(a). The brand umbrella model
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[edit] The 'brand umbrella' model.
Summary By coordinating another 'Season' or 'festival', NODE.London helps provide context and coordination particularly (but not exclusively) for smaller/grass-roots based media arts groups. The festival is an umbrella for a series of independent events providing a snapshot/inventory of media arts work of all kinds and in all contexts, rather than a platform which is curated or themed in any way. We use the 'Node London' "brand" actively, tactically and effectively to support this activity.
We have an embryo brand: the idea of a 'new media arts' festival, held in London regularly (say every second year) during a defined period. We have a name, a logo, and a quite successful precedent from 2006. There is also a gap in the market – ie no-one else is doing this.
In the 'brand/ umbrella' model, our role should be to develop and manage this brand. We do this by: - setting a period for the next 'Node London' and defining a loose set of criteria for inclusion. - encouraging organisations to hold events during this period, and to use our logo. - if necessary, acting as 'matchmaker' between artists, organisers and sources of funding, to help build events. But we would not organise or fund events ourselves. - publicising the festival in general, eg by contacting the arts media and general media, providing catalogues and fliers, etc etc. - advising participating organisations, if they need advice, and also making sure that our logo isn't misused. (in other words anything they do meets the criteria we set. These should not be too restrictive: the idea would only be to exclude entries that are not 'fine art', not in modern media, or not socially acceptable: eg lovingly wrought oil paintings of pet dogs, or propaganda for the London Nazi Paedophiles' Club.)
We'd rely heavily on VOs who would - identify and approach potential participants (eg arts educational establishments) and work with them - set up and run a website to publicise the brand, list events, help the matchmaking process, offer FAQs and advice, etc etc. - approach the media (etc) to publicise the festival, prepare a 'catalogue' of events and other publicity material, etc. - encouraging and publishing essays and critical studies - act as a 'secretariat' and point of contact, provide spokespersons for media interviews, and general information about 'new media art', etc.
We would not need a lot of funding for this, assuming enough volunteers can be found. Volunteers' expenses (eg travel, postage, computer media) should be met, but would be low. We would need to write and host a website, and to print material to circulate to potential participants and to the media.
The advantages of this model to the arts in general and to participating organisations is that it would give everyone a target and an excuse to raise funds and hold exhibitions or events. If a 'band wagon' effect develops, organisations will feel almost obliged to take part. This will create new platforms and opportunities for 'new media' artists, and raise the public profile of what we are doing..
At the same time, since this model doesn't demand large amounts of funding, we might avoid some of the more restrictive conditions that came with funding in 2006. However, if we did attract a lot of funding, it might not be incompatible to move into more elaborate models.
