booths. Virgin Galactic offers the experience as well, for Space Exploration and also the visual effect company Framestore offers to interstellar movie experience by sending visitors to space adventures. Professor Graham Black mentioned that the rise of new media will change the way we interact with museums or galleries, he said that the big trend right now is wearable technology. Where museums nowadays are offering the virtual reality experience, and Google cardboard is affordable. Fig. 40 - White Center (Yellow, Pink, Lavender on Rose)
Our idea is to work on creating the Google art project for kids as a virtual reality experience, where children can step into the painting. The British Museum offered virtual reality experience weekends back in 2015. Google recently worked with Museum of Fine Arts in Brussels (Engadget UK, 2016), where they created a video that lets the viewer into Bruegel’s The fall of the rebel angels. Google explained that this is a stepping stone into a higher level museum experience. The painting is best view on Google Cardboard. This second feature of the platform will be serve best with Google Cardboard. The idea is to offer parents this feature to experience. And when they request us to send the cardboard, we will send the cardboard address to their children where hopefully they will open as a present to enhance their experience with the brand. The parcel will contain several stickers and sharpies where children can customise their own cardboard and make it their own.
Fig. 41 - Fire at the Moon
Expensive
Not Children Friendly
VR Experience Tool
Children Friendly
Affordable
Fig. 42 - VR Perceptual Map
Fig. 43 - VR Prototypes
TV Ad
We asked Collena about where she found advertisements most effective and she said that she mostly sees advertisements on TV and the Internet. In her case she is a full-time working mother and she has a lot on her plate, and seeing advertisement regarding children reminds her of her Mum to-do lists. One of the most effective ways to advertise our new platform is through TV advertisement, which according to MINTEL’s report in 2014 about Children’s Media is that 65% of 7 – 15 years old children said that they discover new things to read, watch, play or listen to from TV advertisements. MINTEL also did research on Children’s media consumption in 2013, 90% of 1000 participants aged 7 – 15 years old answered that they prefer to watch TV with or without their parents compared to other media. In 2011, Google spent $70 million on TV advertisement promoting Google Chrome (MarketingLand, 2012.). Google published Dear Sophie which tells the story of a father keeping his daughter’s memories on a 90 second advertisement,
Fig. 44 - The Flower that bloom in midnight
which according to Adweek’s review (2012) might be better than their previous ones. Adweek also referenced that Google is always expertly concise in their advertisement’s message (2012) which is proven to be effective and also Google have always approached older media for advertisement, such as print posters, television, and billboards. It is very fascinating they way Google approach their marketing strategy, the way that they approach consumers by TV or Print advertisement instead of only working on digital campaign. We also analyse that it may be because advertising Google on the Internet may be too much for Google, because Google basically made the internet. That way people can just go straight to Google and search anything. Google has become something mundane to the Internet, so bringing Google into the other platform whether it is print or TV can be refreshing for the viewer as well because it is the most unlikely place to see their logo on. However, Google still uses digital marketing as one of their advertisement strategy, which shows in their social media and also Facebook advertisement.
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Story Board Fig. 45 - Story Board
Fig. 46 - Youtube Mock Up
Digital Marketing Digital Advertising includes pop-up ads, banners, and also social media. Digital Marketing expenditure comes to £8 billion this year and in the best case it will grow expenditure to £16 billion by 2020 and in the worst case it will still grow to reach £11 billion (MINTEL, 2016). If corporations after corporations are willing to invest on digital advertising, it means that the platform is really effective for marketing purposes. MINTEL also conducted a research asking this question ‘Have you noticed the following types of advertisement in the last 3 months?’m45% out of 2000 respondents answered that they noticed digital advertising such as pop-up ads and banners. They also conducted research on how internet users feel about digital advertising, 57% said that they worry about how brands might track their online activities so that they can be targeted for advertisement. Going back to what Collena have said before, she always browses through her social media especially Facebook where she found advertisement to be most effective. Because in some cases she would prefer to shop for her children from a shop were their advertisement offers a discount. The project will carefully select times for the pop-up advertisement to go live, which is mostly on weekends and holidays. For social media strategy we are planning to post on Sunday. According to a report published and research conducted by TrackMaven, posts are most effective (2013) on Sundays and online users usually post on Thursdays and Fridays. A research about parents’ social media were conducted in 2015 by Maeve Duggen and Amanda Lenhart from Pew Research Centre and Cliff Lampe and Nicole B. Ellison from University of Michigan’s School of Information, shows that 74% parents use social media with mothers making up 81% of social media use. Another interesting piece of information is that 59% of parents look for parenting info on social media and 66% of mothers also look for parenting info from social media. In terms of social media platforms, 74% parents use Facebook with only 66% of fathers using it. And 40% of Mothers using Pinterest while 30% use Instagram. In some of the data we have extracted from various sources, we can simply conclude that it is mainly Mothers who use social media. Fig. 47 - Explosion
In the case of sharing content on social media, 53% of Mothers also share good news and respond to other good news. In terms of family leisure time, according to MINTEL (2016) 79% of decision were made by Mothers, quoted ‘women are the key influencers and decision makers’. Although the number shows that Mothers use the internet mostly, we can’t make gender specific advertisement on social media. The project intends to target parents on social media who are specifically looking for keywords such as ‘art’, ‘art project’, ‘creative’, ‘children activity’, ‘children’, ‘creativity’, ‘museum’, ‘gallery’, ‘history’, and ‘family activity’. Which can be set up on Facebook Advertisement Manager (Figure _). Based on our primary research, 70% of parents do not allow their children to access social media but 43% said they also supervise their children on social media (Figure 9). The figure can imply that parents are vigilant about social media, whether it is their own use or checking if their children are using it without their consent. Furthermore, the next social media platform to use is Youtube. When we asked Collena about her daughter, she said that her daughter started her own Youtube channel now were she posts videos of herself singing and dancing to gospel songs. Happen the Innovation Agency that published Generation Z: The new kids on the block (2014) have also mentioned that the influence of social media stars is big on Generation Z. Digital celebrities have been discovered through internet too, such as Justin Bieber back when he was 14 years old and 5 years old fashion model Alonso Mateo. Young Youtuber influencers are also on the rise, there are a lot of video out there advising of them advertising to their peers about life situations with a little bit of a witty twist to the video. Collena also mentioned that her daughter opens Youtube under her supervision. Youtube advertisement is effective for both parents and children awareness. According to MINTEL’s recent report (2016), Google have reportedly studied 56 case studies from different brands which proves that Youtube advertisement is 77% more effective than TV Advertisement. Youtube now offers 360( degress) views and VR experience which can be experienced through Google Cardboard.
Fig. 48 - Facebook Ad Manager 1
Fig. 49 - Facebook Ad Manager 2
Fig. 50 - Facebook Ad Manager 3
Year 2 Sponsor & Produce Workshops for Families at Museums & Galleries in London
Go team family!
The platform also sponsors family workshops run in galleries offered in the summer and other holiday times, were parents can come in and learn about art skills together with their children. Many galleries have offered classes such as Tate Circuit for Young People (2014). We would like to pursue bonding time where parent and children can work and collaborate together on a mini art project. Professor Graham Black mentioned this Explorer family, were parents contribute more in playing with their children and experience more things with them. For example, Collena suggested that if the project is about making art fun and engaging for children it would need parents’ engagement. She spoke of cases, were her daughter would bring back an art project and she wouldn’t know what to do because she lacks the required expertise to contribute to the project. The workshops run through by partnering with major museums and galleries in the country. For example, Tate Modern, British Museum, Whitechapel, Tate Liverpool. They can learn different art techniques, such as screen printing, painting, collaging and others. The workshop will run in holiday times, such as Easter holiday, Christmas break and also in the summer. Our social media will advertise the workshops as a part of our integrated marketing.
Fig. 51 - Untitled
Fig. 52 - Underground Ads Mock Up
In the long run, we would love to develop a partnership with Arts Council England. Their website page (2016) loads with the question ‘why do art and culture matter?’, two of their answers were ‘Because art and culture inspire our children so they can flourish’ and ‘we believe everyone, everywhere should have the opportunity to experience great art and culture’. In their previous annual report which was published 2015 on their website, they invested £851.8 million which includes £3.7 million for Cultural Education where the funding purpose is to engage young people with the power and pleasure of the arts and culture. Although the news of budget cuts, form the government has scared the industry, the arts council received a generous Grant-in-aid from National Lottery of £207 million which they are in contract with for Arts council until 2018. The biggest funding goes to big organisations across England, which in total is £519.4 million. The National portfolio organisation is made up by 663 organisations that play a vital role into making art and culture accessible for everyone. In their Key areas and opportunities at the annual report, they invested £2.1 million for Children and Young People with the aim of broadening diversity. They also invest £9.6 million in funding organisations that want to integrate digital technology in their work. But most importantly, the funding also aims to explore new ways for the audiences to discover arts and culture online. Despite the fact that budget cuts for arts education issue have been around since the 2008 recession, the council’s funding has gone up from the last 2013/2014 funding of £442 million to £851.8 million, which is good development for the arts and culture sector in England. Based on the figures and statement collected from the research they have done, annual reports, and also their genuine intention. Working with Arts Council England will be beneficial for the project in the commercial and viability side of the project.
£851.8m £3.7m annual budget with
budget to engage young people
Fig. 53 - Arts Council England
Year 3 Introduce Merchandise, available to purchase at gift shops in Museums & Galleries
Fig. 54 - Merchandise Mock Up
Get the stuff! In the long run for the project which we are planning to do in the year 3 project development. We are introducing merchandise. Selling appropriate merchandise for children by using our visual language will be a point of focus for our marketing strategy and also for the project’s revenue stream. Disney store drives up revenue for about £760 million after they redesigned their flagship store in Oxford Street (Fierce Retail, 2014) and also Dumb Ways to Die started to sell toys for their games’ character costs variedly from $5.99 to $99.99 AUS (Adage, 2014). The example proven to be effective for children’s multi media brands can sell merchandise for their consumer to experience their brand in a tangible form. Google might always be fast forward in digital technology invention, but this marketing strategy can be taken into different approaches. The merchandise in this context will be connected to upcoming exhibitions and existing ones, such as pencil cases, colouring books, and other child appropriate children’s merchandise. For example, we will work with the Museum of Modern Art to stock our merchandise based on our existing content, The Starry Night. The merchandise will also have the QR code were children and parents can download the VR application. Copyright issues might be raised in this case because we are making a profit, but we are planning to get copyright permission and also split approximately 2 – 5% of our annual profit which will be settled by a contract in the end.
Conclusion In conclusion, Google Art Project for Kids offers a viabile platform for children to study art and for parents to get involved in the project. We are hoping that this project can bring back the importance of art education to our younger generation. We are hoping that they will be as passionate as we are, about art. We want them to celebrate it everyday. The passion to celebrate art.
Fig. 28 - Mixtec Codex
List of Reference
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List of Illustration
Figure 1 Galimberti, A. 2016. The Starry Nights.
Figure 11 Muis, J. 2016. GVA Infographic.
Figure 2 Matisse, H. 1952. La Perruche et la Sirene. Available at: https://www. google.co.uk/imgres?imgurl=http://artfieldgalleries.com/wp-content/ uploads/2012/02/Matisse-Sirene.jpg&imgrefurl=http://artfieldgalleries. com/product/henri-matisse/la-perruche/&h=322&w=700&tbnid=ZozxqfrswLasfM:&tbnh=92&tbnw=200&docid=uGO-_R8-hhCesM&itg=1&client=safari&usg=__so3BUzdydIDyu1fZnrVYRN_3sME
Figure 12 Anon. n.d. Egyptian Papyrus. Available at: http://egypassion.com/ papyrus/papyrus1.jpg
Figure 3 Brain Balance Centers. n.d. Left Brain. Available at: http://www.brainbalancecenters.com/blog/2014/12/allergies-vsillness-how-the-brain-influences-immune-system-response/
Figure 13 Mondrian, P. 1927. Composition with Red, Yellow, and Blue. Available at: https://s-media-cache-ak0.pinimg.com/originals/db/e9/8a/ dbe98af9174f4fae45a855bcd0343e4c.jpg Figure 14 Haake, M. n.d. Jan Van Eyck – Arnolfini Hochzeit. Available at: http:// www.centralillustration.com/illustrators/martin-haake
Figure 4 Brain Balance Centers. n.d. Right Brain. Available at: http://www.brainbalancecenters.com/blog/2014/12/allergies-vsillness-how-the-brain-influences-immune-system-response/
Figure 15 Anon. n.d. Art Class with iPad illustration. Available at: https://s-media-cache-ak0.pinimg.com/236x/f0/cd/34/f0cd349683d574480ddbc99ec2d0cabb.jpg
Figure 5 Anon. n.d. Henri Rousseau’s Inspired Kid painting.
Figure 16 Getty Image. n.d. Getty Images’ website. Available at: http://www. gettyimages.co.uk
Figure 6 Malevich, K. 1916. Suprematist Composition. Available at: https:// upload.wikimedia.org/wikipedia/commons/1/13/Suprematist_Composition_-_Kazimir_Malevich.jpg Figure 7 Muis, J. 2016. Art Class Effectiveness Infographic. Figure 8 Picasso, P. 1937. Portrait of Marie-Therese Walter. Available at: http:// www.abs-art.com/images/Pablo%20Picasso%20portrait%20of%20 marie%20therese%20walter.jpg Figure 9 Kembangkhana, J. 2016. Survey Infographic 1. Figure 10 Monet, C. 1917. Le basin aux nympheas. Available at: http://en.ivankrutoyarov.com/2013/02/the-most-expensive-paintings-by-claude.html
Figure 17 Getty Edu. n.d. Getty Edu website. Available at: http://getty.edu Figure 18 Artsy. 2010. Artsy Folio. Available at: http://artsy.github.io/images/2015-03-23-artsy-technology-stack-2015/folio.jpg Figure 19 Google. 2010. Google Cultural Institute. Available at: https://www. google.com/culturalinstitute/u/0/home Figure 20 Van Gogh, V. 1888. Sunflowers. Available at: https://en.wikipedia.org/ wiki/Sunflowers_%28Van_Gogh_series%29#/media/File:Vincent_Willem_van_Gogh_127.jpg Figure 21 Kembangkhana, J. 2016. Brand’s Perceptual Map.
Figure 22 Fragonard, J. 1767. The Swing. Available at: https://en.wikipedia.org/ wiki/The_Swing_(painting)#/media/File:Fragonard,_The_Swing.jpg Figure 23 Calder, A. 1965. Rouge Triomphant (Triumphant Red). Available at: https://dl.airtable.com/nEFCcUqnQAmndMKLaWkO_aab628054fea8cef50f87f59d4050080.jpg Figure 24 Matisse, H. 1910. The Dance. Available at: Art The Whole Story. Figure 25 Kembangkhana, J. 2016. Brand Essence Model Figure 26 McFetridge, G. n.d. Crowd. Available at: http://www.designboom.com/ art/interview-with-artist-geoff-mcfetridge-01-30-2014/ Figure 27 Muis, J. 2016. Infographic on Generation Z. Figure 28 Muis, J. 2016. Curve of Innovation. Figure 29 Galimberti, A. 2016. Wheels on the bus. Originally sketched by Pascal Campion. Available at: http://pascalcampion.blogspot. co.uk/search?updated-max=2012-05-18T08:13:00-07:00&max-results=20&start=160&by-date=false Figure 30 Galimberti, A. 2016. The Starry Nights. Figure 31 Kembangkhana, J. 2016. Project Timeline. Figure 32 Internet Matter. 2012. Internet Matters logo. Available at: https://esafety-docs.s3.amazonaws.com/media/IM_Logo_RGB_POS.jpg
List of Illustration
Figure 33 Kembangkhana, J. 2016. Survey Infographic 2. Figure 34 Kembangkhana, J. 2016. Design Recipe. Figure 35 Galimberti, A. 2016. Portrait of Marie-Therese Walter remake Picasso. Figure 36 Kembangkhana, J. 2016. Online Platform 1. Figure 37 Kembangkhana, J. 2016. Online Platform 2. Figure 38 Kembangkhana, J. 2016. Online Platform 3. Figure 39 FFFOUND. 2008. Virtual Reality. Figure 40 Rothko, M. 1950. White Center (Yellow, Pink, Lavender on Rose). Available at: https://en.wikipedia. org/wiki/White_Center_(Yellow,_Pink_and_Lavender_on_Rose)#/media/File:White_Center_(Yellow,_ Pink_and_Lavender_on_Rose).jpg Figure 41 Klee, P. 1930. Fire at the Moon. Available at: http://abstractcritical.com/wp-content/uploads/2014/03/065.jpg Figure 42 Kembangkhana, J. 2016. VR Perceptual Map. Figure 43 Kembangkhana, J. 2016. VR Prototypes. Figure 44 Kusuma, Y. 2009. The flower that bloom in midnight.
Figure 45 Kembangkhana, J. 2016. Story Board. Figure 46 Kembangkhana, J. 2016. Youtube Mock Up. Figure 47 Lichtenstein, R. 1966. Explosions. Available at: http://www.tate.org.uk/art/artworks/lichtenstein-explosion-p01796 Figure 48 Kembangkhana, J. 2016. Facebook Ad Manager 1. Figure 49 Kembangkhana, J. 2016. Facebook Ad Manager 2. Figure 50 Kembangkhana, J. 2016. Facebook Ad Manager 3. Figure 51 Rothko, M. 1954. Untitled. Available at: http://www.sothebys.com/en/auctions/ecatalogue/2015/contemporary-evening-n09345/lot.11.html Figure 52 Underground Advertisement Mock Up. 2016. Underground Ads Mock Up. Available at: https://sellfy. com/p/lYH2/ Figure 53 Arts Council England. 2016. Arts Council England. Available at: http://www.artscouncil.org.uk/sites/ default/files/download-file/grand_jpeg_white.jpg Figure 54 Kembangkhana, J. 2016. Merchandise Mock Up. Figure 55 Anon. 1521. Mixtec Codex. Available at: http://0textiles.s3.amazonaws.com/mixtec-codex-magni.jpg