MODULE 1 question(s) and responses….

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1. I believe that all levels within an “art world”, for an “art work”, or within an “art experience” are participation based. A participatory practice can be evaluated as “art” or an “art process” only after action has been put in place to create. This active course varies by occupation or duty, but the complexity of such an immense collaborative effort can not be conceived nor can commence by ‘staying out of the way’ or ‘sitting this one out’.

   We must understand that the fundamental factors that make us community members, in a society, are related directly to that of our neighbor. It is essential to recognize the nature of diversity that exists around us. As a member of the “art world” as a whole, we must see ourselves as active participants and be willing to work with, and collect data from, the variety of backgrounds and people around us.

   The transmedia theory conducts a level of narrative understanding that webs and weaves through a story or piece of artistic work, helping to pull together and clarify the main idea. This profits each level of participatory artistic practices by encouraging people to explore overarching aspects and aids in bringing technology into the picture. The popularity and ever-growing network of Social Media and web based programs, narrows the focus and aims to use a variety of platforms to help convey the ‘whole story’.

2. The idea of art participation within the art worlds is a very interesting concept. Art participation can be defined in varying degrees; however it is interesting to think about the idea of art participation taking form due to criticism or praise. Is the criticizer or benefactor part of the participatory art world? The chapter entitled ‘Reputation’ by H.S Becker proposes an intriguing analysis of the reputation of an artist or a work of art. To be considered something ‘special’, as Becker uses in this chapter, depends primarily on whether or not the audience considers the art or artist to be in fact ‘special’. Is the person defining the art as ‘special’ a part of the participatory experience?
   In Becker’s chapter on Aestheticians and aesthetics, he quotes Dickie (1975) “…every person who sees himself as a member of the art world is thereby a member” (Dickie 1975 quoted by Becker 1982). In this regard, it would seem that a person defining a piece of work as art is also considered a participatory figure within the art world. Are we all participating in practices of art when we provide insight, value, or criticism to the art world?
   Being able to express emotion or express a reaction to a work of art is a participatory practice within the art world. We are ultimately giving value or a ‘reputation’ to a work of art when we have an emotional response to something within an artistic context. Being able to engage emotionally within the art world can connect a person to the participatory practices of the art community.

3. What I found throughout the materials was that these participatory practices that seem to constitute “art”, art worlds or art experiences all involve the act of one or many people trying to justify their reasons for being able to label their object or practice as worthy of being art. These critiques, justifications and arguments that are had, seem to be what people believe define art, art worlds and/or art experiences. Although it should be noted that what is argued, is not always accepted. This is most prevalent in the reading “Aesthetics, Aestheticians, and Critics” where Becker points out that this system of participatory classifying, constructs systems in the art world. These divisions then bring about the idea of value and worth in the art world along with what is can be considered art. So what else defines what art and the art world gather their foundation from? It may well be that a group of people has decided on a particular style or genre of art and deemed it worth the arbitrary title and therefore give it a price. But as was stated in the video Art Influences Lives: Why Participation Matters, many people in the art world want to move away from this idea of revenue and “putting people in seats” being the lifeblood of success and turn it into more of an inclusive activity or world.

   What counts as participation if it is not simply getting people in seats and critiquing an artist’s work is a question that I saw trending through several of the materials. Enjoying, understanding, interpreting, working with artists, working on art, buying, selling, sharing, teaching, the list could go on. The definition of participation in the art world, as mentioned several times throughout the reading is in transition. For example, in the interview with that Shelly Willis did with Harrell Fletcher, he talks about getting his students out of the classroom and into the world, doing what they want to do and putting them in realistic scenarios. Fletcher says that “the site changes the form of the work” (123). I believe that this is conducive to the idea of transition as I mentioned before, because no longer are artists trying to set up boundaries for themselves inside the walls of a gallery, but they are out constructing their own habitat in which they produce their work and this allows them to branch out and diversify their artistic templates. An example of how we engage with concepts of diversity across practices and backgrounds in mentioned in the reading about “Aesthetics, Aestheticians, and Critics”. In this chapter it mentions how the sharing of ideas and concepts across different platforms allows diversity to develop in the art world. Collaborating and crossing lines not only with different artists, but merging different mediums implies the engagement of diversity as well.

   This can be then be translated into the idea of transmedia, for it allows a larger audience and larger participation in the art world. Not only does it create a wider array of critiques, but it opens the door for different or collaborative forms of art that may not have otherwise been possible without the transmedia connection. Transmedia does not just have to be a gateway to collaborations though, it can turn into its own form of art or create another in the process. As was shown in the “Mp3 Experiment 11” YouTube video, the entire process of the interactive improvisation reflects transmedia channels. The participants are given roles in the sequence, they use Mp3 players to hear instructions, and they create or act out different forms of what one may consider art and tell a story while doing so. And all the while participatory practices are being done by those other than those involved in the improvisation. There is the audience who is looking on and in some cases taking pictures, judging or videotaping and there is the crew who is capturing the entire movement. These different layers of participatory practices through a transmedia lens show the type of scope and role that “art”, art worlds and art experiences in relation to transmedia storytelling.

4. Clearly, the creative process of the artist (or artists) is part of the participatory process in the broad and all encompassing term of “art.” In addition to the artistic process and creation, there is also the involvement of the viewer as participant. Further more, in addition to the viewer and artist, there is also the role of the inspiration and muse within the realm of art. The inspiration can come in many different forms and have varying degrees. According to Harrell Fletcher’s interview, the participants of his projects are his inspiration, rather than his inspiration determining his interaction with his participants.
   Within “art worlds,” most (if not all) of these participatory experiences aforementioned in “art” also play active roles “art worlds.” However, we can also include the collective process specific to the art, performance, exhibit, etc., is also part of the participation. For example, without the craft of designing, producing, and distributing pointe shoes, the ballet performer is unable to dance on pointe, therefore unable to participate in the creation of dance.
   As for the “art experience,” this too is an all-encompassing term to cover all of the participants involved in the creation or appreciation of art. This also can go on to include the public, audience, curators, designers, actors, critics, artists, manufacturers, public relations promoters, journalists, and so on and so forth.

   More specifically, when it comes to what counts as participation, we can approach this topic on a wide variety of levels. There are varying degrees of participation within any given art production. In my opinion, any person or persons who help in the production of the art is considered a participant, whether directly or indirectly. The factory workers assembling canvases, brush makers, paint and pigment fabricators all have an indirect hand in the creation of a painting. On a more macro scale, the audience also has a direct role of participation in the art production, especially in terms of performance art.

   There are innumerable forms of diversity. Economic, gender and sexuality, cultural, artistic, and communal are all examples of components that have varying forms of diversity. To fully address how we engage with concepts of diversity across practices and backgrounds, it is easier for us, on the whole, to understand which forms of diversity we are addressing. As for the community artistic efforts of Jessica Hudson (seen in the Art Influences Lives video), she brought art to elementary aged students. Not only is there a diversity of age between the performer and the general audience member, but there is also the diversity of artistic experience and direct involvement in the production. Active participation as educators is key to bridging the gaps within diverse groups.

   The concept of transmedia has the ability to interact within practices on a significant level. Each practice needs some sort of transmedia transgression to spread their ideas, products, artworks, and performances. This can vary anywhere between the use of social media for promotion, television advertisements, journalistic endeavors, artists can give interviews and speeches, youtube videos, and so on and so forth.

5. The issue of what constitutes art, art worlds, or experiences is one that is tough to dissect. One can go online and find a video or photo and ask themselves whether or not it’s a piece of art BUT is such person qualified to make that decision? This brings to mind the Institutional Theory of Art and this idea that a work of art is 1) an item or artifact 2) that someone acting or speaking on behalf of an art world has decided is deemed worthy of appreciation. As far as art worlds and experiences, participatory practices could include something as obvious as the creative process of the artist(s) and/or creator(s) or the participation of the audience. In the interview with Harrell Fletcher mentions participants determining the content, and it is this basic idea that through audience participation the art itself can be created as well as viewed. Within these practices, art worlds, and experiences, I think that the entirety of the list given above (curating, collecting, critiquing, teaching, doing, attending, etc) counts as participation.
   Participation can range anywhere from curating (i.e. creating and defining the space in which pieces of art are displayed, in itself becomes it’s on art world) to the actual creation of the pieces of art. This reminds me of the three-movement composition 4’33” or Four Thirty Three by American composer John Cage in which the orchestra sat in silence for four minutes and thirty three seconds. In this time, one would hear audience members coughing or programs being rustled, speaking to Cage’s idea that any sound can constitute or be considered music. In this case the audience participation becomes the performance.

   Across art practices and backgrounds there are many types of diversity including, but not limited to, social, economic, racial, cultural, etc. When I hear (or see) the idea of ‘engaging with diversity’ I think of art education as an example. Teaching art or art appreciation to a class of 15 students entails a huge amount of diversity whether it be socio economic or cultural. In my opinion, all of these art practices, worlds, etc., at least in today’s society, need transmedia. Each practice (curating, creation of art, attending) uses transmedia to share experiences or processes. This could include tweeting about an exhibition, a museum posting a video about an upcoming artist, etc.

6. The idea of art participation within the art worlds is a very interesting concept. Art participation can be defined in varying degrees; however it is interesting to think about the idea of art participation taking form due to criticism or praise. Is the criticizer or benefactor part of the participatory art world? The chapter entitled ‘Reputation’ by H.S Becker proposes an intriguing analysis of the reputation of an artist or a work of art. To be considered something ‘special’, as Becker uses in this chapter, depends primarily on whether or not the audience considers the art or artist to be in fact ‘special’. Is the person defining the art as ‘special’ a part of the participatory experience?
   In Becker’s chapter on Aestheticians and aesthetics, he quotes Dickie (1975) “…every person who sees himself as a member of the art world is thereby a member” (Dickie 1975 quoted by Becker 1982). In this regard, it would seem that a person defining a piece of work as art is also considered a participatory figure within the art world. Are we all participating in practices of art when we provide insight, value, or criticism to the art world?
   Being able to express emotion or express a reaction to a work of art is a participatory practice within the art world. We are ultimately giving value or a ‘reputation’ to a work of art when we have an emotional response to something within an artistic context. Being able to engage emotionally within the art world can connect a person to the participatory practices of the art community.

7. Participatory practices are essential to “art,” art worlds, and art experiences. The practices involved in “art” include the creative process and those involved, the artist physically creating the art, putting exhibits together, and the inspiration for art (even if the muse does or does not know about their involvement, they are still directly part of “art”). Art worlds expand even further. Those who create the tools of art (paint brushes, canvas, cameras, film, etc.) are directly needed to create art. The art world also includes the people who create exhibits, who market the art and artist, people who ask for funding, people who donate money, and the other artists in the same genre (who the artist either wants to emulate or avoid). The participants and type of participation that make up the art experience are vastly important to the whole process. The creators of an exhibit (creating the literal experience), the media covering the showing, the critics who try to define the art, and the audience (who are insanely important). All of these, the “art,” art worlds, and art experiences, are all spheres that overlap and can be interchangeable. Certain groups or people are important to various spheres and work into all three.

   To me, almost everything can be counted as participation in art. Curating, collecting, viewing, creating, critiquing, hating, loving, glancing, teaching… are apart of the artistic experience. If looked at from a certain angle, many types of activities can be skewed and can be shown as participating in art.

   Diversity is engaged in all practices of art. There are many types of diversity, including but not limited to; economic, cultural, racial, artistic. Anyone from any background can become an artist, can become a curator, can become a critic, or anything else involved in art. There are different ways to create participation for all types of people from diverse backgrounds, economic backgrounds, etc. Education programs and teaching artists can reach out to underprivileged children and bring them into the fold as a new and diverse audience.

   Transmedia is telling a story across multiple platforms of media. Artists can give interviews that will be aired on T.V., put up on youtube, printed in a magazine. The marketing director can place an add in a magazine or newspaper. Audience members will post videos, comments, and pictures various social media platforms. It goes on and on. Different forms of media are important to people or different processes in art and art worlds.

8. What particularly stood out for me in the Becker readings is his assertion of societal art values and what is prioritized. His idea that the great artistic masters are valued not because of appreciation for the aesthetics but for the historical connotations of their work resonated with me. This idea can be further applied to art worlds today, except rather than historical significance, we judge the art’s value on its ability to affect change or move people. In other words, art tends to be valued for its message in addition to its aesthetic qualities. This idea of history and artistic message grows in significance when more people are involved, since more people are thereby touched by the art. Participatory art occurs when many people take part in the implementation and appreciation of a particular art. As can be seen by the Grand Rapids video, art can be used to give a voice to many people all at once. The forum in Chicago seemed to suggest that participatory, tangible arts are the way to support a well-balanced, healthy community. This directly ties to transmedia productions because artists have to use diverse forms to reach a greater breadth of people. I agreed with Harrell Fletcher’s stance that we should worry less about intellectual property rights and more about producing cultural innovations that involve people, reflect communities, and move people to create more work for the public.

9. I think arts participation encompasses a huge range of different actors in any given arts world. Often, people think of participation only as a creator (artist) or a consumer (audience member, gallery attendee etc.), when the shades of arts participation are really much broader and deeper. In the interview with Harrell Fletcher, he says that “the work cannot be made in a vacuum” (p. 122). Even though he is specifically referring to the practice of art students creating in an isolated studio space, I think that the sentiment can apply to a greater scale of arts participation. As Becker points out in the idea of “collective activity” any artistic product is really a huge collaboration between the artist(s), the person or people who taught and influenced that artist, the people who make the artist able to create her art (be that the person who makes canvases or violins, the stage crew for a performance, or even the funder that made the art presentation possible), and maybe even an organization that supports that artist. And then there are arts consumers who appreciate the art, critics who assess the art and can help or hinder that art/artist gain recognition, and other artists who can use that art as inspiration to create other art. Really, it is difficult not to be a participant to some degree. Even a parent who has no interest in any form of art, yet signs her son up for painting lessons is a participant in a way because she helps to engender arts participation in a potential future artist and/or arts participant.

   The question of diversity is an interesting one, especially in some of the ways that Becker talked about it in his “Reputation” chapter. What struck me was when he talked about the Nobel prize in literature often going to writers who don’t write in English or another “common” language, yet how that still doesn’t encourage the public to engage in that literature any more than they had. One of my majors in undergrad was English, and many of my professors made an effort to have us read works in translation, works that addressed non-American and non-European themes and issues, or as they said “to avoid only reading books by dead white guys.” It’s an interesting question that Becker brings up in both chapters for this week that the process by which we value something as art can also devalue things like folk art, books written in “uncommon” languages, or types of art that don’t fit into a cultural category of the people who offer awards/museum space/grants etc. Increasingly, it seems that many people are seeking out more diverse art experiences whether that means art created by people of different cultural, ethnic, socio-economic, gender, or race backgrounds or art not frequently found in one’s own environment (like a Tibetan throat singing performance taking place in Eugene). It also seems that arts organizations and funders are increasingly trying to support these arts and artists as well. After all, there’s nothing wrong with “dead white guy” art, but broadening one’s art world to include more diverse forms and creators increases one’s understanding and appreciation of other art worlds.

   Transmedia, as I understand it, is expanding the access that everyone can have to the arts. People can watch famous performances on youtube, books and movies are translated into hundreds of different languages, and even ancient works of art are being digitized to a place where anyone can view them. This makes it so that a single artistic product now has a huge network of participants – a traditional japanese theatre company can stage a stylistic performance of a Shakespearean play or the Eugene Ballet Company can choreograph a ballet to the music of Pink Floyd. With such a wide net of participants, it’s also easier for artists to create more diverse pieces and for audience members to consume more diverse works. By increasing participation to an international scale that, to a certain extent, can straddle many class lines, the greater art world members can borrow from each other more easily thus increasing artistic diversity.

10. Members of an art world create participatory culture which extends to the various echelons within that art world: artist, curator, steward, audience is just as much a part of the experience of art as everything else.

    As discussed by Fletcher, the Art Influences Lives video, and as shown by Improve Everywhere there’s an increasing diversity in the space where art lives – we look for new settings which allows for new audiences, new ideas, new ways of looking and experiencing avenues of art that might havve been limited by past norms without condemning those old norms.

    Transmedia is a large part of furthering that that diversity. Using various forms of media artists, art organizations, participants in art worlds can build, create, and collaborate in a way they couldn’t before. It allows for the free flow of ideas and encourages the accessibility of art to everyone. There is a certain amount of “instant-ness” that can create a relationship between total strangers to a new art world allowing for illumination. The very idea of reputation, of what is and isn’t art, is flipped on its end.

11. I’m not sure how to answer this without first defining art, and I have yet to find a satisfactory definition of art. I know for me art is anything deliberately created by man to produce and emotional and or intellectual response. Within this very broad definition I feel the most basic participatory practice required to have an art experience is an evocation within an art world. Deepening that participation would require a more demanding engagement than simply passive emotional or intellectual stimulation. A deeper participation would require moving beyond evocation and into assimilation then transformation. Meaning you must first assimilate to the art world before evolving it into something new, unique, and your’s. Assimilation is frequently a shunned word among people who pride themselves on uniqueness in culture and ideas, but If you skip the step of assimilation you fail to ever enter into the art world, even at its fringes, and thereby fail to participate in that art world. You may be creating art, but are you creating art within an existing art world? It’s a difficult question. Especially when you begin to engage questions around diversity and cultural assimilation or appropriation. Where is the line between assimilating into an art world and becoming and active creator and member and appropriating the parts if an art world that you find appealing and leaving the rest. Possibly without a thorough understanding of the context, history and significance of the aspect you are choosing to appropriate. Is the appropriation ever okay? How can people who feel their art world or culture has been appropriated engage in meaningful dialogue with the interloper. Is there ever a time when an interloper has a right to take without asking or understanding? I believe you must first assimilate before you can create within the boundaries of the art world and culture around it. Even if that assimilation is only on an observational or critical level. To do even the most basic thing within an art world, you must first join it, and transmedia offers multiple entry points for someone to join up.

    Transmedia gives creators multiple platforms and environments to display their work for other members of the community. To an extent transmedia can also open groups up to further appropriation as a neophyte in a particular art world may happen pun only part of a particular culture, and fail to fully grasp the deeper significance of what they are seeing. When a particular art world engages in transmedia it runs the risk of fracturing its story and leaving only pieces for the neophyte to build his or her understanding and meaning around. This could be fine in some art worlds that have no real basis in a specific ethnic culture, but when you are dealing with groups whose cultures have already been fractured and appropriated through colonization, you start running into some very real ethical and moral concerns around appropriation.

12. My first thought about participatory practice is when there is exposure early in life.

    I had a discussion this evening with my theatre mentor and I learned that if children are not exposed to the arts by age 7, we may not have future participants or supporters of the arts. With my own experiences as a child, I participated in the arts, or art worlds, by learning to draw simple shapes, learning colors and how to blend them, going to science museums and seeing how cartoons are made, I listened to classical music acted out by dancers. Efforts were made by my educators and parents to expose me to all of the various art forms because there is something to glean from each of them. So I ask myself, “Am I a practitioner of the theatre arts because of my performances in school plays?” I would not doubt it, what I am concerned about though, is the possibility of no audience or supporters in 10 to 20 years. The interview article of Harrell Fletcher made me excited about his theories of social practice and situation-specific art because I can think of when the Springfield Library turned to area school children to help them create a ceramic tile mural for the entryway to the library. Some of the tiles were created by kids I knew and I feel a sense of attachment to the piece because it was about bringing the Springfield community together. Mr. Fletcher appears to be doing this same practice and I would like to see more of it in our community as I am able to retell the history of an art piece and have a relationship with it.

    The video about the Arts WA was very inspiring in that when a theatre company (ACT Theater) chose to tackle a Southeast Asian story, they integrated members of various ethnic groups to act as ambassadors for the production. A rule of thumb in acting or writing is come from a place of personal experience. How can predominately European decent peoples relate to those of Southeast Asia? Is there a demographic of people not attending theatre? In the video, the company displayed art work and traditional dances so it could educate and engage a broader audience base who may not encounter the many cultures or religions expressed in the play. I see this as an example of how we can bring concepts of diversity to the performing arts by having other forms of art be complimentary to a main event.

    What also inspires me from the video, is how the Seattle Art Museum brought in musicians, actors, and DJs to make the museum and place of socialization and creativity. The paper hats, figure sketching, and guided tours made 2-dimensional artworks come out in a 3rd to 4th dimension. The art works were no longer static, they were electric and more tangible. Something I have experienced going through museums, whether in Wyoming or the British Museum, many things you cannot touch, only look at. When I have been through the Portland Art Museum and there is a guided audio tour, the pieces come alive and have personality and relatability. (My favorite is Jeremy Irons, aka Scar, talking about Ancient Egyptian pieces.) The most recent tour I did through PAM was their Art and Music in Venice exhibit. They had a dedicated website that you could access through a web browser on your phone and with a personal headset, you could listen to interviews, examples of what an instrument would sound like, or hear a complex history of an art piece that the plaque on the wall could not convey. The integration of readily available technology keeps the audience enraptured in what you are presenting.

    Immersive art worlds encourages participation. I appreciate and take in more about an art piece when there is someone guiding me along or when a play has a character where I can relate to. If art cannot be relatable, then no one is going to participate in it, especially if they are not even exposed to it.

13. When I began to explore the materials for Module 1 and their focus upon the idea of “participation” in the arts, I instantly thought of a program that the Oregon Folklife Network is running. This program seats several well-known, and community identified tradition bearers at the helm of the project, and uses grant money to help “apprentices” of the group to come and study under these tradition bearers. Naturally as a folklorist, when I am given the two words “art” and “participation”, folk art comes to mind. I think of tradition bearers passing down their folk art forms. I think of the Burns-Pauite woman I spent time with as an intern, who passes several folk art forms down to the younger generations. These range from various forms of powwow dancing and intricate bead work used to decorate regalia used in these dances. My experience was further supported when the video, “A Conversation about the 2008 Public Participation in the Arts,” discussed how an emphasis on youth participation in the arts was being made by the Washington Arts Commission. Although I make my connections between participation and art directly to folk art, I certainly do not want to take away any value from non-folk art forms or the importance of encouraging participation in these forms.

    Becker’s article, “Aesthetics, Aestheticians, and Critics” also addressed an important concept when thinking about participation in the arts- intention. The idea is that in order for an individual to participate in art making, there has to be a certain level of intention behind the art making. It doesn’t matter that others might deem their work as “nonart”, but matters that the individual “intend(s) to make art and want what… (is made) recognized as art” (133). One might also participate in art by being a facilitator. This means that perhaps an individual is not creating art, but is facilitating the creation of art or is facilitating ways in which art can be shared.

    The concept of transmedia allows for how we define art, what “is art” and what “is not art”, to change and evolve. It opens up platforms for new kinds of art to emerge, and allows for it to grow. Individuals which were not able to participate in art or the dissemination of art, now have access to innumerable ways of going about art. For example, individuals who would not, perhaps, participate in the art of storytelling in face-to-face interactions, now have access to blogs and other forms of social media where they can engage in the art of storytelling without the same social repercussions. At the same time, these new mediums which can rapidly disseminate art and produce new art, also run the risk of negatively impacting already established art forms. One impact to consider, is the question of how much of the art produced will be made in the genuine interest of art? And how much of it will be produced with more of a tongue-in-cheek intention? Also, I might ask, does art begin to become diluted when more people have access to the technology? For example, now that digital cameras are around, the amount of photographs being taken is phenomenal. Does this somehow detract from the value of photographic art?

14. This week, I found that the video from the discussion at the University of Chicago can be used to answer all of the discussion questions and to better understand the concepts from the readings. It provoked the most critical thinking on my part although there were several parts of the film that I found to be highly subjective. However, I still feel as though this video had a lot of applicable information that realizes the theoretical information of some of the other materials.

    What participatory practices constitute ‘art’, art worlds, or art experiences?

    I think that there were many differing viewpoints as to what is encompassed in participant art. Participation is most commonly thought of in terms of audience, but in many of the materials, participation encompasses a much larger network of individuals and organizations. The very concept of an art world demands the attention of several participating actors. Yet in the scope of real-world examples, I feel as though much of the work shown at the “Why Participation Matters” talk centered around the participation of a larger community who, without advocacy and programming, would otherwise not engage or have access to certain arts organizations.

    What counts as “participation”: curating, collecting, critiquing, teaching, doing, attending, etc.?

    All of the above fields and countless others could arguably be considered participation. I feel as though, much like many other interdisciplinary fields (folklore included), defining what will be included in the discussion of participation is ambiguous at best. Intrinsically, I think its important that the most significant trait of these participants is their genuine interest in art, whether that is a professional or academic interest or an “amateur” one.

    How do we engage with concepts of diversity across practices and backgrounds?

    This questions incorporates many of the concepts behind the mobility of arts programming, a facet of the field that has been rapidly changing with the technological advancements that are now imposing themselves on the very fiber of interpersonal communications Museums are charged with serving a limited demographic based upon proximity and financial access. The marketing of a physical space has to be interactive with a wide audience, especially the average consumer. While the theory of ecology was mentioned, I feel as though the presentation of this idea was done so in a manner to make it seem elitist, focusing on the people who already avid members of the “art” community as opposed to those who have yet to form a relationship or experience with an art organization. This idea of access reminded me of two very different projects that are both demonstrative of the cohesive innovation of physical space with digital space.

    First is Gallery One, an interactive exhibit at the Cleveland Museum of art: http://www.clevelandart.org/gallery-one/about. This exhibit is innovative as it combines the use of traditional art, hands-on activities and technology. Second is the Toledo Arts Commission: http://theartscommission.org/. The Toledo Arts Commission is something that I’ve always admired as a Toledo native as it has stood for an overall love of art that transcends class and reaches to not only spread art to others but works to strengthen the network of artists in the Toledo areas. Both of these organizations have websites, social media campaigns and other interactive methods that don’t work to usurp traditional methods but instead come together in an arsenal that collectively engages people based on both proximity and web presence.

    How does the concept of transmedia interact with these practices?

    Transmedia is essential for the survival of art worlds as one source of media will not be sufficient to reach most audiences. Both of the examples above use many different mediums, allowing consumers to engage, whether they are familiar with the art world or not. The use of various methods also ensures that the field will continue to grow with the trend of societal communication. While a physical space might be a more traditional outlet for many organizations, the development of digital media almost requires brick and mortar locations to catch up to the current technology to remain relevant. This can be done in many different ways, including the production of content for the web as well as the development apps for tables and phones that allow people to interact remotely. Another aspect that can benefit from the use of technology is that of philanthropy. Now, as done with the Toledo Arts Commission, organizations can give people a chance to support them financially from the click of a button.

    All in all, I think that this week’s materials provided me with food for thought when it comes to the intersection of technology and art as technology becomes more prevalent to everyday life. To survive, collaboration is necessary and I feel as though this is one of the most apparent ways in which all levels of participation can increase. It seemed that during bot videos, the element of peer interaction as well as audience feedback were tools in moving forward with arts organizations.

15. What counts as “participation”: curating, collecting, critiquing, teaching, doing, attending, etc.?

    Participation means showing up. Within the context of Art in Society, we are so used to participation as physical accountability, being there to experience. With the growing use of technology and interactive technology, participation simply means the art of inspiration. empowerment. genuine interest and excitement by what your able to perceive. When looking at the video, Building Participation in the Arts: ArtsWA Arts Participation Leadership Initiative we see directly that art is not about ticketing or attending, its about relationship. The importance of participation in the “art world” merely depends on those who have defined this world in the first place. Becker cites comically from his own research on who exactly can participate in considering art as art form stating that “every person who sees himself as a member of the artworld is thereby a member” (Dickie, 1975, p. 36).

    Participation takes many forms as mentioned from the question. The importance of participation lies in the mere inclusivity to be apart of something. Exclusivity has no place in the art world. As Harrell Fletcher relates to presenting art to a non-art audience, he says with such intention: “I don’t want to make-work so only the expert can understand” (p 128). The idea behind participation in art allows for everyone to feel moved, touched and inspired to explore the possibility of the true human experience. This type of inclusive art participation is further exemplified with Fletcher’s of the interactive blog project “Learning To Love You More” which is completed fueled by audience submission. This simple, yet refined blog makes participation step into a greater role within the art world. Instead of just the “art” world bubble, we are suddenly referencing greater communities and reaching bigger audiences.

    How do we engage with concepts of diversity across practices and backgrounds?

    When we look at concepts of diversity, we begin to look at and expand upon participation. When we are looking at diversity across practices, I understand the framework around cross-cultural representation in the arts sector. Whether that be a variance on the type of art being presented, or simply the weaving of cultural art heritage to spread awareness and education while also gaining inclusivity in it’s process. When looking at the ArtsWA Arts Participation Leadership Initiative, we were able to see the importance and structural framework of engaging in concepts of diversity. They were able to hold forums, workshops, lectures all related to arts in community. They formed working groups with specific cultural communities to promote more widespread awareness around cultural heritage events in the area. As we bring up the concept of diversity, it is hard to dispel active stereotypes or conversation on appropriation. This remains an important subject of conversation and continued discussion topic for cultural administration and art in policy. We are beginning to diversify not just the communities represented, but the art forms appreciated and the audiences that are reached.

    How does the concept of transmedia interact with these practices?

    Transmedia defined in my eyes, is the power of story across multimedia universes. It is the ability to interact and interweave multiple platforms using current digital technologies. When I think of the concept of transmedia, I think of the ability for things to become viral. Literally contagious in nature, they are able to reach multiple audiences and demographics through a broad range of context, while still delivering the same message. While looking at the publication “Audience 2.0: How technology influences art participation”, you see in the documentation that technology hasn’t replaced live art interaction. It has just added another facet in which people can remain connected and inspired to their stories. In relationship, studies showed that participants who engaged in electronic based art showed higher attendance in live art participation (p. 95). Transmedia creates the ability to begin to close the gaps of compartmentalization and instead allows everyone access to becomes fully engaged, informed and excited about innovative ways of receiving and transmuting information.

16. Becker’s ideas of reputation and ownership when it comes to art are fun to play with. I loved Duchamp’s surge into Modernism and Dada with his moustachioed Mona Lisa and how he took something that was already part of art convention and made it new. He also brought elasticity to the idea of ownership in art. Keeping the multiplicity of participants in the creation of art in mind resonates with me because it reminds me of commodity fetishism, re-purposed for “art worlds.” I personally believe that valuation of art is a construct, especially when it comes to categorizing art works (eg. high art and folk art). That said, I agree that the process of art making and the participants in art worlds are important to notice. As far as what counts as participation, I would argue that anyone involved with the creation, solidification, and presentation of art should be allowed a stake to hold. My mother always told me that once you release something into the world (art, writing, etc.) it is no longer yours. It belongs to the public.

    The concept of diversity is broad, and therefore malleable. Fletcher’s interview pinpoints diversity in an unusual way. He mentions that he wants to preserve this idea that artists get to do anything they want, and that the studio-wait-to-be-discovered methodology often perpetuated in schools hinders the ability of the artist to truly engage in the freedom of his or her craft. Diversity is promoted in the scope of a project, or the varied structure of Fletcher’s PSU curriculum. He plays with the structure of arts education to encourage a diverse array of art projects and works.

    The idea of transmedia storytelling carries me to the thought of advocacy through the arts and reappropriation of media sources for a less-commercialized purpose. Transmedia as a tool. The way “art worlds” were explained by H. S. Becker back in 1982, 32 years ago now, already arranges a landscape of change in the arts. And, of course, change is constant, change is always. There is something very folklore about it, in the acceptance of inevitable change and yet the continuity of conventions. Art worlds rely on both, I would think. There must be room for change because our society changes, the meaning of art and its impact and/or message on society changes, and relevancy promotes resonance.

    With the introduction of transmedia and the proliferation of the Internet, art worlds have greater exposure, a longer arm. Consumption abounds, but greater accessibility to transmedia means that individuals have more control over what is being consumed than ever before. I love the idea of transmedia as a tool for community and individual response to popular culture.

17. Participation is inseparable from the arts and there are varying degrees of participation within varying art worlds. Art itself is a product of participation through an individual “artist” or a collective group of people engaged in a creative endeavor of making or producing. Art can also provoke participation either within the artwork itself, in the art world or in society. Even simple participatory practices such as listening, following directions, thinking, reading or just being present can be considered participatory depending on the art world in which it takes place. I don’t know if there is ever an instance in which art is not participatory, as it is created to be viewed, heard, felt and experienced by an audience, and in that way they are participating in the artwork or art experience. With each person who takes part or pays attention, the work or the cultural perception and value of the work changes.

    America is no longer the “melting pot” as which it started, but rather a salad bowl comprised of separate parts, none of which can be more overpowering than another. Cultural diversity is being supported now more than ever but at the same time there are still massive obstacles in the way of true respect and equality. The arts play a vital role in spreading messages about the importance of diversity and in many ways, art worlds can actual bring cultures (even on a global scale) together. It is through participation in these art worlds that we can continue to create bridges between people and cultures. We can also use art to “humanize” ourselves; allowing ourselves to identify through culture, and in the end realize that even though we as humans are all different, we share many of the same core values.

    Transmedia has become a vital tool for participation in art worlds, for creating, experiencing and distributing art and art messages, and an incredible tool for bring people together. Media allows us to not only encourage participation but to combat diversity by shortening the bridges between people and cultures. There are now countless art worlds that have developed within and because of media. Art worlds can be constructed faster than ever, with greater diversity of participants who have more information, resources and tools at their fingertips to construct and reconstruct art and art ideas. Transmedia has also greatly influenced what can be considered art. As Becker discussed in the Aesthetics, Aestheticians and Critics chapter of Art Worlds, art aesthetics must be redefined as new art worlds come into existence (Becker, 1982). The media explosion in the second half of the 20th century brought a whole new spectrum of art worlds into existence and along with that, a much broader set of principles as to how society defines art.

18. I definitely posted in the wrong comments section the first time through…Sorry!

    I’m sure that I’m not the only one who is enjoying this concept of transmedia and transmedia storytelling, but I am particularly drawn to the idea of interweaving knowledge across mediums to form a whole narrative, so can’t resist discussing it further here. The first reading, Becker’s “Aesthetics, Aestheticians, and Critics,” included a number of points that provoked confusion and more contemplation on my part. The Arthur Danto quote “To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of an art: an artworld” (148) was particularly helpful in thinking about how transmedia artworlds function, especially when the fans become part of the equation. If, as Becker posits, that institutions and organizations who control the funds and venues where art is shown also create the systems of arbitrary judgement of artistic value, then the internet allows for any interested person or group to become a critic, a creator of theories and values about what they proclaim is art. Whether anyone else agrees or cares may or may not matter, but consider a transmedia narrative I have loved since I was a child: Sailor Moon.

    Naoko Takeuchi’s Sailor Moon was once only found in print as Manga, and I first learned of the show back in the mid-nineties. Not satisfied with the early American dubbing, I found an online fan site that illegally fan-subbed VHS copies, back before it was on dvd or found at our local retailers. Not only did I get to watch what was originally a Japanese manga, but it was also translated with notes to help explain some of the Japanese jokes that wouldn’t necessarily translate in English. Across the internet, websites, forums and archives all added to the growing artworld of Sailor Moon. I could find video stills, manga images and fanart at a click. The cartoon became live action television show while books such as Warriors of Legend: Reflections of Japan in Sailor Moon (2005) (http://www.amazon.com/Warriors-Legend-Reflections-Japan-Sailor/dp/1419608142) added to the growing theory around Sailor Moon’s world. People create costumes and goods based on the manga and show. Etsy has a number of artists who fashion Sailor Moon goods. Will Sailor Moon ever meet the criteria to be judged as art, especially by Western value systems? Unlikely, but thanks to the internet, the cooperation and discourse between participants, and the collective intelligence Sailor Moon has its own artworld, one traveling across mediums. In it, fans become critics as well artists. While they collect and archive Sailor Moon images, music and videos, they curate their own websites and create their own fan images and stories. Naoko Takeuchi created something that is recognized by the fans as art, and they judge when others participate in this particular artworld.

    While this discussion of Sailor Moon may seem a bit lengthy and perhaps repetitive at times, I find the application of transmedia storytelling fascinating. Consider that Sailor Moon has been reinvented through different mediums, translated in a slew of different languages, and acquired through a multiplicity of sources. Each of these add a level of knowledge required to be a critic, that “knowledge of a history of an art” (148). For example, the original English dubbings of Sailor Moon were notorious for their edits and censoring of what would be considered salacious material. Two of the older scouts, Uranus and Neptune were most obvious lovers which is revealed easily through the dialogue of the Japanese anime; however, their relationship was changed to cousins for American audience. That is the sorta’ knowledge that would seem unimportant for those outside of this particular art world, but is something that cannot be overlooked by the Sailor Moon connoisseur. This acts as an example of how institutions create arbitrary judgements about value. At a period in American history when homosexuality was still risqué for television, children would certainly not be allowed to watch cartoon figures have a relationship out of the norm.

    I could discuss this at length…obviously, but I think that I have already complicated the matter enough for myself!

19. The video “Art influences Lifes” really summarized the readings very well. An interesting idea and what most artists may do is look at art as a service or a product. I know I can be accused of this because I take what I learned from Economy and try applying the laws of supply and demand. Is that right or wrong? In the case for artists, I think you may need a balance between looking as a business and enjoying what you are doing. However, just like any business you need to network and connect with the community in order to make art as a living. This includes the participation from crew members on a film set, set designers, consumers, and everything else in between. Participation is a huge key to Art.

    Another idea that Maria Rosia Jackson presented in the video is the distribution of Art. She believes artists need to catch up in distributing their work. She called this “passive consumption.” Are the new venues? She thought about roles of the artists and public participating. I think this counts as well as participation. The viewer, consumer, or customers. I liked it in the video that it mentioned how Rapid City, South Dakota was voted as the least progress city. They decided to fight back this image by creating a great video. That would not have been possible with out the entire public being involved and the camera people and producer. As far as participation goes I think all of it counts.

    How do we engage with concepts of diversity across practices and backgrounds?

    This issue was expressed in Henry Jenkins blog. I also brought up in my objectives too. I studied the case of the “Hope” campaign in another class of mine. It was a contemporary class. I don’t believe it was plagiarism. However, in the case of art it can be hard to justify what is influential and what is copying. It is a fascinating argument and it again goes back to the value of art. How do we measure art? Who has the right to justify what is worth investing into and what is not. It could be that blending different practices could be an answer.

    On another note of that, don’t we see a lot of blending of practices already? Think of a stage set. Someone had to design the stage and they may have a degree in graphic design or fine arts. Another one that comes to mind is Flash mobs. Someone has to coordinate it

    How does the concept of transmedia interact with these practices?

    It makes access to art so easy and it creates the pros and cons list of both. Like in the one line, “There is abundance of art all around us, but there are just as many lawyers. To what expense are we having to have a “free culture?”

    Transmedia makes in easier to blend art. It comes back to the environment we put ourselves in. I liked the idea at the Holocaust Museum that you become part of the story in a performance. You take on the role as one of the prisoners and most likely you die before the end of the tour. Then, I believe, you put the show into a pile. It creates a high participation from the viewer and creates an emotional connection. All in all, transmedia is great to get others to believe they belong in the art community.

20. “Teaching Public Art in the Twenty-first Century An Interview with Harrell Fletcher”this article attracted me,.Harrell Fletche,he talked about his new program,he want to”create a program designed to teach artists ways to become functional within society and sustain them financially”.In my opinion,the aesthetic activity is a particular spiritual one of mankind,the artists create arts to express his aesthetic consciousness and aesthetic ideal,they attempt through their art to bear witness to the truth as they see it.The audience through art appreciation to acquire the sense of beauty and satisfy the aesthetic of their requirement,so a good artist should contributions outstanding works of art,they not only have to be creative but also to understand the operation of this society and market.Just like Harrell said”if artists really understood that they can do anything they want, then they would be doing a lot of other things besides making paintings, and a lot of it would take place outside of a gallery context in an alleyway, park, a public building”.I think this is very important for artists

21. The correlation between defining art and participation/participatory practices is quite interesting. I believe the way someone views ‘art’ dictates how they view participation with art and vice versa. For example, museums and art councils may view art and place value on it differently than someone creating a quilt in their living room. Because of this, these museums and art councils may only view participatory observances or the creation of ‘fine art’ as valuable, for it contributes to their artistic mission. The person quilting in their basement may feel as if they are participating and creating art in their own way that is just as important. As Becker said in one of the readings, “An aesthetic, providing a basis on which people can evaluate things in a reliable and dependable way, makes regular patterns of cooperation possible. When values are stable, and can be depended on to be stable, other things stabilize as well-the monetary value of works and thus the business arrangements on which the art world runs, the reputations of artists and collectors, and the worth of institutional and personal collections (see Moulin, 1967).” I do agree that stable values and categories may be necessary within the ‘art world’ to create sustainable business practices for the organizations and the artists they sponsor. However, I believe that these values and categories should not be the only ones that dictate what art is and should be. This should be left to every individual to identify what art is and how they participate in its creation.

22. Art world include not the person who eventually make art works, it involves with audiences, workman,funding groups and all those who help the build up a dialogue, when creative happens and can lead to another or other art pieces. This is when art organizations play their roles， to provide a stage for art and artists, build up a bridge for the audience and art itself, this bond connection can be inspirited, motivated and change an art form ongoing.

    Diversity is something really interested me, when thinking about art management, the first thing coming to mind, for me, is funding, organizing and market target, just another commercial business form but the project is an art production. “Art world” and “diversity” can my idea with art organizations. They can hold all stages that create art and in this way reach out to those who can be influenced and continue inherit the spirt of an art piece.

    The 2012 “Les Miserables” produced by Working Title Films and Universal Pictures can not be a best way to emerge the great novel, however the soundtrack “Do You Hear the People Sing?” written by Claude-Michel Schönberg do have a huge impact. The flash mob of “Do you hear the people sing” have taken place in London, Pairs, Burlington, University of Texas taken place in tarin stations, theaters, squares and campus have made the song not only a soundtrack of a film but also a way people express their feelings with democracy and freedom, and by the great job with Schönberg and those singers around the work can possibly influence a child who has never thinking about reading the original novel to open the book, and in that way, this little boy is a part of the art world.

23. In “Building Participation in the Arts: ArtsWA Arts Participation Leadership Initiative” indicate that art is being part of civilization and people love arts, love making arts. Every person to be engage the art and to have an access to support the art. I agree that the art is in anywhere which everyone can involve the arts.
    I believe that people have a strong connection with arts even they doesn’t know. Art often engages the historical context of Art Worlds in its content. It may engage at a surface level aesthetic values and current trends but often it has layers beyond this that converse with the art and artists that came before. Ellen Walker says that set up a website, then attract people see the contents which are different from the normal art, developed these person to become a new audience. This method can let more people involved the arts. The practices of the people in the community contribute to arts’ success or failure. Art occurs all around us and we both have the experience of art. Art will happen, and the decision to accept it or not depends on who is involved in the process. Everyone can created the art or art experiences, ultimately, its up to us. Like the video said that they created some art activities in the alley way which is near by the downtown. It can let more people see and join in the activities, more people pay attention on arts.
    I also reading the interview with Harry Fletcher, I think that teaching is an integral part of art worlds, and is an activity which needs to be emphasized much more in order to bring art more fully into the public sector and increase broader social participation and engagement in the arts. I am really interested about the new method –teaching in the arts- honest and practical teaching like Harrell Fletcher talks about- in order to increase participation in the arts among the general population.

24. I think“ art worlds ” this scope is too large for me to make an accurate definition. Actually, I consider maybe arts don’t need to a standard answer. Because arts is an open field and it is constantly changing from time to time.

    As for participation, just like the video material says arts need a solid connection for everybody. It is a complicated relationships, not only contain artists such as art leaders, teams, critics, but also should include non art professional people like audience, one of the most important groups for art development I think. May be some people think art is creating whatever you want to create, they don’t need many people understand. But I don’t think so. For my opinion, art is an industry. Although it bases on artists’ idea to create something, it also needs audiences to understand to accept and finally pay for the art. But that don’t means transform arts to commerce. Some people worry if non professional audiences can understand arts’ form and in order to cater those audiences artists must have to add some commercial element that will make arts’ products quality down. I disagree with it. As Harrell Fletcher said “we need to dumb the work down. But that isn’t the case. There are many layers in the work and ways people can approach it.” (p128) Actually, I don’t think the forms or products that hardly any people understand be called arts. When I am in undergraduate, my teacher tells me art comes from life and beyond life. So I think art is a great participation, everyone could participate.

    As for reputation mentioned by Becker, I think US is pay more attention to this than China. Everyone should protect their own copyright, not only for those famous people. But there is a problem. In fact we don’t care about who make the art if the artist is not famous. For example, when we watch film we will care which actors will appear, while nearly seldom people will care the producer or other staffs of the film. But they are a team, an art production team.

    As for transmedia, actually I am not familiar with it. The only thing I know is transmedia reduce language barriers, people can watch video or some flash productions through Internet. Though transmedia all over the world people can share art, and become an art world.

25. As to most general people, when talk about “art” they might be think this work faring from their world and cognitive. However, as a student studying in Art in Society, I want to define “art” and “art world” or “art experience” in a relatively broaden way. What can we know this point from the interview material is that Fletcher pointed: “I don’t want to make-work so only the expert can understand. I want everyone to be able to walk through that forest and have an interesting experience.” In my opinion, anything what you want to do or think of which just based on the “art vision” can be called “art”. And this is way, you will acquire some experiences about arts (like producing, designing, appreciating or listening), going into the art world to some degrees. What the essential factor is going to enjoy it and feeling them. After taking actions, you will engage in some art process.

    Art participation, clearly, including an all-encompassing explanation, curating, designing, exhibiting, performing, taking photography even appreciating some works, ect. Participatory process is easy to get in, what you have to do is keeping enthusiastic and willing to collecting from different social context. Remember, seeing yourself as member of an art world, grasping what you can from variety of backgrounds. As what the reading shows us, Fletcher trying to transfer his skills to a even ten-year-old boy, creating a opportunity to make him do something about art, making a gold sculpture for instance. He said “What I’ve realized is that I have certain skills, if I just lend them to someone then a project can be made that I would never make. The result is a sculpture that people actually like.” The reason he choose this action, he find himself like an con man which leading students follow studio-style study method, however, nothing can be achieved at all.

    Only take part in art participatory practice will help. And besides that what the art participation? All the activities can be seen in this insight, expressing your emotion and reaction to the art works, just like producing, designing…In other words any people or persons who has made contribution (no matter direct or indirect influence) in the production of the art could be seen as a participants. For example, a TV program, which I was familiar with it count to a special kind of art works (performing art). Who are the participators? Certainly, host, director, audience and cameraman are these kinds of people, but no anyone else? May be not. There are such a large amount of people could call “art participants”. Try to image and think about that, who set up the studio? Where is the host dressing come from? Even which company takes charge of producing the seats on studio, the lamps, stage even many precise but valuable broadcast equipment? Who will collect and write the lines or speeches for host? Everyone has some connection about performing art also can be call art participators within art world. Even it is a fact that, some producers or craft people can not understanding the meaning of this concert which has their huge contribution.

    What impressed me is Fletcher statement that “But I realize that the general public usually doesn’t go to museums, and those are the people I want to make art for. I don’t want to make things that people aren’t invested in, aren’t connected to, don’t have an emotional tie to.” So only if we give an emotional response with art world, could we give a value for art work.

26. Art is a protean thing, and it must be as such. There will never be a definitive answer for that question. As far as what art is worth, it is worth what someone is willing to pay for it; be that intrinsic value or otherwise. I personally am hoping to see the expansion of the definition of ‘art’ to include interactive exhibitions. That said, I was privy to an article (I do not know if it was satirical or not) about ‘invisible’ art that people were supposedly paying out the arse for (the link to the article I had read is here: http://www.artfido.com/blog/artist-creates-invisible-art-and-collectors-are-paying-millions/), but if this article is serious, then that, in my mind, severely devalues the concept of art intrinsically.

27. Art’s definition is a tricky subject. I often default to something regarding creator’s intent, or the attitude/experience of an individual encountering a piece (object, painting, sculpture, etc.) separate from any creator intent. What’s important, I think, is the recognition of Art’s (capital A) ability to fluctuate in form and definition. For instance, when I moved into my apartment and put things on my shelves (DVDs, playing cards, gaming chips, other games, old instrument mouthpieces), I arranged them in a way so I could easily see and take what I needed at any time. Later, after taking a museum course I realized that I had curated my bookshelf holdings. In my placement of objects (some in front, behind, askew, and so on) I had made selections of exactly what to display, next to which other pieces, and in a particular arrangements to give the shelf space artistic balance and means to communicate something about my leisure activities. Once I discovered this instance, I realized that object curation occurs more often than I originally thought, and that it takes place outside of the formal museum setting. I could point out numerous Minecraft worlds in which players carefully display their in-game items of rarity, locate their builds to serve an overarching theme or purpose, and pay great attention to aesthetics.

28. I feel that the only participatory action that constitutes an art, art world or art experience is that the creator believes they are creating art. What I consider art does not matter to the artist, what matters is that they consider it art. It could be something as simple as a child writing their name, or a famous singer composing a song. And when it comes to persons other than the artist participating in the art, they may or may not acknowledge that they are participating. One can pass buy a person playing their guitar on the corner of a street and not acknowledge them, but they can here the strums of the guitar and therefore are participating in the art world of this particular guitarist. Playing a video game makes one a participant of the art of graphic design and animation.

    Acknowledgement is the first step to engaging in the concepts of diversity. After that, one chooses to disassociate or connect with the particular diversity.

    Transmedia is how we connect the components of our personal worlds with other person’s worlds. An artist can promote on Facebook and can be followed on Twitter. By using posters and flyers placed at coffee houses and bars, art productions of all kinds are promoted and are able to reach a variety of audience members.