0:00:02 > 0:00:04You're very welcome to the first Arts Show of the season.
0:00:04 > 0:00:06We're in Londonderry for CultureTECH -
0:00:06 > 0:00:11a celebration of the fusion of culture, arts and technology.
0:00:37 > 0:00:40Now in its third year, the festival attracts thousands of people
0:00:40 > 0:00:43into the city for gaming, seminars and performance.
0:00:43 > 0:00:48Its aim - to celebrate where arts and technology creatively collide.
0:00:48 > 0:00:51We're here to find out what that impact is culturally.
0:00:52 > 0:00:53Coming up:
0:00:53 > 0:00:56The Royal Shakespeare Company's digital producer Sarah Ellis
0:00:56 > 0:00:59and technology entrepreneur Mary McKenna
0:00:59 > 0:01:02discuss the digitally enhanced landscape of creativity.
0:01:03 > 0:01:09£50 plus 30 minutes equals one music video, thanks to a new application.
0:01:09 > 0:01:11The prestigious competition
0:01:11 > 0:01:14which headhunts our future digital pioneers...
0:01:14 > 0:01:18There's an exclusive Arts Show performance from Little Matador.
0:01:18 > 0:01:21And that's just for starters.
0:01:23 > 0:01:26"Pleasingly literate indie stomp" -
0:01:26 > 0:01:29that's how the Guardian described the band Seven Summits.
0:01:29 > 0:01:32They are: Rory, Dominic and Joe.
0:01:32 > 0:01:34Strong riffs and even stronger songs.
0:01:34 > 0:01:36Here is Sing To Me.
0:01:36 > 0:01:39APPLAUSE Two, three, four...
0:01:54 > 0:01:55# Come
0:01:57 > 0:02:03# Sing me a song before you have to go
0:02:05 > 0:02:09# And waste away your day without me
0:02:09 > 0:02:11# Come
0:02:13 > 0:02:19# Make me want to ease a fading soul
0:02:21 > 0:02:26# Something like Oh-oh-oh
0:02:28 > 0:02:34# Something like Oh-oh-oh
0:02:35 > 0:02:37# Come
0:02:38 > 0:02:42# Come on home to me each evening
0:02:42 > 0:02:44# Home
0:02:45 > 0:02:49# These four walls we live between
0:02:49 > 0:02:51# Come, come
0:02:53 > 0:02:59# Don't forget what we are here for, no
0:03:01 > 0:03:04# No
0:03:05 > 0:03:10# Just sing to me Oh-oh-oh
0:03:12 > 0:03:18# Just sing to me Oh-oh-oh
0:03:25 > 0:03:31# I'm fading so low
0:03:41 > 0:03:47# Just sing to me Oh-oh-oh
0:03:49 > 0:03:54# Just sing to me Oh-oh-oh
0:03:56 > 0:04:02# Just sing to me Oh-oh-oh
0:04:04 > 0:04:09# Just sing to me Oh-oh-oh
0:04:10 > 0:04:12# Come
0:04:13 > 0:04:21# Sing me a song before you have to go. #
0:04:21 > 0:04:23APPLAUSE
0:04:25 > 0:04:28Seven Summits, and you can see another song from the band
0:04:28 > 0:04:32recorded exclusively for The Arts Show on our website.
0:04:32 > 0:04:36Now, "An epic festival of digital technology, media and music" -
0:04:36 > 0:04:38that's how the organisers describe CultureTECH.
0:04:38 > 0:04:41Mark Nagurski, festival director, tell me more.
0:04:41 > 0:04:44Well, that's pretty much it, it is a big, long week
0:04:44 > 0:04:46of anything from video games, to animations, to...
0:04:46 > 0:04:49Anything that has technology and creativity wrapped in it,
0:04:49 > 0:04:51we try to show it off and bring as many people to the party as we can.
0:04:51 > 0:04:54When you put two words together like culture and tech,
0:04:54 > 0:04:57it can make some people feel a little bit uneasy.
0:04:57 > 0:04:58How do the two go together?
0:04:58 > 0:05:01I think a lot of technology out there is kind of embedded in the culture.
0:05:01 > 0:05:03So, if you're watching things on television
0:05:03 > 0:05:05or playing your favourite video game,
0:05:05 > 0:05:07there is technology at the heart of it.
0:05:07 > 0:05:09Somebody's been creative using that technology,
0:05:09 > 0:05:11and that's really what we're trying to showcase.
0:05:11 > 0:05:13But at the same time there are other ends of the spectrum,
0:05:13 > 0:05:16so we also have some of the more techier tech, so to speak...
0:05:16 > 0:05:19MARIE-LOUISE LAUGHS ..and we also have a lot more of the fun things -
0:05:19 > 0:05:22film screenings, music events, great bands playing like Seven Summits.
0:05:22 > 0:05:26- That's the feel of the festival, so there's something for everybody. - Where did the idea come from?
0:05:26 > 0:05:29To be honest with you, we've been working with lots of local companies
0:05:29 > 0:05:31who are in that digital space and they were really exciting,
0:05:31 > 0:05:33but they didn't have an event of their own,
0:05:33 > 0:05:35so we decided to create one.
0:05:35 > 0:05:37The first year was good enough that we got a second year
0:05:37 > 0:05:39and the second year was good enough that we got a third year,
0:05:39 > 0:05:42and hopefully this one will give us a fourth year.
0:05:42 > 0:05:43"Digital space" -
0:05:43 > 0:05:48- again, two words that can make people slightly uneasy.- Yeah.
0:05:48 > 0:05:50How do you make people who work in the world of arts
0:05:50 > 0:05:55get a sense of how much they can explore the digital world safely?
0:05:55 > 0:05:57Yeah, I think...
0:05:57 > 0:06:00For me, creativity comes in lots of shapes and sizes and forms,
0:06:00 > 0:06:03and you can certainly be creative with a paintbrush or a guitar.
0:06:03 > 0:06:05The software and the technology that's out there
0:06:05 > 0:06:06is just another tool.
0:06:06 > 0:06:09It doesn't replace any of those things, but it's a tool.
0:06:09 > 0:06:10It can augment them,
0:06:10 > 0:06:13or for some people that's how they express their creativity.
0:06:13 > 0:06:15So, somebody creating a fantastic video game with the visuals
0:06:15 > 0:06:17and the music and everything that goes into that,
0:06:17 > 0:06:19for me, is just as creative
0:06:19 > 0:06:21as somebody who's painting oil on canvas.
0:06:21 > 0:06:24So for artists, I think it's about realising that creative spirit
0:06:24 > 0:06:27in other people who just happen to use a different set of tools.
0:06:27 > 0:06:29How do people get access to it?
0:06:29 > 0:06:33It's a world that people imagine has got a wealth of money in it
0:06:33 > 0:06:36and also a world in which they can make money.
0:06:36 > 0:06:38It certainly is, there's lots of people who do.
0:06:38 > 0:06:40But I think like any other discipline,
0:06:40 > 0:06:42it has both ends of the spectrum.
0:06:42 > 0:06:43There are certainly lots of things
0:06:43 > 0:06:47which take a lot of technology and a lot of investments to get into,
0:06:47 > 0:06:51but at the other end of things, most people have access to the internet
0:06:51 > 0:06:54and, you know, simple web tools or their phone can give them access
0:06:54 > 0:06:58to fantastic artistic content and also the tools to create more.
0:06:58 > 0:07:01So, it is really accessible and I think like anything else,
0:07:01 > 0:07:05as you take it more seriously, as you progress, as your skills develop,
0:07:05 > 0:07:08then naturally you move on to some of the more complicated tools.
0:07:08 > 0:07:12But for most people it can be as easy as picking up their phone.
0:07:12 > 0:07:13But also, I suppose, people of a certain age
0:07:13 > 0:07:16are maybe a bit phobic about technology,
0:07:16 > 0:07:19with the young people coming through this festival,
0:07:19 > 0:07:21it's kind of just a way of life, isn't it?
0:07:21 > 0:07:24Absolutely. I think there's a great definition of what technology is,
0:07:24 > 0:07:26and it's really things that were invented in your lifetime.
0:07:26 > 0:07:29So, if you think of some of the kids who are here today
0:07:29 > 0:07:32and they are 12 and 13 years old and they're having a fantastic time,
0:07:32 > 0:07:34they've never known a world where there wasn't the internet.
0:07:34 > 0:07:37Whereas a lot of grown-ups obviously do remember that.
0:07:37 > 0:07:39So, I think there is a transition period of course,
0:07:39 > 0:07:42but realistically people are using these technologies every day.
0:07:42 > 0:07:46You know, if you're listening to the radio or you're watching this on your TV,
0:07:46 > 0:07:48there's probably digital in there somewhere.
0:07:48 > 0:07:49So, people are getting more used to it
0:07:49 > 0:07:51and I think what we're hoping to do with events like this
0:07:51 > 0:07:54is make it even more accessible, by demystifying it a little bit,
0:07:54 > 0:07:57taking it out of the...you know, the ivory tower, so to speak,
0:07:57 > 0:07:59and bring it onto the streets so people can see it themselves.
0:07:59 > 0:08:01- Don't be scared.- Absolutely.
0:08:01 > 0:08:03- Thank you. Mark Nagurski, thank you very much.- No problem.
0:08:03 > 0:08:06Well, one man who wasn't scared is Diarmuid Moloney,
0:08:06 > 0:08:09the founder of Rotor, the company behind a £50 application,
0:08:09 > 0:08:12which automatically generates music videos.
0:08:12 > 0:08:14It's getting huge interest from record companies
0:08:14 > 0:08:16like Universal and Polydor
0:08:16 > 0:08:21and it got its kick-start here at a CultureTECH competition in Derry.
0:08:21 > 0:08:26# Today is the last day
0:08:27 > 0:08:30# That I'm using words... #
0:08:30 > 0:08:33# It's just a matter of time In the summertime
0:08:33 > 0:08:35# You'll be mine
0:08:35 > 0:08:37# All mine... #
0:08:37 > 0:08:39The difference between these two videos
0:08:39 > 0:08:42is that Madonna had a budget of 4.8 million.
0:08:42 > 0:08:44She could spend months making her video.
0:08:44 > 0:08:46The Rotor video is done in 30 minutes
0:08:46 > 0:08:49and it just costs 50 quid.
0:08:49 > 0:08:53What we've developed is a tool for creating music videos
0:08:53 > 0:08:56that puts music video creation in the hands of the everyday user.
0:08:58 > 0:09:02The way Rotor works is the user will simply go to our website
0:09:02 > 0:09:05and they upload the song.
0:09:05 > 0:09:07The next thing to do is to select a style for their video.
0:09:07 > 0:09:10When they select their style it will prompt them to upload
0:09:10 > 0:09:13a certain number of video clips to go with that style.
0:09:13 > 0:09:15And if they don't have their own clips,
0:09:15 > 0:09:17we have a free stock library of footage
0:09:17 > 0:09:18that they can choose from.
0:09:18 > 0:09:20All that's left to do is click go
0:09:20 > 0:09:23and Rotor will generate a music video for them.
0:09:23 > 0:09:27Now, after a period of about 30 minutes, their music video is ready.
0:09:27 > 0:09:29They click the link and they get to preview the video
0:09:29 > 0:09:30that was made for them.
0:09:30 > 0:09:33At that point they can pay for their video and download it.
0:09:33 > 0:09:35If not, they can go back and try again
0:09:35 > 0:09:37until they're happy with the results.
0:09:41 > 0:09:45I wanted to develop a tool that would create music videos
0:09:45 > 0:09:46in response to audio.
0:09:46 > 0:09:52I then entered that personal project into the CultureTECH competition
0:09:52 > 0:09:53and that gave me my first introduction
0:09:53 > 0:09:56into the world of the start-up company
0:09:56 > 0:10:00and it also gave me the possibility to win a cash prize of £10,000.
0:10:00 > 0:10:05CultureTECH itself also exposed me to industry professionals,
0:10:05 > 0:10:07it helped me to make contacts
0:10:07 > 0:10:10and it basically kick-started the whole process.
0:10:13 > 0:10:16Winning the £10,000 at CultureTECH
0:10:16 > 0:10:19gave me the budget to bring together a team of creatives,
0:10:19 > 0:10:21to bring together a technical team
0:10:21 > 0:10:25and to start prototyping out what exactly this product was.
0:10:25 > 0:10:27It also helped me to formalise the business
0:10:27 > 0:10:29so that we could move ahead to where we are now.
0:10:33 > 0:10:36We're developing a mobile app which will allow the end user
0:10:36 > 0:10:40to create a music video in their bedroom, on the train, on the bus.
0:10:40 > 0:10:42They can do it in the coffee shop or wherever they like.
0:10:44 > 0:10:47The record labels aren't generating the revenue they used to,
0:10:47 > 0:10:49and producing music videos has become a problem for them.
0:10:49 > 0:10:52The independent artists are under increasing pressure
0:10:52 > 0:10:53to have a presence online,
0:10:53 > 0:10:57and Rotor puts music video creation into their hands,
0:10:57 > 0:11:00making it accessible and affordable to them also.
0:11:00 > 0:11:05We are going to London for three months to take on investments.
0:11:05 > 0:11:07We've had a lot of interest from the record labels,
0:11:07 > 0:11:10so we're going to be working with those guys.
0:11:10 > 0:11:14Where we go from there is we do a big launch in the States in 2015,
0:11:14 > 0:11:17at which point Rotor will be accessible worldwide.
0:11:27 > 0:11:31That's a clear indication of the benefits of technology and music.
0:11:31 > 0:11:35But what about other art forms? What impact is technology having on them?
0:11:35 > 0:11:39Sarah Ellis and Mary McKenna, welcome.
0:11:39 > 0:11:40Royal Shakespeare Company -
0:11:40 > 0:11:43even the Bard is getting in on the digital act?
0:11:43 > 0:11:46- Can it be possible? - It's completely possible.
0:11:46 > 0:11:48The Royal Shakespeare Company
0:11:48 > 0:11:51have been innovating with Shakespeare for over 50 years,
0:11:51 > 0:11:54so it's only right that we should look at digital
0:11:54 > 0:11:57as something to connect to Shakespeare and his work,
0:11:57 > 0:12:02and what we're doing is looking at how our craft and our stage craft
0:12:02 > 0:12:04can connect with audiences and artists
0:12:04 > 0:12:06and ourselves as an organisation.
0:12:06 > 0:12:08Where's the art, though, in that?
0:12:08 > 0:12:10I think the art is Shakespeare
0:12:10 > 0:12:14and the imagination that his stories unlock.
0:12:14 > 0:12:16If we think about how theatre has developed
0:12:16 > 0:12:19over 400 years since Elizabethan times,
0:12:19 > 0:12:23we can see how technology has innovated over time.
0:12:23 > 0:12:28But it's his stories, his work that's stayed in people's imagination.
0:12:28 > 0:12:30And I think it's how we interpret them today
0:12:30 > 0:12:32which is the important thing to do
0:12:32 > 0:12:34and for us to connect with the next generation.
0:12:34 > 0:12:37It's important for us to be part of that conversation.
0:12:37 > 0:12:41So the conversation is very much skewed towards a younger generation.
0:12:41 > 0:12:44I think it's about how you take your core audiences with you
0:12:44 > 0:12:46but how you inspire the next generation,
0:12:46 > 0:12:50and we look at the past, the present and the future as a company.
0:12:50 > 0:12:53Mary, you're a technology entrepreneur.
0:12:53 > 0:12:55Should technology service the arts,
0:12:55 > 0:12:57or should it be the other way around?
0:12:57 > 0:13:00Well, I think it's technology that services the arts,
0:13:00 > 0:13:04because the arts have been here, as Sarah's said, for hundreds of years.
0:13:04 > 0:13:06Technology's new,
0:13:06 > 0:13:10technology's often used as a transformative medium,
0:13:10 > 0:13:16and, for the theatre, anyway, it helps us bring about new ways
0:13:16 > 0:13:19of engaging with existing audiences and new ones, as well.
0:13:19 > 0:13:21You've done something quite innovative
0:13:21 > 0:13:24when it comes to Shakespeare with Midsummer Night's Dream.
0:13:24 > 0:13:29That is a play that we all know, we all love, we learned at school.
0:13:29 > 0:13:31You can remember it so, so well.
0:13:31 > 0:13:37So how do you innovate digitally with something so sacred as well?
0:13:37 > 0:13:39You ask the right questions,
0:13:39 > 0:13:42and I think that what digital unlocks for culture
0:13:42 > 0:13:46is that we're now a network, and the RSC is part of that network,
0:13:46 > 0:13:51so it's about how technology extends the reach of the live experience.
0:13:51 > 0:13:54And the question within that project
0:13:54 > 0:13:57was to see how far we could extend the RSC experience.
0:13:57 > 0:14:00So we performed the play live in Stratford-upon-Avon
0:14:00 > 0:14:05but we also created an online world where people could see glimpses
0:14:05 > 0:14:07and parts of the play wherever they were.
0:14:07 > 0:14:10And it allowed us to see what the potential was
0:14:10 > 0:14:12around social media and reach
0:14:12 > 0:14:15and just bring an audience that may not come to Stratford
0:14:15 > 0:14:18but has a connection with our company.
0:14:18 > 0:14:22And the story of Midsummer Night's Dream lent itself to the internet.
0:14:22 > 0:14:26It's playful, it's fun, it's got fairies. We could...
0:14:26 > 0:14:29That's a total internet world, is it?
0:14:29 > 0:14:31I think so.
0:14:31 > 0:14:34What it was about was about being playful on the internet
0:14:34 > 0:14:38and seeing how Shakespeare could speak to a different audience
0:14:38 > 0:14:42but also have the live experience at its heart.
0:14:42 > 0:14:44So we perform that play in real-time, we perform
0:14:44 > 0:14:48the scenes of the play at the time they were performed in the play.
0:14:48 > 0:14:54So we started off Act 2, Scene 1 at two o'clock in the morning
0:14:54 > 0:14:57and we actually had a whole different experience as an audience
0:14:57 > 0:15:01witnessing that play at the time that the actors were performing it
0:15:01 > 0:15:02at the time of the play.
0:15:02 > 0:15:05And at four o'clock in the morning,
0:15:05 > 0:15:10as the line in the play responds to the dawn chorus breaking,
0:15:10 > 0:15:12birds outside started singing.
0:15:12 > 0:15:14That we can't create online yet,
0:15:14 > 0:15:17and it was the mixture between those worlds that we were excited by.
0:15:17 > 0:15:19Could local theatre companies...
0:15:19 > 0:15:22If we look at theatre - and your background was the Millennium Forum
0:15:22 > 0:15:26here in Derry - could local theatres do something as innovative as that?
0:15:26 > 0:15:29Or have they got the money to do it, as well?
0:15:29 > 0:15:32It's hard enough to get the play on the stage.
0:15:32 > 0:15:35I think it is a complex ask,
0:15:35 > 0:15:38but technology's becoming cheaper all the time,
0:15:38 > 0:15:40and with technologies like the Oculus Rift,
0:15:40 > 0:15:44where you can actually be in immersive technologies,
0:15:44 > 0:15:46but also Google Glass...
0:15:46 > 0:15:53A couple of the opera companies have kitted out their sopranos
0:15:53 > 0:15:56and their stage hands and their orchestra members
0:15:56 > 0:15:58with Google Glass, and what that allows
0:15:58 > 0:16:01is it allows the audience that's viewing the opera on the internet
0:16:01 > 0:16:05to experience it apparently with the thrill
0:16:05 > 0:16:09of a football match from the perspective of a midfielder.
0:16:09 > 0:16:11How great is that?
0:16:11 > 0:16:13Sarah, when you ring up somebody and say,
0:16:13 > 0:16:17"I'm digital producer with the RSC," it's a huge calling card,
0:16:17 > 0:16:20looking for funding, looking for skills.
0:16:20 > 0:16:24People here locally don't have that at all.
0:16:24 > 0:16:26They've probably got only about one person to man the phones
0:16:26 > 0:16:29and clean the toilets and put the thing on stage.
0:16:29 > 0:16:33What's your advice to somebody trying to be ambitious digitally?
0:16:33 > 0:16:36I think it's about connections
0:16:36 > 0:16:40and using the network that we are all part of in the culture sector.
0:16:40 > 0:16:44And being at CultureTECH from the RSC is really important,
0:16:44 > 0:16:47because I'm here to listen to ideas, I'm here to connect,
0:16:47 > 0:16:49I'm here to understand what people are up to,
0:16:49 > 0:16:53and we're interested in sharing our learning and our expertise
0:16:53 > 0:16:55but also we're also interested in
0:16:55 > 0:16:59the world and the sector that we're working in, and as a company
0:16:59 > 0:17:03we have a responsibility to be an active member in that
0:17:03 > 0:17:04and champion the theatre
0:17:04 > 0:17:07and champion the innovation around theatre.
0:17:07 > 0:17:12And our work extends in partnership across the whole of the UK.
0:17:12 > 0:17:15In cinemas worldwide, we're now live to cinema.
0:17:15 > 0:17:20And these are important stakes for us to be part of.
0:17:20 > 0:17:24But, Mary, RSC, it's a brand, it's a global brand.
0:17:24 > 0:17:28Locally, Northern Ireland, what are the skills
0:17:28 > 0:17:30that somebody would need
0:17:30 > 0:17:34to make themselves penetrate that market effectively?
0:17:34 > 0:17:36I think that we have people in our theatre
0:17:36 > 0:17:38that have world-class marketing skills
0:17:38 > 0:17:42and that they're plugged in to all of these networks.
0:17:42 > 0:17:44Everything today is far more connected.
0:17:44 > 0:17:49With technology comes an increased pressure on the artist.
0:17:49 > 0:17:53I think that applies to every walk of life in our modern world,
0:17:53 > 0:17:54not just the arts, everything.
0:17:54 > 0:17:57All businesses need to be able to market themselves better these days,
0:17:57 > 0:18:00so it affects everybody.
0:18:00 > 0:18:01Thank you so much to Mary McKenna
0:18:01 > 0:18:04and thank you so much to Sarah Ellis as well.
0:18:04 > 0:18:08Now, right outside here, slap bang in the middle of Guildhall Square,
0:18:08 > 0:18:13is a videodome full of music and graphics wizardry.
0:18:13 > 0:18:15We sent along our first-time reporter
0:18:15 > 0:18:19Eimear Coyle of the band Wonder Villains to find out more.
0:18:25 > 0:18:28I've played in some crazy places in the past few years,
0:18:28 > 0:18:30but this is a new one for me.
0:18:30 > 0:18:31That is the Dome, and to be honest,
0:18:31 > 0:18:34it looks a bit like someone's built an igloo in Guildhall Square.
0:18:37 > 0:18:40But on the inside it's a 360-degree video wall.
0:18:40 > 0:18:42When the musicians are performing,
0:18:42 > 0:18:44live visuals are being beamed onto the roof.
0:18:44 > 0:18:47Imagine stepping into a music video. This is the future.
0:18:49 > 0:18:51And this is the guy creating these images.
0:18:51 > 0:18:54- Pedro, explain what's happening here. - Well, this is the Dome.
0:18:54 > 0:18:56It's with visuals. It has five projectors,
0:18:56 > 0:18:58and we call it Full Dome.
0:18:58 > 0:18:59And I am a VJ,
0:18:59 > 0:19:02and VJs have different ways to express their work.
0:19:02 > 0:19:03It's no more than a performance art.
0:19:03 > 0:19:06Does the music that you hear affect the visuals that you choose?
0:19:06 > 0:19:10Of course. The only reason that a VJ exists is because of the music.
0:19:10 > 0:19:13So I tap the visuals in time with the music.
0:19:13 > 0:19:16So if the drums go boom-boom-boom, I go boom-boom-boom.
0:19:16 > 0:19:19And it's really fun, because I can have fun at work. It's fantastic.
0:19:19 > 0:19:23And this dome's here as part of CultureTECH, and this just seems
0:19:23 > 0:19:26bang on trend in that it's got art and technology mixing together.
0:19:26 > 0:19:30This is actually like da Vinci! You know? Art and technology together.
0:19:30 > 0:19:34- Wow.- A couple of hundred years later, we go back to the same.
0:19:34 > 0:19:37Collaborating alongside Pedro and United VJs
0:19:37 > 0:19:39are some of Ireland's leading DJs,
0:19:39 > 0:19:42including Anna and Conan, also known as Contour.
0:19:42 > 0:19:43- Hey, guys.- How are you?
0:19:43 > 0:19:45Now, usually when you go and see a band,
0:19:45 > 0:19:47it's a dark room with one spotlight on the singer.
0:19:47 > 0:19:51This seems like the exact opposite! How are you finding it?
0:19:51 > 0:19:54Yeah, well, we wouldn't really be the "dark room" kind of music.
0:19:54 > 0:19:56We're crazy into the visual side of things,
0:19:56 > 0:19:59- but we've never played anything like this.- Yeah, it's fantastic.
0:19:59 > 0:20:02- Are you looking forward to playing? - Yeah, big time.
0:20:02 > 0:20:05- This is the spot for it, isn't it? - Yeah, it's going to be great.
0:20:05 > 0:20:07All right, well, I think we've heard
0:20:07 > 0:20:09enough about how it's all going to work. Let's see it in action.
0:20:21 > 0:20:24# Curiosity
0:20:26 > 0:20:31# Opened up into the dark
0:20:31 > 0:20:32# Experience
0:20:35 > 0:20:39# Lit a fire from the spark
0:20:39 > 0:20:41# Wants to be a door
0:20:44 > 0:20:48# Is a rolling stone
0:20:48 > 0:20:50# Went too far
0:20:52 > 0:20:55# Rolled downhill alone
0:20:56 > 0:20:59# You better change your ways for good
0:21:01 > 0:21:03# I see the figure in the black hood
0:21:03 > 0:21:05# And he's standing over your shoulder
0:21:05 > 0:21:08# And he knows you're getting older
0:21:09 > 0:21:13# But you're still happy with your child's play
0:21:13 > 0:21:16# Don't want to see you learn the hard way
0:21:16 > 0:21:18# He's standing over your shoulder
0:21:18 > 0:21:21# And he knows you're getting older. #
0:22:04 > 0:22:06From hi-tech digital to analogue,
0:22:06 > 0:22:11and an antidote to the world of smartphones and digital cameras.
0:22:11 > 0:22:13The Starry Messenger: Seven Artist Film-Makers
0:22:13 > 0:22:16is currently at the Void gallery here in Derry.
0:22:16 > 0:22:19Its aim, to explore the analogue film-making process
0:22:19 > 0:22:22and the need to protect the art form.
0:22:22 > 0:22:26As film processing labs close, the exhibition is part of a campaign
0:22:26 > 0:22:28by film-makers, artists and critics across the world
0:22:28 > 0:22:32to ask for greater institutional support to safeguard the ability
0:22:32 > 0:22:37to manufacture, shoot, process, print, make and project film.
0:22:37 > 0:22:39So, in a digital age,
0:22:39 > 0:22:44has film come dangerously close to being an endangered species?
0:22:44 > 0:22:45Janine Davidson is one of the artists
0:22:45 > 0:22:47taking part in the exhibition,
0:22:47 > 0:22:51and Carrie Davenport - with her cameras - is a photographer.
0:22:51 > 0:22:53Janine Davidson, can we say
0:22:53 > 0:22:57that celluloid film-making is about to become extinct?
0:22:57 > 0:22:59I don't think it's about to become extinct.
0:22:59 > 0:23:02I think it's another option out there for artists and film-makers.
0:23:02 > 0:23:06I think the inherent quality in processing the film
0:23:06 > 0:23:08is kind of apart from digital.
0:23:08 > 0:23:11A lot of digital camera makers are trying to replicate cameras,
0:23:11 > 0:23:15behave in the same way as old 35mm. So it's still a viable option.
0:23:15 > 0:23:17It's just become more expensive for processing.
0:23:17 > 0:23:20What is happening here? What do you think?
0:23:20 > 0:23:23I think basically everything's digital now,
0:23:23 > 0:23:25there's no actual physical product, whereas people like that,
0:23:25 > 0:23:29they like having something like vinyl or a bit of film or a print,
0:23:29 > 0:23:33and I think people maybe don't tend to print digital photos out,
0:23:33 > 0:23:34and they can be easily lost.
0:23:34 > 0:23:37There's that kind of resurgence, people are starting to go back.
0:23:37 > 0:23:39You see things like Instagram,
0:23:39 > 0:23:41where people are replicating the old films and the old styles,
0:23:41 > 0:23:44and then people like yourself are keeping it alive
0:23:44 > 0:23:47and other people are taking it up, getting into it as something new,
0:23:47 > 0:23:51a bit different from the digital, a bit more kind of hands-on.
0:23:51 > 0:23:54Can you have, Janine, a digital photographer,
0:23:54 > 0:23:57a viable digital artist working in that medium?
0:23:57 > 0:24:01Well, I think you can work in both. I use digital cameras to do a test run
0:24:01 > 0:24:03of what I'm going to produce on film,
0:24:03 > 0:24:07cos you can cut out all the mistakes and have it totally finely planned.
0:24:07 > 0:24:10But that's what you've said, cut out all the mistakes.
0:24:10 > 0:24:15Are the mistakes not part of the joy of the artistic process?
0:24:15 > 0:24:18Well, they are, because the piece that I have in the Void at the minute
0:24:18 > 0:24:21was kind of a bit typically complicated in the beginning,
0:24:21 > 0:24:23and the end result wasn't exactly what I wanted,
0:24:23 > 0:24:26but I still think it gets across the message that I wanted to get across.
0:24:26 > 0:24:28So it's beautiful.
0:24:28 > 0:24:31But let's look at some of the cameras that you've brought in here.
0:24:31 > 0:24:34They're beautiful. They're a little bit of history.
0:24:34 > 0:24:37Some of them still work. Ones like this would still work.
0:24:37 > 0:24:39I've used that quite recently.
0:24:39 > 0:24:42Ones like this are more ornamental, really old ones like this.
0:24:42 > 0:24:44My dad actually got this. It was scrap in a car boot sale.
0:24:44 > 0:24:46It was in bits, and he rebuilt it for me.
0:24:46 > 0:24:48And it's just nice to have that,
0:24:48 > 0:24:51because if you don't keep these things, they'll just disappear.
0:24:51 > 0:24:53So it's nice to have that...
0:24:53 > 0:24:55Like, the Polaroid one, for instance,
0:24:55 > 0:24:57loads of people still use these. The film is quite expensive.
0:24:57 > 0:25:00There's a website called The Impossible Project
0:25:00 > 0:25:02who started to remanufacture the film,
0:25:02 > 0:25:03and it's great to see that come back
0:25:03 > 0:25:05after companies like Polaroid disappeared.
0:25:05 > 0:25:07But are they not a bit antiquated?
0:25:07 > 0:25:09Yeah! But old things are pretty.
0:25:09 > 0:25:13Pretty. But should they still be functional?
0:25:13 > 0:25:16Should we not be celebrating the press-delete world?
0:25:16 > 0:25:19Nobody seems to have redeye any more in photographs.
0:25:19 > 0:25:21"I don't like the look of that!"
0:25:21 > 0:25:24We can all Photoshop ourselves and we can all kind of...
0:25:24 > 0:25:26I think it's kind of you can cheat a lot more with digital,
0:25:26 > 0:25:27you can make things easier.
0:25:27 > 0:25:31You can edit, you can airbrush, you can fix things, you can share them,
0:25:31 > 0:25:32and we maybe take that for granted.
0:25:32 > 0:25:35But then, when you look back at things like this,
0:25:35 > 0:25:37there's something a bit more, like you said, hands-on.
0:25:37 > 0:25:40You get the wee mistakes, you get the wee errors.
0:25:40 > 0:25:42And then also it's just something a bit different.
0:25:42 > 0:25:43It's more about the process,
0:25:43 > 0:25:46and it's kind of more permanent, maybe, than digital
0:25:46 > 0:25:49because it's not just a wee file that's invisible on your computer.
0:25:49 > 0:25:53It's also about texture, isn't it, Janine?
0:25:53 > 0:25:58And as an artist, that's key to creating a photograph, surely.
0:25:58 > 0:26:01I know, and the lighting as well, and the depth of field
0:26:01 > 0:26:05is quite different to what you can achieve with digital.
0:26:05 > 0:26:07- And have you been admiring some of these cameras here?- I have.
0:26:07 > 0:26:12I picked up my actual Standard 8 camera in a car boot sale as well.
0:26:12 > 0:26:15They asked for £20 with a tripod. It worked perfectly.
0:26:15 > 0:26:19That's what I shot the piece on in Derry.
0:26:19 > 0:26:21So it kind of adds a little edge to it,
0:26:21 > 0:26:23that I acquired the camera myself. I bought it personally.
0:26:23 > 0:26:26It didn't come from a shop, it had its own inherent history.
0:26:26 > 0:26:28It came with films with it, which I used as well,
0:26:28 > 0:26:30so there's these layers upon layers.
0:26:30 > 0:26:33But do you think that maybe we're creating people
0:26:33 > 0:26:36that are technically proficient at taking a photograph,
0:26:36 > 0:26:38whether it be my six-year-old or you,
0:26:38 > 0:26:40but we're really not creating
0:26:40 > 0:26:44a world for people to be photographic artists any more?
0:26:44 > 0:26:46I think to an extent.
0:26:46 > 0:26:50I started off all film , all slide film and then transferred to digital.
0:26:50 > 0:26:52When I studied in university, it was all still film.
0:26:52 > 0:26:55That was a really good way to learn, cos you learn to do it right.
0:26:55 > 0:26:57You have 24 or 36 exposures on a roll,
0:26:57 > 0:26:59and you couldn't afford to waste them,
0:26:59 > 0:27:01and so therefore you put the effort in and you got it right,
0:27:01 > 0:27:04whereas digital does maybe make you a little bit lazier,
0:27:04 > 0:27:07cos you can take hundreds. However, on the other hand...
0:27:07 > 0:27:08And store them in a cloud.
0:27:08 > 0:27:11See, you've got it all there, but it's really easy to lose.
0:27:11 > 0:27:15And I teach a bit of photography, and you do workshops as well.
0:27:15 > 0:27:17It's easier to let people try it if it's digital,
0:27:17 > 0:27:20because they can take it and see it instantly.
0:27:20 > 0:27:22They don't have to wait a week for films coming back.
0:27:22 > 0:27:23So it kind of gives people a chance
0:27:23 > 0:27:26to then get into it and see if they want to go further.
0:27:26 > 0:27:29- But there's no anticipation any more...- No.- I know!
0:27:29 > 0:27:33..that moment of waiting to see how many of your pictures made it.
0:27:33 > 0:27:36I know, and especially with when you're shooting moving film, as well.
0:27:36 > 0:27:39It's a lot more expensive. But then, all the labs now are in...
0:27:39 > 0:27:43I sent my film to London and then it went to Berlin and came back again.
0:27:43 > 0:27:46And one couldn't be developed, and that has to go to America, so...
0:27:46 > 0:27:48- It's having a journey.- It is, yeah.
0:27:48 > 0:27:51Is photography art?
0:27:51 > 0:27:54I think so, yes. But you may be better qualified to...
0:27:54 > 0:27:57Erm, I think so, yeah. I think anything...
0:27:57 > 0:28:00I think it depends on the medium behind it,
0:28:00 > 0:28:02also the person taking the photo.
0:28:02 > 0:28:04Maybe it's less important how the picture's taken,
0:28:04 > 0:28:07more the ideas behind it and who's taking it.
0:28:07 > 0:28:08I think there's kind of...
0:28:08 > 0:28:11There was always this phrase that the camera never lies,
0:28:11 > 0:28:14but now it's digital it obviously can very easily.
0:28:14 > 0:28:15But I think it was always a case of
0:28:15 > 0:28:18the camera told what the person behind it wanted to anyway.
0:28:18 > 0:28:22So it's important not to forget that you're always getting that message,
0:28:22 > 0:28:23and I think it's maybe not the same
0:28:23 > 0:28:26as someone spending hours and hours painting something,
0:28:26 > 0:28:28it's just a different way of telling a story.
0:28:28 > 0:28:31It just lies better in the digital age.
0:28:31 > 0:28:34- God bless it!- It lies more convincingly. It lies easier.
0:28:34 > 0:28:38Janine Davidson and Carrie Davenport, thank you very much.
0:28:38 > 0:28:40And The Starry Messenger is at the Void gallery.
0:28:40 > 0:28:43Now, Northern Ireland's knowledge economy
0:28:43 > 0:28:45is growing faster than anywhere in the UK
0:28:45 > 0:28:48thanks to a new breed of technology entrepreneurs.
0:28:48 > 0:28:52Friday Night Mashup is just one of the places at which they meet.
0:28:52 > 0:28:55This month it's based at Ebrington, and we met one of its founders.
0:28:55 > 0:28:58I'm Aaron Taylor, founder of the Friday Night Mashup,
0:28:58 > 0:29:01Ulster CEO of GoPrezzo.
0:29:01 > 0:29:04So, Friday Night Mashup, it's a quarterly networking event.
0:29:04 > 0:29:05It's there to highlight
0:29:05 > 0:29:09the brightest and the best creative industries technology entrepreneurs.
0:29:09 > 0:29:12There are so many cool companies in Northern Ireland doing great things
0:29:12 > 0:29:14but really suffering from a lack of exposure.
0:29:14 > 0:29:19The key thing for us is trying to raise that level of ambition.
0:29:19 > 0:29:22Usually companies come along, share what they do, pitch to the audience,
0:29:22 > 0:29:26tell them the various great things that they're doing in their business.
0:29:26 > 0:29:28We also bring along really great speakers.
0:29:28 > 0:29:30You get inspired with the people you're listening to.
0:29:30 > 0:29:34You get to really connect and engage with the companies that are demoing.
0:29:35 > 0:29:37That's the whole ethos behind the Mashup.
0:29:37 > 0:29:40It's trying to inspire that one person who comes along
0:29:40 > 0:29:41to want to do something really great
0:29:41 > 0:29:43and to give them the framework to do that.
0:29:49 > 0:29:51You could look at it as a huge party
0:29:51 > 0:29:53or you could look at it through where the value comes from.
0:29:53 > 0:29:55We also have a lot of people looking for work.
0:29:55 > 0:29:57There's a lot of sponsors there
0:29:57 > 0:30:00who would be obviously pushing out what they're doing.
0:30:00 > 0:30:03We have been lucky that a number of people who came along
0:30:03 > 0:30:05have actually ended up getting work with sponsors
0:30:05 > 0:30:07who have been there highlighting what they've been doing.
0:30:07 > 0:30:10We've had numerous sponsors, we've got clients out of it,
0:30:10 > 0:30:12we've had companies that have got investment out of it.
0:30:12 > 0:30:14We've had a couple of companies who have come through,
0:30:14 > 0:30:17Chance Man for example, who won the very first pitch fest
0:30:17 > 0:30:19at our first event, and they've raised £100,000
0:30:19 > 0:30:22in a kick-starter campaign. Another company
0:30:22 > 0:30:24that were kick-starter project of the month,
0:30:24 > 0:30:27they were going through a kick-starter project at that time.
0:30:27 > 0:30:30I think they raised over £50,000 on their kick-starter campaign,
0:30:30 > 0:30:32which was more than what they were expecting to.
0:30:32 > 0:30:35The big thing for us is building that collaborative network.
0:30:35 > 0:30:38Having people there who are meeting other people doing something similar.
0:30:38 > 0:30:41Meeting people who can help them shape something that's in their head
0:30:41 > 0:30:43around an idea they have for a business.
0:30:43 > 0:30:46Without having that awareness of opportunity you'll only ever
0:30:46 > 0:30:49push to what you know. We're trying to make people believe
0:30:49 > 0:30:51that they can do anything they want.
0:30:51 > 0:30:53We're a small country, we only have 1.6 million people.
0:30:53 > 0:30:56We can't afford to work in stand-alone silence,
0:30:56 > 0:30:58we have to come together for the greater good.
0:31:00 > 0:31:04'On a personal level, it's a way of giving back.
0:31:04 > 0:31:07'When we started our company it was incredibly difficult to get things
0:31:07 > 0:31:11'off the ground. What we are trying to do is fill those gaps now
0:31:11 > 0:31:13'so that there are those networks in place.'
0:31:13 > 0:31:16It'll make things so much easier for people coming behind us
0:31:16 > 0:31:18and for ourselves again whenever we're trying to
0:31:18 > 0:31:19start another company.
0:31:24 > 0:31:28We've got pretty big plans for the mashup. We're tentatively aiming for
0:31:28 > 0:31:30within this next couple of years is to look at putting on
0:31:30 > 0:31:33a festival of music, technology and film in Northern Ireland.
0:31:34 > 0:31:36So let's hope that happens!
0:31:50 > 0:31:54Little Matador is Snow Patrol guitarist Nathan Connolly's
0:31:54 > 0:31:57current music project. We caught up with him for a chat
0:31:57 > 0:31:59and an exclusive Arts Show performance.
0:32:10 > 0:32:15# I can't make sense of what you want
0:32:16 > 0:32:21# Where do I go, where do I belong?
0:32:21 > 0:32:26# I can't take it, I can't take it
0:32:31 > 0:32:33# Why can't you give
0:32:33 > 0:32:36# Why can't you give it up?
0:32:36 > 0:32:39# I'm left dumb
0:32:39 > 0:32:41# I'm left dumbstruck
0:32:41 > 0:32:46# I can't take it, I can't take it
0:32:51 > 0:32:53# I can't take it
0:32:53 > 0:32:56# I can't take it
0:32:56 > 0:32:59# Take my broken heart
0:32:59 > 0:33:02# Tear it apart
0:33:02 > 0:33:03# Gather the pieces up
0:33:07 > 0:33:09# Steady your shaking hands
0:33:09 > 0:33:11# Stitch yourself up
0:33:12 > 0:33:14# So we won't come undone
0:33:14 > 0:33:16# So we won't come undone
0:33:22 > 0:33:27# You say the words left ringing in my ears
0:33:27 > 0:33:29# It's on my skin
0:33:29 > 0:33:32# You are all I want
0:33:32 > 0:33:37# I can't let go, I can't let go
0:33:42 > 0:33:45# Now you've given
0:33:45 > 0:33:47# Now you've given up
0:33:47 > 0:33:49# I'm left dumb
0:33:49 > 0:33:52# I'm left dumbstruck
0:33:52 > 0:33:56# I can't let go, I can't let go
0:34:02 > 0:34:07# I can't let go, I can't let go
0:34:07 > 0:34:09# Take my broken heart
0:34:10 > 0:34:12# Tear it apart
0:34:12 > 0:34:14# Gather the pieces up
0:34:17 > 0:34:20# Steady your shaking hands
0:34:20 > 0:34:22# Stitch yourself up
0:34:22 > 0:34:25# So we won't come undone
0:34:25 > 0:34:27# So it won't come undone
0:34:48 > 0:34:50# Take my broken heart
0:34:50 > 0:34:52# Tear it apart
0:34:52 > 0:34:54# Gather the pieces up
0:34:57 > 0:35:00# Steady your shaking hands
0:35:00 > 0:35:02# Stitch yourself up
0:35:02 > 0:35:05# So we won't come undone
0:35:05 > 0:35:07# So we won't come undone. #
0:35:14 > 0:35:19Little Matador are a dirty sleazy rock band
0:35:19 > 0:35:23who are formed of five different members from five different bands,
0:35:23 > 0:35:25some of who worked together before,
0:35:25 > 0:35:30and we make honest...a lot of rock music,
0:35:30 > 0:35:33and that's what we set out to do and that's what we've done.
0:35:33 > 0:35:34We're very proud of it.
0:35:34 > 0:35:40Being a front man, after being a guitar player on the left-hand side
0:35:40 > 0:35:45of the stage for 20 years, yeah, it's something I never set out to do.
0:35:45 > 0:35:47It's something that I'm really enjoying.
0:35:47 > 0:35:50Over the last year I feel more comfortable with it.
0:35:50 > 0:35:53It's time and certainly a different headspace
0:35:53 > 0:35:57and I have even more respect for somebody like Gary or other front men
0:35:57 > 0:35:59than I did before.
0:35:59 > 0:36:02We've had a busy year playing all sorts of festivals,
0:36:02 > 0:36:06our own shows. Great support with bands like Queens of the Stone Age,
0:36:06 > 0:36:09Biffy Clyro just at Belsonic recently.
0:36:09 > 0:36:12We had T in the Park, Reading and Leeds, so...
0:36:12 > 0:36:16To be honest, we've achieved everything that we had set out to do
0:36:16 > 0:36:19initially, the goals we wanted, which is amazing.
0:36:19 > 0:36:22The one thing we know we want to do is make another record.
0:36:22 > 0:36:27Whether that'll be in two years' time or sooner...
0:36:27 > 0:36:32We're very proud of this one and we feel it's just the beginning of...
0:36:32 > 0:36:35We still feel this band's in its infancy, so it's something
0:36:35 > 0:36:36we'll come back to, for sure.
0:36:42 > 0:36:46From a performer who's known commercial success to those
0:36:46 > 0:36:50just starting out. The 48 Hour Music Bootcamp has got one goal -
0:36:50 > 0:36:54to get from song concept to music video in just two days.
0:36:54 > 0:36:58Is that possible? Peter Cinnamond is on the case.
0:37:04 > 0:37:08Not all of the events at CultureTECH are taking place in and around
0:37:08 > 0:37:10the heart of the city.
0:37:10 > 0:37:13I've heard about a very special collaboration
0:37:13 > 0:37:17taking place in an industrial estate right on the river's edge.
0:37:20 > 0:37:23This is home to Smalltown America.
0:37:23 > 0:37:25A recording studio, a record label,
0:37:25 > 0:37:28and today they've opened their doors to a group of young musicians.
0:37:39 > 0:37:42CultureTECH has set them the challenge of recording a song
0:37:42 > 0:37:48and a music video and then release both all in the space of 48 hours.
0:37:48 > 0:37:51But is it really possible to create something artists
0:37:51 > 0:37:56spend months on crafting and do it in a mere two days?
0:37:56 > 0:37:57Let's see.
0:38:02 > 0:38:06The idea of an artist writing a song over three months in a studio,
0:38:06 > 0:38:08or a couple of weeks to shoot a video, that's all gone.
0:38:08 > 0:38:11We all know that and we all have these tools, right down to our
0:38:11 > 0:38:15mobile phones, that allow us as creators to do all this stuff
0:38:15 > 0:38:20really quickly. What we wanted to do, with Bootcamp, was to show
0:38:20 > 0:38:24the accessibility of all these different parts of music creation
0:38:24 > 0:38:27and how quickly it can be done without any sense of
0:38:27 > 0:38:31artistic compromise on behalf of the artist.
0:38:31 > 0:38:33The session has been opened up to local music lovers
0:38:33 > 0:38:37and is a unique insight into the complete production process.
0:38:37 > 0:38:41# Take your body... #
0:38:41 > 0:38:43There's a definite inspirational thing that we want,
0:38:43 > 0:38:46as well as a kind of pure...we want to scale our local industry up.
0:38:46 > 0:38:53# Take your body home. #
0:38:55 > 0:38:58Is that strange recording a song with an audience around you?
0:38:58 > 0:39:02Yes, strange enough doing it in such a small space of time
0:39:02 > 0:39:05with someone who I've never met before.
0:39:05 > 0:39:09'To have the added dimension of making the process public
0:39:09 > 0:39:13'makes it ever more intriguing.'
0:39:13 > 0:39:16You guys are making this a very unique experience.
0:39:17 > 0:39:20Now that the recording of the song has been laid down,
0:39:20 > 0:39:22it's time to rush across the woods where we're going to
0:39:22 > 0:39:23shoot the video.
0:39:30 > 0:39:34This is what CultureTECH is all about, showing people new skills
0:39:34 > 0:39:38with technology and what they can really do with it.
0:39:38 > 0:39:41I feel, under the time pressures, we've coped very well.
0:39:41 > 0:39:45It's enforced collaboration in a short space of time.
0:39:45 > 0:39:48So there's been back and forth very rapidly with ideas,
0:39:48 > 0:39:52throwing ideas out, keeping ideas, and it's forced us to be
0:39:52 > 0:39:53very creative.
0:39:59 > 0:40:02'So, that's a wrap here on the music video.
0:40:02 > 0:40:06'It has been a jam-packed day full of stuff going on.'
0:40:06 > 0:40:09To see the full video, make sure to head over to the website.
0:40:09 > 0:40:11But for now, here's a sneak peek.
0:40:14 > 0:40:21# This is the water running for you
0:40:21 > 0:40:28# Take your body or your blood
0:40:28 > 0:40:34# This is the water running for you
0:40:36 > 0:40:40# Take your body
0:40:40 > 0:40:42# Take your body
0:40:42 > 0:40:46# As my eyes began to close
0:40:46 > 0:40:50# All the water lines arose
0:40:50 > 0:40:56# The love I know no more than floats upon a wave... #
0:40:58 > 0:41:00And you can see the rest of the music video
0:41:00 > 0:41:05at bbc.co.uk/artsshow. Now CultureTECH is all about
0:41:05 > 0:41:07predicting the future of the creative industries.
0:41:07 > 0:41:10The Honeycomb Creative Buzz Award is a prestigious competition
0:41:10 > 0:41:14seeking out the top 20 digital creators of tomorrow.
0:41:14 > 0:41:17These bright young things are in town, getting intensive mentoring
0:41:17 > 0:41:20and networking experience, all hoping to win
0:41:20 > 0:41:23an all-expenses paid trip to CultureTECH Brooklyn.
0:41:32 > 0:41:34Honeycomb, the overall project, is
0:41:34 > 0:41:37for the creative industries, and that covers a range
0:41:37 > 0:41:39of creative industries.
0:41:39 > 0:41:43The Buzz Award we decided to set up because we have absolutely
0:41:43 > 0:41:48fantastic potential with young people, tremendous skills,
0:41:48 > 0:41:49really innovative work.
0:41:50 > 0:41:54What we wanted to do was to give them some kind of opportunity
0:41:54 > 0:41:57for the best graduates from this year.
0:41:57 > 0:42:01We had a lot of applications. The 20 winners actually come from
0:42:01 > 0:42:03all sorts of different courses.
0:42:04 > 0:42:09Creative work emerges from all sorts of graduate programmes.
0:42:11 > 0:42:16We're trying to give these young people some skills
0:42:16 > 0:42:18to really promote themselves.
0:42:20 > 0:42:23It's designed around an elevator pitch, which is that
0:42:23 > 0:42:26you have three minutes to sell your story.
0:42:26 > 0:42:29What is illumine? It's an interactive
0:42:29 > 0:42:31audio visual installation based on the four seasons.
0:42:31 > 0:42:34Depending on how close or far away you are to that sensor,
0:42:34 > 0:42:38you can have live rain or very little rain drizzle.
0:42:38 > 0:42:41Thank you very much, and I'd really appreciate any questions.
0:42:41 > 0:42:45We designed the Bootcamp to try to give these young people
0:42:45 > 0:42:51the skills to really sell themselves and make more people in the industry
0:42:51 > 0:42:55and in the regions aware of the great talent that we have here.
0:42:58 > 0:43:00I entered a short animation that I had done called
0:43:00 > 0:43:03Ennui, The Imp Of Boredom.
0:43:03 > 0:43:06A small devil-type creature that was responsible
0:43:06 > 0:43:08for why you were bored.
0:43:13 > 0:43:16I heard about Honeycomb through my university
0:43:16 > 0:43:18during our final year show.
0:43:18 > 0:43:21There was a whole lot of flyers and information about it passed out.
0:43:21 > 0:43:24One of my tutors came in, slammed the flyer down in front of me
0:43:24 > 0:43:27and went, "You need to enter that."
0:43:27 > 0:43:29I think it would be a good place to network. There'll be a whole lot
0:43:29 > 0:43:32of people there doing similar stuff, professionals,
0:43:32 > 0:43:35industry-standard people, you'll be able to get your work looked at.
0:43:35 > 0:43:38I think ultimately I should be able to get a job out of it.
0:43:41 > 0:43:46I heard about Honeycomb through my university lecturers,
0:43:46 > 0:43:50who wanted me to enter the competition with my vest.
0:43:50 > 0:43:56The vest is built with 18 sensors that interact with the game.
0:43:57 > 0:44:01The players being shot, the person wearing the vest
0:44:01 > 0:44:04feels the vibration.
0:44:04 > 0:44:08- Where are you being shot at? - Just here on the left-hand side.
0:44:08 > 0:44:11The purpose of it was to make it more immersive, engage the user,
0:44:11 > 0:44:14make it more fun to play.
0:44:18 > 0:44:20There's more opportunities than I thought there was.
0:44:20 > 0:44:23I figured I would just go back to doing what I was doing beforehand
0:44:23 > 0:44:26and getting paid very little for it, but I know now that there's
0:44:26 > 0:44:29grants and funds and organisations
0:44:29 > 0:44:31and people who want to get the work out there,
0:44:31 > 0:44:33especially in Northern Ireland.
0:44:33 > 0:44:35There is a lot more coming out of here than there has been
0:44:35 > 0:44:38the last couple of years, and it's doing incredibly well.
0:44:38 > 0:44:40A lot of money, a lot of talent, a lot of production.
0:44:40 > 0:44:45I didn't realise how important networking was until I came here
0:44:45 > 0:44:48and talked to my peers and the experienced people.
0:44:48 > 0:44:52It's opened my eyes to...
0:44:52 > 0:44:54the stuff that you can learn from other people.
0:44:54 > 0:44:56It's amazing.
0:45:00 > 0:45:04Artistic expression and artistic projects perhaps push us
0:45:04 > 0:45:08to make us think about things in slightly different ways.
0:45:08 > 0:45:11We're a very creative culture.
0:45:11 > 0:45:15I think that there's commitment from the various funding and
0:45:15 > 0:45:18stakeholders such as Northern Ireland Screen to bring
0:45:18 > 0:45:23the industry here and I think if we can connect up our pool of talent
0:45:23 > 0:45:27with all of those people who want to produce in Northern Ireland
0:45:27 > 0:45:29then we have a great future.
0:45:38 > 0:45:42Well, unfortunately for John and Dominic it wasn't to be their night.
0:45:42 > 0:45:44It was the night,
0:45:44 > 0:45:47though, for a young music production graduate.
0:45:47 > 0:45:51In terms of our winner, it was a difficult decision
0:45:51 > 0:45:53but a unanimous decision, nonetheless.
0:45:53 > 0:45:57And our winner today is Aishling Grufferty.
0:45:57 > 0:45:59APPLAUSE
0:45:59 > 0:46:01Honeycomb has definitely kick-started
0:46:01 > 0:46:03my own business for me, 100%.
0:46:04 > 0:46:08It's let me in the door
0:46:08 > 0:46:10edgeways to maybe investors
0:46:10 > 0:46:14or people of the industry that have years' experience above me
0:46:14 > 0:46:16that I could learn so much more about them and it's
0:46:16 > 0:46:19definitely given me that edge above
0:46:19 > 0:46:22everyone else that's starting.
0:46:22 > 0:46:24So, I'm so grateful for it!
0:46:24 > 0:46:28I've won and I'm going to New York, where I've never been.
0:46:28 > 0:46:31So, it's going to be a complete eye-opener.
0:46:31 > 0:46:33Exciting times ahead, anyway!
0:46:34 > 0:46:37Well, it's obvious to see from the buzz around CultureTECH
0:46:37 > 0:46:39that the links between the creative arts
0:46:39 > 0:46:43and technology are growing steadily but how do we build on that creative
0:46:43 > 0:46:47confidence and take the next step to have our voices heard globally?
0:46:47 > 0:46:49With me is Tim Brundle from the University of Ulster,
0:46:49 > 0:46:53Christine James who is from Blick Studios over in Ebrington
0:46:53 > 0:46:56and Jon Vanhala who is a musician,
0:46:56 > 0:46:59music executive and start-up investor.
0:46:59 > 0:47:02"Knowledge economy" has been used throughout this programme,
0:47:02 > 0:47:03what is it?
0:47:03 > 0:47:05Well, "knowledge economy"
0:47:05 > 0:47:08is a phrase that's been used for many decades
0:47:08 > 0:47:11and it was really to give a distinction between those people
0:47:11 > 0:47:13who had access to information,
0:47:13 > 0:47:17erm, against those who had access to means of production.
0:47:17 > 0:47:20Where does creativity operate within that then?
0:47:20 > 0:47:22Well, I'm not sure that "knowledge economy"
0:47:22 > 0:47:24is a terribly helpful phrase.
0:47:24 > 0:47:28I mean, we have the creative economy now being used, which is
0:47:28 > 0:47:30to distinguish those people that are
0:47:30 > 0:47:32using their creativity to create value.
0:47:32 > 0:47:35Now, in one way that's a good thing
0:47:35 > 0:47:39because it shows that we do all have access to information -
0:47:39 > 0:47:42it's what we do with it that makes things really exciting.
0:47:42 > 0:47:46CultureTECH is about those people who have taken their creativity and their
0:47:46 > 0:47:51talent and applied it to technologies that they've found on the web,
0:47:51 > 0:47:56to information, to things found out on the street and done beautiful
0:47:56 > 0:47:58and interesting things with it.
0:47:58 > 0:48:00Christine, is that what's happening over in Ebrington,
0:48:00 > 0:48:04in Blick Studios, in these creative clusters, are they called?
0:48:04 > 0:48:06Yeah, well, that's the plan anyway.
0:48:06 > 0:48:08It would be a creative hub with shared work space
0:48:08 > 0:48:11and facilities for creative businesses, from all different...
0:48:11 > 0:48:14from illustrators, fashion, film, music, media.
0:48:14 > 0:48:15That's the idea, is they all come together,
0:48:15 > 0:48:17cluster and share ideas and inspiration
0:48:17 > 0:48:20and help each other to grow their businesses.
0:48:20 > 0:48:23- So, nobody has their hand around their homework?- Exactly that.
0:48:23 > 0:48:24And talking to each other.
0:48:24 > 0:48:27That's the beauty of people coming from slightly different
0:48:27 > 0:48:30industries, we find, because they're much more open to sharing ideas
0:48:30 > 0:48:32and collaborating and working together.
0:48:32 > 0:48:36And give us an update as well, as a side issue, to Ebrington,
0:48:36 > 0:48:38to those buildings, 1881,
0:48:38 > 0:48:41Turner was there last year.
0:48:41 > 0:48:43So, is it still being retained as an art gallery?
0:48:43 > 0:48:46Yeah, well, the decision for that was made before we were appointed as
0:48:46 > 0:48:49operator but the plan certainly is to retain some of the gallery
0:48:49 > 0:48:53space, the bottom two spaces as dedicated gallery space.
0:48:53 > 0:48:56Hopefully that will be an opportunity that will be appreciated
0:48:56 > 0:48:59by the local community and somebody will step forward and take that up.
0:48:59 > 0:49:03We can hear music, Jon, as we're in here at the moment -
0:49:03 > 0:49:06it kind of feels a natural fit.
0:49:06 > 0:49:10Is technology and music...can it be applied as effectively to
0:49:10 > 0:49:13other disciplines in the arts?
0:49:13 > 0:49:15Absolutely, I mean technology
0:49:15 > 0:49:18is a wonderful toolset enabling
0:49:18 > 0:49:21toolset for all forms of creativity.
0:49:21 > 0:49:23And I think that's the draw of CultureTECH
0:49:23 > 0:49:28and it's the draw of this notion of the creative economy period
0:49:28 > 0:49:34and while music has been a language even before we learn to speak,
0:49:34 > 0:49:37it's by no means limited to music at all.
0:49:38 > 0:49:40There's creativity in coders,
0:49:40 > 0:49:43there's creativity in all forms of business, different nouns
0:49:43 > 0:49:48and verbs but the way toolset through digital
0:49:48 > 0:49:52and tech have just enabled access for all forms of creators.
0:49:52 > 0:49:54Have you met anybody interesting...?
0:49:54 > 0:49:57Many people and that's really why I came over
0:49:57 > 0:50:00here from New York City to meet very smart,
0:50:00 > 0:50:05cool people like the panel up here and others that drew me over.
0:50:05 > 0:50:06It's a wonderful experience and it's
0:50:06 > 0:50:10a perfect blend of culture, arts, tech.
0:50:10 > 0:50:13It's sort of a sweet spot that I'm drawn to, personal passion point.
0:50:13 > 0:50:17A sweet spot, Tim, I like the sound of that.
0:50:17 > 0:50:19Yeah, and that's what this is.
0:50:19 > 0:50:22There are stimuli right throughout
0:50:22 > 0:50:26this week that range from music, from
0:50:26 > 0:50:31film, from people using very, very interesting ways of producing things.
0:50:31 > 0:50:36And it's the dialogue that continues throughout the day that makes
0:50:36 > 0:50:38all of this so very, very interesting.
0:50:38 > 0:50:42And it's why from the very first year CultureTECH was established,
0:50:42 > 0:50:45we have had people from all around the world here being
0:50:45 > 0:50:47part of that dialogue.
0:50:47 > 0:50:49How does Northern Ireland fare outside of a wonderful
0:50:49 > 0:50:51week of a festival?
0:50:51 > 0:50:53I mean, everybody's pretty much-loved up
0:50:53 > 0:50:54but they have to go back.
0:50:54 > 0:50:58Yeah, and I think people are pretty loved up throughout the year as well
0:50:58 > 0:51:00and the data would support that.
0:51:00 > 0:51:03Creative industries are fast growing,
0:51:03 > 0:51:05particularly within Northern Ireland,
0:51:05 > 0:51:09we're seeing this massive growth in the creative economy that is
0:51:09 > 0:51:12being fuelled by the universities,
0:51:12 > 0:51:15it's being fuelled by the contact that people have with each other
0:51:15 > 0:51:20at events like this and the accessibility of technology platforms
0:51:20 > 0:51:25that enable people to make films and make music in short periods
0:51:25 > 0:51:28and be able to broadcast that all around the world.
0:51:28 > 0:51:32Christine, though, it has to be much more than a networking
0:51:32 > 0:51:34exercise, as well, or does it?
0:51:34 > 0:51:37Is it important that you do meet the likes of Jon,
0:51:37 > 0:51:41you do have those chats over a coffee or whatever
0:51:41 > 0:51:45and then you're able to continue the conversation the next day by e-mail?
0:51:45 > 0:51:47Absolutely, erm, I think
0:51:47 > 0:51:50especially that's one of the really interesting things,
0:51:50 > 0:51:53wonderful things about starting a business in Northern Ireland
0:51:53 > 0:51:56is that you can essentially be a big fish in a small pond.
0:51:56 > 0:51:59It's so easy to make those few key connections that can really
0:51:59 > 0:52:02push your business forward and can connect you to other people
0:52:02 > 0:52:04and can make it a bit easier to get noticed.
0:52:04 > 0:52:06So, who's in Blick Studios then?
0:52:06 > 0:52:08Who's in that creative cluster at the moment?
0:52:08 > 0:52:10- In Ebrington?- Yeah. - It's not open yet.
0:52:10 > 0:52:13Right, OK, so when are you hoping to open it?
0:52:13 > 0:52:16Fingers crossed, January.
0:52:16 > 0:52:18OK, and how many are going to be in there?
0:52:18 > 0:52:20Space for 50 individuals,
0:52:20 > 0:52:22so that will be split up into...there'll be
0:52:22 > 0:52:25an incubation programme which will select eight of the most
0:52:25 > 0:52:28creative and innovative businesses, hopefully, in Derry-Londonderry.
0:52:28 > 0:52:30Find people who are interested
0:52:30 > 0:52:32and then there'll be co-working space for a further 16
0:52:32 > 0:52:36and beyond that there'll be some private, dedicated office space.
0:52:36 > 0:52:39Like, who? Who would you ideally like to see there?
0:52:39 > 0:52:41I mean, are we talking animators, are we talking musicians?
0:52:41 > 0:52:44There's going to be a gallery space there,
0:52:44 > 0:52:47so there's going to be visual arts side too...writers, who's in there?
0:52:47 > 0:52:50Well, we're basing it on our model in Belfast -
0:52:50 > 0:52:52we have two creative hubs in Belfast
0:52:52 > 0:52:55and we have a really broad range of creative business space there.
0:52:55 > 0:52:59From freelancers, to small businesses, to tech start-ups.
0:52:59 > 0:53:04So, we have fashion stylists, illustrators, sculptors,
0:53:04 > 0:53:08gaming companies, software companies, design, media,
0:53:08 > 0:53:10film, TV - it's really that mix of different
0:53:10 > 0:53:13creative businesses that appeals to me.
0:53:13 > 0:53:15So, anybody listening now, watching now,
0:53:15 > 0:53:18they could...they still have a chance to get in in January?
0:53:18 > 0:53:19Absolutely, yeah.
0:53:19 > 0:53:22OK, Jon, what is a start-up investor fellow,
0:53:22 > 0:53:23how does it work?
0:53:23 > 0:53:26I'm with a company that I helped co-found called Thesis Ventures,
0:53:26 > 0:53:28we're a company builder.
0:53:28 > 0:53:31We invest our network, our connections,
0:53:31 > 0:53:34our intellectual capital and we invest cash.
0:53:34 > 0:53:38It's a fancy way of saying we put money
0:53:38 > 0:53:40and sweat into early-stage start-ups.
0:53:40 > 0:53:43Anybody here that you've seen over your few days?
0:53:43 > 0:53:47There's a couple of very interesting entrepreneurs that have a very smart
0:53:47 > 0:53:50approach that I'm going to continue to correspond with, for certain.
0:53:50 > 0:53:52What have you liked?
0:53:52 > 0:53:54Obviously you can't give away their identity
0:53:54 > 0:53:56but what have you liked about them?
0:53:56 > 0:53:59Have they shamelessly pitched themselves at you or has it
0:53:59 > 0:54:02just been an incredible idea?
0:54:02 > 0:54:04Shameless pitchsters.
0:54:04 > 0:54:08You know, I respect anyone that hustles...I do.
0:54:08 > 0:54:11- Hustling's good!- I truly do!
0:54:11 > 0:54:13But actually, that's not what gets you to the endgame.
0:54:13 > 0:54:16I have respect for anyone trying,
0:54:16 > 0:54:20I really do, but the ones that really make it that I'll be
0:54:20 > 0:54:23maintaining connection with,
0:54:23 > 0:54:25is they've really thought through their milestones
0:54:25 > 0:54:28and they have a thoughtful plan, a core product,
0:54:28 > 0:54:31they've thought about their brand and they've thought about what
0:54:31 > 0:54:33they're doing over the next 12 months.
0:54:33 > 0:54:34Maybe first and foremost,
0:54:34 > 0:54:37they really understand who their audience is and how they're
0:54:37 > 0:54:43solving a problem for demand and thinking through a need state.
0:54:43 > 0:54:47And developing solutions to solve a problem for an audience.
0:54:47 > 0:54:51Tim, I mean, that's incredible there and it's incredible and it's real!
0:54:51 > 0:54:54Erm, how though can we really, truly go global?
0:54:55 > 0:55:00Yeah, I mean, I think back to events like this, back to events like
0:55:00 > 0:55:04CultureTECH, CultureTECH brings the density of people together
0:55:04 > 0:55:07and brings that density of ideas together.
0:55:07 > 0:55:08In the same way that Christine
0:55:08 > 0:55:12and Blick Studios are helping with that clustering effect,
0:55:12 > 0:55:16for people who are learning from each other, this is very much
0:55:16 > 0:55:18a collaborative activity.
0:55:18 > 0:55:21Back in CultureTECH this week we have...
0:55:24 > 0:55:28..we have these great stimuli across
0:55:28 > 0:55:31different sectors, we have great people learning from each other.
0:55:31 > 0:55:33But unless we had that density,
0:55:33 > 0:55:36people all here at the same time, we're not going
0:55:36 > 0:55:39to get people like Jon who will have a reach
0:55:39 > 0:55:42beyond these islands.
0:55:42 > 0:55:45He will have a reach into America and all around the world and
0:55:45 > 0:55:50so we need to be able to brigade our talents and capability
0:55:50 > 0:55:53and creativity together and we need to learn from each other
0:55:53 > 0:55:55and work together.
0:55:55 > 0:55:58We need to help provide that shop window for the world's
0:55:58 > 0:56:01investors and for the world's talents.
0:56:01 > 0:56:04What I need to do now is let you guys sit together
0:56:04 > 0:56:08and continue that dialogue but for the moment, Tim, Christine
0:56:08 > 0:56:11and Jon, thank you very much, and we look forward to hearing who those
0:56:11 > 0:56:14guys are that you are going to give your hard-earned cash to, thank you.
0:56:14 > 0:56:17That's it from The Arts Show at CultureTECH.
0:56:17 > 0:56:20You can join me live on Twitter straight after this show
0:56:20 > 0:56:22and you can keep up to date with all arts
0:56:22 > 0:56:25and culture on BBC Radio Ulster, Monday to Thursday, Arts Extra
0:56:25 > 0:56:29and Pure Culture on a Friday, also at half past six.
0:56:29 > 0:56:33You can also go online now to our website for behind the scenes
0:56:33 > 0:56:35and extra content.
0:56:35 > 0:56:37But for the moment, we leave you with the sights
0:56:37 > 0:56:39and sounds of CultureTECH,
0:56:39 > 0:56:41good night.