Limited staffing and time. The learning curves for each technology, combined with the number of updates that are required to keep things current, add up quickly.

Our established base of constituents and supporters come from an older generation who are not as likely to be comfortable using online and technological solutions. Our challenge is to keep these supporters engaged while trying to reach out to our student participants and younger audience through digital technologies.

Determining how to address the time and resources required to implement/ maintain new digital initiatives while continuing existing activities can be a challenge. Adding new without subtracting something frequently results in attempting to continually do more with static levels of resources/funding.

Deciding how much / finding the time to commit to these technologies has definitely been a big one. As Digital Media Manager, I'm responsible for the website, email and digital marketing ... in addition to things like our social media channels, video creation and app maintenance. Finding a balance in all these mediums has proven challenging since social media requires a lot of love + attention over a long period of time to become really effective.

The greatest challenge is obtaining the financial resources needed to hire additional staff and equipment to acquire digital content and manage online efforts.

Staffing – time required to create, manage, and maintain these technologies. Also cost to maintain software, hosting, etc. – small amounts, but cumulative and on-going, without corresponding revenue streams.

It is perhaps most difficult to fund infrastructure and maintenance. Through digital technologies, the capacities of the museum have grown geometrically in collections management, digital assets management, digitally based content and website development, upkeep and outreach. While many of these elements enable access for a large and diverse audience to engage physically and virtually with the museum's collections and exhibitions, there is little funding available for the technological infrastructure and maintenance that to not directly show metric impact on audiences.

Money and resources. Social media is free, but things like mobile technology and integration with online ticketing – even ticketing apps on Facebook for example – aren't free. Technologies are developing faster than we are raising money to implement them, and we're facing a significant setback if we can't keep up.

The expense of maintaining and upgrading technology is considerable and depreciation is inevitable, due to constant advances. We frequently need to determine what investment is most critical and when we can best afford it.

The ability to include them in the already very full plates that our staff and Board carry. If we were in a better financial position we could contract this out, but we can't afford to. And everyone seems to think that the great thing about internet and digital technologies is that "anyone" can do them. But the fact is, that to do them correctly and to keep doing them, you need to have someone trained and focused on these tasks.

[The biggest challenge is] having the time for staff to dedicate to these activities – learning about technology, selecting tools from the many available, thinking about how they can fit into our work, and actually implementing technologies.

Determining what content is most relevant or effective, and what technological channel is most appropriate for that content. Identifying those technologies that visitors feel comfortable using in a museum setting.

Staff time, plain and simple. We have been very lucky to have supportive, encouraging, and inspired leadership and experimental, smart, and creative staff. We have been careful and judicious in prioritizing which digital technologies should be pursued based on our mission and content. Without resources to add staff, digital projects have been integrated with existing workflows. We're all doing our best to do more with less. Staying on top of (and sifting through) the rapidly changing field of digital technologies also remains an ongoing challenge.

[We have a] password protected portion of website for board members. Minutes, reports, agendas are posted to this site so that board members can read in advance of meetings.

We use Dropbox to keep our prop lists up to date so that the stage management team can change the prop lists in rehearsal and the prop coordinator can access it and know it is the most up to date version of the list.

We use Google Apps to make online collaboration among staff and board easier, thanks to a Google Grant we make use of $10k/month in free Google Adwords, we implemented a new browser-based donor management system, and use a Google Site to track all grant applications and status. We also accept donations on the fly at events etc., through use of the iPhone-friendly Square App.

We are a 100% virtual organization — every employee telecommutes from their home, negating many expenses traditionally incurred by having office space.

We are currently participating in "online booking" for dance rehearsal space rentals through NYC Performing Arts Spaces, allowing artists to look for available space and book space online.

We have an online networking tool that allows literary artists and aspiring literary artists to connect with each other in search of services (editor, agent, manuscript help, copyeditor etc.).

We invite professional writers to have a hand in social media curation, such as taking over our Tumblr feed for a period of time. Allow site users to curate and publicly share their favorite online content.

We host two open calls for exhibition proposals annually and all jurying is done online. Approximately 100 jurors read the 500 word proposals online and cast their votes using a special web portal that we've designed.

We market on local apps on phones that identify our theater as something to do when people enter a certain neighborhood.

Our agency also hosts a great, free online arts and cultural events calendar [that] showcases the arts across the state. We have even partnered with convention and visitors bureaus from three major cities in the state to help support and finance this online calendar, which is very popular.

We're implementing mobile ticket this year and eliminating traditional paper-based tickets. Older patrons not comfortable with mobile technologies are still able to just use will-call services at events.

We allow Select Your Own Seat on our website, with seat maps plus photos showing views from those approximate locations.

Festival schedule is interactive and customizable — user can create his/her own schedule and then share it.

We offer cell phone audio tours. These tours have been a tremendous way to reach out to our constituency with both historical audio that has been digitized, and new content that has been recorded and transmitted via MP3. Additionally, we are in the process of expanding our audio tours to include Smart Phone tag access for additional information dissemination. We also have a touch screen kiosk that has been an invaluable tool in assisting our guests in the process of interacting with the both literary and visual arts, our history, and our permanent collection in an intimate, albeit technologically advanced manner. The kiosk program is also available off-site via the web. The dual-action nature of our new media resources (on-sight and off-sight) has given us powerful tools for reaching many more constituents.

Specific concerts that have real-time program notes that include history, composers and other interesting information. Audience members sit in a specific section of the auditorium and can connect to a secure site where the notes are distributed and choreographed to the music playing – live in the theatre.

We use Skype for filmmaker Q&A's following screenings. It allows our audiences to talk directly to the artists but the artist can call in from anywhere in the world. It's wonderful, it still feels very personal despite the fact that the artist is miles away.

We accept questions for our artists via email and Twitter and then tweet out our Talk-Back Q&A.

In addition to posting audio clips on our web site's show pages, we also publish playlists for various music series on iTunes.

We have a video blog called the Musical Theatre Factory where our artistic director posts 1 – 3 vlogs a week. We also have an in-depth show archive so that folks can go back and look up everything related to a show (production photos, sizzle reels, casting, reviews).

Images of all 12,000 objects in our collection are available on our website through our Online Collection. Some objects include scholarly essays. Information for educators is available through our Online Curriculum. Our Pinterest page, which we update using images from the Online Collection, is gaining in popularity.

We are developing our searchable, on-line Timeline of past programming (exhibitions, publications, concerts, performances, readings, artists' talks, etc.) going back nearly 38 years, and continually augmenting the text-based content and scanned, downloadable publications with more and more visual content: scanned and digitized analog slides from pre-digital-era gallery exhibitions, video & audio clips, etc. This has already served as a valuable resource for research for art historians, curators, journalists, artists, arts educators, and students.

We have begun to use Google Hangouts On Air broadcasts for sharing our Institute training both globally and locally free. This next week we will be attempting a simultaneous drumming class in Philadelphia and the Philippines.

We are currently creating a 3D virtual exhibition based on a museum exhibition. When fully developed, the virtual exhibit will extend the audience for the exhibit and it will serve as a pre and post visit learning opportunity for school groups.

We just recently began organizing walking tours of our public art projects through Pinterest.

Our center school's music program for children with disabilities between the ages of 3 and 22 uses Skype as a virtual classroom in which we are linked with music performance, instruction and cooperative grant writing with over 20 university music ed programs and organizations for children with similar disabilities around the world.

During the past four years we were able to use the internet to elevate the voices of those most affected by the criminal justice system – prisoners, corrections officers, their families and loved ones, and the communities where prisons are sited. Our website allowed us to represent the culture of mass incarceration in new and incisive ways, such as by establishing an online venue for the creation and exchange of prison poetry, a suppressed genre that should contribute to our nation’s understanding of itself.

We created Facebook profiles for the two main characters in As You Like It that toured to high schools. They told the story of the play through status updates in modern language, and we invited students and teachers to friend them and interact with them.

For the past several years, we have hosted an online fundraiser – the Clarion Write-a-Thon. The Write-a-Thon is like a Walk-a-Thon, but instead of pledges per mile walked, we have writers getting pledges per word, chapter, or story written. The web site we've developed for the fundraiser allows each writer to have his or her own editable page with stated writing goals, to join an online discussion group with other writers and a Clarion writing mentor, to post to a "team blog," and of course, it enables sponsors to support individual writers through online pledges and donations. It's been very successful from both fundraising and support for writers’ standpoints.

Adults who connect with the arts through social media are much more engaged

In an August 2011 nationally representative telephone survey of U.S. adults, conducted by Pew Research Center’s Internet & American Life Project, respondents were asked about different ways they engage with cultural institutions such as museums, arts organizations, and performers.  At that time:

• 44% of all adults had attended a live music, dance, or theater performance in the 12 months prior to the survey; among those who follow a music/dance/theatrical group or venue on a social networking site, the figure climbs to 77%
• 35% of all adults had visited a museum in the last 12 months; among those who follow a museum on a social networking site, the figure is more than double at 82%
• 35% of all adults had attended an arts, craft or music festival in the last 12 months; the figure is 55% when looking just at those who follow individual artists, musicians or performers on a social networking site
• Finally, 29% of all adults had visited an art gallery, show, or exhibit in the last 12 months.  The figure is almost three times as high (82%) among those who follow an art gallery or other visual organization on a social networking site

These data suggest that adults that connect to arts and cultural organizations through social media are much more likely to attend events and exhibits than those who do not.  Presumably, many adults who follow these institutions on social media do so because they are already patrons.  Yet given their power to “hook” patrons and expand audience through these platforms, arts organizations may see tremendous dividends in social media properties that are informative, engaging, and relevant to their audience.

Social media has helped us define our brand more clearly to broad audience that wants to engage, rather than just visit a webpage.

Social media gives us an opportunity to have a more casual interaction with our fans. Hopefully making us more approachable, interesting and engaging on a level that ultimately helps us connect with and expand our audience (and the diversity of our audience).

Social media deepens our relationships – about 70-80% of the people who regularly like, comment on, or repost our content are donors. Social media provides an additional vehicle for them to engage with – and support – our work.

Connecting our theater patrons with our education work and connecting our educators with our performance work. It has made our organization more integrated.

Keeping in touch with our alumni and engaging them in our current activities. Since college emails are shut down after a couple years, we lost electronic contact with most alumni who moved away from home. With Facebook we were able to "rediscover" hundreds of alumni.

Unlike most cultural programs, film programming comes and goes very quickly. Social media has given us the marketing agility we've long required to communicate with audiences about comings and goings and it has transformed audience numbers for us.

We do not have a consistent venue (we work with others all around the world), and we did not previously have a way of hearing from any of our audience members. Social media has provided that important feedback.

We find that social media builds community around museum content. It allows the audience to engage one another based upon (and sometimes structured by) the material without being a controlled or linear experience.

When we post in the wake of an emergency, our fans tend to share our posts widely which helps our messages about the emergency relief that we provide reach exponentially more viewers than we could have just under our own steam.

For event attendance, we find that approximately 50% of people who respond ‘yes’ via Facebook do not actually attend the event.

Serves as a testing ground for interest in potential content. Allows for national participation in programs, including on the part of non-local artists. Allows for industry-wide conversation and goodwill support of sister organizations.

Allowing our audience to see "exclusive" clips and trailers before they are aired to the general public. Making the audience feel interactive and inclusive.

Aside from face-to-face, Facebook has been the best way for us to communicate with our teenage students. Social media has also connected us more to businesses and orgs in the local community. We've been able to form a couple of beneficial partnerships that grew directly from contacts made over social media.

Utilizing social media and the internet as a communications tool has allowed our organization to reduce the amount of printed promotional materials needed. We can be more eco-friendly and still get the word out about our exhibitions and events.

Employee engagement with the organization through social platforms in real life has created a morale boost. Job postings and music education tips are always the most popular items we post.

Facebook has kept us visible in the public conversation and has expanded our base greatly. People know what we are doing and respond. We regularly post photos from performances and tours and get lots of feedback on them.

It has forced staff, especially those age 40 plus, to recognize that the museum and library world is changing and they must adjust to greater demands by audiences and learn new approaches or be left behind.

Several times our organization has made social media special ticket offers that have resulted in increased attendance at performances.

At one of our annual fundraisers, we offered a special price only through social media. In the week before the event, we sold more than the one-third of the eventual total attendance. We attracted a younger audience, grew the total numbers and spent no money.

We ask our fans to suggest performers/exhibits/films they’d like to see, which helps us plan and gives us ideas of the types of things they are interested in. We ask for suggestions every few months. Those suggestions are compiled into a list, and we research each of them to determine what might be a good fit.

We asked our Facebook page if they would like to see comedian Gabriel Iglesias. They affirmed he would be a good choice, we booked him, and sold out the show without spending a dollar on marketing.

Our summer children's program was completely filled last year and advertised ONLY on Facebook. The previous year, we used more traditional methods of advertisement and were only at half capacity.

I was offered an add on performance of the national tour of CATS. I rarely add shows outside of season. Rum Tum Tugger was being done by an actor who had graduated from a local high school. His grandmother and mother called and asked if I was going to do the show, and guaranteed they could sell the house out. On our Facebook page we challenged our friends to show their support and friend us and tell us how many tickets they would buy and friends they would bring. Developed a buzz and we had people email us their name and email address. We surveymonkey'd them and found out how many tickets they would order. Sold out one whole show of CATS with no advertising, ended up having to add another show, that we did some advertising on. Built an enormous amount of support from this neighboring community.

Social media allows us to interact with our patrons in a way we haven't been able to before. After seeing that a patron has checked into our venue or has been talking about how good our show was, we thank them publicly and invite them back. This gives us the ability to create a personal interaction with them and create a connection that encourages them to come back. Sometimes our actors will join in when they see us thanking a patron, and send a personal thanks from the cast.

Social media, and in this case YouTube, has helped us tremendously to get our message out to the world beyond our four walls. When SB1079 passed in Arizona, our organization (who specializes in Mexican music and dance), in the matter of days, was able to write, record and make a video of a song that directly addressed the issue. The video was posted on YouTube and got hundreds of hits in the matter of days. It was a way for us to execute our mission to a large audience in a short amount of time.

A few years ago our city wanted to cancel a contract with a Public Art project. It was already approved, they just wanted to take back the money. We don't frequently engage in advocacy (only on the big stuff, just too much other work to do), but this would be a very bad precedent. So we exercised our social media tools to raise awareness, coordinate a panel discussion, and eventually a gathering at the city council meeting. Today the project is complete and in place.

We were the subject of comments concerning funding and donations from our local "Tea Party" and our patrons responded in full with comments, examples and telling our story in a stronger and better way than even our staff would have been able to do. We were proud that we did not have to, in any way, defend our value to the community, our audience did this for us.

We staged a series of "surprise" pop-up events during one exhibition that were only announced via social media to generate excitement and a spontaneous feel for the programs. Very successful and events were then reposted by attendees.

Engaging audiences in fun conversations is positive and helps build affinity for an organization. On one occasion we solicited ideas for how to name our "signature cocktail" at an upcoming benefit, based on the theme of the benefit. Facebook fans wrote in with lots of ideas, we picked our top favorites, and then released a poll so fans could vote on the name we ended up using. It generated awareness of the event (which was a record success) and allowed those who might not have been able to attend the event due to its ticket price a way to engage with the party.

We have effectively used social media to increase buzz, increase ticket sales and broaden audience diversity for more "edgy" works - primarily contemporary operas presented in a more intimate chamber format.

All classes are posted and promoted on our Facebook page. Event pictures that are posted on our Facebook page from our annual major fundraising event reach new people when their friends on Facebook are tagged in our photos.

We presented a live performance of a Pakistani artist and live-streamed it, receiving thousands of audience members from across the world. The materials on the program have continued to receive wide response and give the program an evergreen impact, lasting long afterwards. It will provide opportunity to compare with other similar programs.

We have received many positive comments through our blog and Yelp - which we have used for promotional purposes as well as grant applications.

A recent grant opportunity only came about because the funder was impressed by the size of our social media following and its level of engagement with us on our Facebook page. As a result, we received a sizeable grant because of the widespread support from our Facebook community.

We established Sponsor Fridays to highlight and thank sponsors of upcoming events. This has resulted in several new sponsors coming on board who have indicated that they learned about opportunities through our social media platforms.

Because I believe in experience, my first attempts to use Twitter was to create TwitterMoves, wherein I tweet a daily creative dance prompt out to the unknown. I was thrilled to learn that dance teachers were using these tweets as eeds for developing curriculum, as opportunities to engage reluctant learners and to teach life skills to students with special needs.

The utter joy of our organization around one of our commissioned operas winning a Pulitzer was borne throughout the internet by Twitter and Facebook, allowing all of our patrons and fans to celebrate with us at such an achievement. Not just our patrons got into the spirit of the success, but also our fellow opera companies and artists who we’ve engaged, whether or not they are often returning visiting artists.

The community that follows us is very supportive. If there has been a problem with a product or something, we respond quickly and leave the comments up so that if someone else has the same problem they know we are fixing it.

We get customer complaints via social media, but we address those just like we do any other customer complaint: identify the problem, apologize if we can, fix it for next time, notify the public about the change/fix.

When someone posts a complaint on Facebook or Twitter, more times than not one of our other patrons (not a staff member) will step in and address the complaint, acting as our advocates. Social media has allowed us to become more connected with our fans, so even when they have a problem and are discussing it online, we are presented with an opportunity to show exemplary customer service and address the problem directly... I much prefer our doing this than our never knowing of the issue and allowing it to fester.

Any time you engage in social media, you open yourself up to negative feedback. But by building and engaging with a group of brand advocates on social media, when we do experience negative feedback, it is often answered by peers as opposed to the institution. An example of this would be announcing our summer concert series, and having someone not like one of the many guest artists we bring in. However, for every negative comment, there is usually someone with a different opinion.

We provide grants and an organization who was unhappy about not receiving a grant posted some negative stuff on Twitter.  While we responded and kept it professional, it did put negative comments out there associated with our profile, potentially damaging our brand.

People who didn’t get tickets for one of our popular performances took to Facebook to express their displeasure with us, which created an outlet for dissatisfied customers to bash us. The media took some of these negative posts and used them as quotes in a story.

Our organization has suffered from the rants of a very negative person. He has taken great strides to post negative comments on our social networks. We have tried to meet with this person, but he refuses and we continuously have to remove his posts from our networks.

Because we do a lot of work in rural areas, with senior citizens, and low income areas, social media only works for a portion of our audience. Getting everyone informed of a last minute change or spontaneous program simultaneously is tricky without overlooking certain portions of the population. A heavy reliance on social media, though convenient, can exclude many people.

The use of social media is so prevalent to everyone these days, sometimes it is hard to keep confidential matters confidential – especially on a film shoot. Crew members are apt to identify location, client, storyline, etc. and broadcast them to friends and family, which in turn get back to client.

Before we put policies in place, one of our employees, who was a great social media user, kind of merged his own identity on Facebook with that of our organization. Therefore, when he also would party and post about it – it became an area of discipline. And he didn't understand the need for separating these things out, keeping his personal life off of our public profile. That was several years ago.

Employee and constituent had an argument on our Facebook page, became heated, and employee had to be let go.

We had a staff member who crossed the boundaries between personal and professional. On her own Facebook she wrote disparaging things about us, and though she did not identify us by name, it was not disguised either. We have struggled with free expression among younger staff around museum issues and have not come to a good resolution. There are varying opinions about social media and right now the old, conservative guard are in control.

In the past we've had young, eager employees who were more enamored with social media than doing a good job at work take on "launching our organization into the 21st century." We trusted their expertise, but in fact, they were not skilled in thinking about the right use of each technology for our agency and left us with confusing messages, as well as taking our passwords with them. We spend way too much time trying to re-call and reclaim lost user names and passwords.

We sent out an email blast to over 22,000 email subscribers for an event that had only 30 slots and it sold out so quickly that we received a bit of backlash about it.  We should have calibrated it better.

The most useful metric has been in measuring the amount of tickets that are sold via our website and the amount that percentage has changed in the last two years. Greater or fewer Facebook comments and likes have also been a useful metric to gauge interest in certain ideas.

Number of people visiting the website and number of people being trained and receiving on-line certifications.

We gauge our audience primarily through tracking number of click throughs to our donation form from our website and through tracking click throughs from Constant Contact email blasts. Also, we track in theater audience numbers.

The most meaningful indicator is bodies through the door to our gallery and theater shows. We provide questionnaires to attendees to gauge their use of our online content and use that to direct our digital media plans.

I have not been asked for a measure of online impact from potential funders.

To my knowledge, there are no particular measures of our organization's online impact or success that are important to potential funders, though we do provide donors with online visibility though our webpage, social media presence and e-newsletter.

The most important metric is the sales of books. Funders are interested in distribution figures.

The best overall indicators are ticket sales, audience attendance, CD sales, and individual fundraising in evaluating web presence. The web is part of an overall marketing plan for the organization and the organization seeks to utilize it to help expand in exposure that translates to a measurable impact with the items mentioned above. In our experience, those items are what is important for funders, who are concerned with the organization furthering its mission in a variety of ways including through digital media.

[We have the] ability to serve more people and at a lower cost.

The internet makes it possible for our organization to market ourselves more effectively through online advertising, blog presences, and social media exchanges. We have been able to decrease our budgets and increase revenue by utilizing online resources effectively.

For arts programmers, the access to high quality media to review artists in advance of assessing them live has been a huge step forward.  Spotify alone has made it so much easier to get a first impression of an artist--no more waiting for press kits, accessing only what they've posted on their websites, etc.

Last-minute ticket-buying and the trend away from traditional subscription packages will probably continue, as the internet has freed people up from having to plan for most event attendance far in advance. This will affect the predictability of revenue. On the positive side, social media has been a wonderful tool for word-of-mouth marketing.

While it is impossible to know what internet and digital technologies will be like in 10 years, the trend of more information communicated more quickly to a more finely targeted audience with more immediate feedback from the recipient is likely to continue. We believe that this leads people to delay their decision-making about how they will spend their leisure time. For our field, this has generally meant a decline in subscriptions, a decrease in advance ticket sales, and an increase in last-minute box office sales.

The digital world is a very populist force, leveling the world between rich and poor, educated and uneducated. In our case, an organization with a name like "Historical Society" has an invisible shield that bounces people who are below median income, do not hold college degrees, who hold blue collar jobs, who are a racial or cultural minority, off.  The ubiquity of the computer, whether through your home machine, school, or local library, means that all of those things that cause discomfort don't matter.  That is a big deal!

It has extended our visibility to many isolated individuals who may never have heard about our services, explored the artform, or who may have financial barriers to membership. We show to them every day what we do, rather than expect them to find a printed annual report and program summary. Social media are concrete and immediate examples of our living community in action.

The internet and digital media provide an amazing opportunity for arts organizations to extend the impact of the arts. A live performance can be complemented greatly by opportunities for further engagement and education, and the ability to share information online maximizes our ability to provide these opportunities at a more in-scale investment ratio. We can reach many more people with an article or video than with a one-time lecture, for example.

We are able to provide artwork that dates back more than 25 years to the communities we have worked with over the years. For many, these archives represent the only media history of their community.  The use of the internet has deepened and expanded the access for our constituencies that are often transitional, without a landbase, or have been historically isolated due to geography.

I think that it will greatly improve accessibility to the arts field – from a monetary standpoint and from a logistical standpoint. People who live outside of urban areas will be able to experience performances that are somewhat limited to large urban areas. Arts organizations will need to reconsider the level/type of interaction with their audience.

The greatest impact will be the ability for non-profit organizations to share educational content and stimulating art and performances worldwide.  It will also spark conversations between diverse communities and help individuals develop a greater understanding – and hopefully, a life-long appreciation for the arts.

The internet will enable the performing arts to reach beyond a local audience, promote tourism, and make cultural arts created within a region accessible to the nation – and world.

There is a powerful opportunity for the arts to create communities around performances, shows, exhibitions and their themes and history.  For example, a Broadway show like 'Next to Normal' could (and probably has) created communities to discuss and share resources on mental illness.

Continuing the transition from passive to participation, from hierarchical to democratic, from traditional media to online media, from single art-form to inter-disciplinary.

The possibility to greatly expand and create a more diverse audience is very exciting because traditionally our audience has been older and whiter than the area we live in.  Increasingly, we're seeing some of our content getting traction in surprising nooks and crannies of the internet – which definitely means a shifting audience.  The challenge will be for that audience to identify our content with the creators and the institution, and not simply have it exist as more entertainment or noise out on the internet.  In the next couple of years, the role of mobile devices will only continue to shift how people curate their own experience and engage with artistic content. In radio, this presents an exciting AND daunting challenge in terms of our funding structure and station loyalty.

People will have higher expectations for a live event. For audiences to invest the time and effort of going to a live performance, the work they see will have to be more engaging and of higher quality. Events will have to be more social and allow for greater participation and behind-the-scenes access. The event spaces will have to be more beautiful, more comfortable, more inviting and more accessible.

The audience has already moved from "arts attendance as an event" to "arts attendance as an experience."  This desire for a full-range of positive experience from ticket purchase, to travel, to parking, to treatment at the space, to quality of performance, to exit – this will only increase over the next 10 years.

The greatest impact of the internet on independent publishers will be audience expectations. Audiences will expect everything to be available digitally, and will require an engaging experience instead of a static one.

Managing expectations. The internet and digital technologies are powerful tools.  The public expects content to be free. There is a lack of awareness of the resources (funding and staff) that it takes to manage and preserve digital content.  These costs will need to be passed on to users.

Some ideas cannot be condensed into 140 characters or less. I hope technologies do not negatively affect the playwright.  I hope the playwright does not write solely for a Twitter generation.

Live performance will be diminished.  Younger people don't want to show up at a specific time, specific place for live performance — they want to download music at their own convenience.  The power of live performance is lost and the civic convening – the community building is lost.

I believe digital technologies are here to stay, and we as an artform should embrace them and learn how to work alongside them.  We provide scripts to those sitting in our tweetseats, so they get the quotes right. We must work alongside or face alienating them.

I believe that audiences will continue to have shorter and shorter attention spans and will insist upon being able to use smartphones and other devices in the context of a performance.  As an industry, we should stop fighting and try to find ways to incorporate that reality into our daily lives.

We will need to become much less tied to live, in person programming and certainly less ties to anchored seats in concert halls. Programming will need to incorporate much more personal involvement by the consumers or they will not be interested in engaging.

As attention spans decrease, programming of longer works (e.g., Beethoven's Symphony #9) will become more problematic.  As we move forward, we may need to consider ways to embrace the digital, connected world to better engage live audiences or run the risk of making live music performances irrelevant.

The greatest impact could be the expansion of our audiences, but the worst impact is the attention span of the moment of interaction.  I worry that it may shorten our artforms' performance times.

Basically, we are competing for the "entertainment slot" in people's schedules, and the more entertainment they can get via HD TV, Netflix, Video Games, etc., the less time they have for live performances, which also entails making an effort to get to the venue (as opposed to slumping on the couch in front of the HD screen). Also, movies, video games, etc., are both more convenient and cheaper than live performances.

As the realism of participatory digital entertainment (video games, etc.) and the immersion ability of non-participatory digital entertainment (3D movies, etc.) increases, it threatens the elements that make the live arts unique--the sense of immediacy, immersion, and personal interaction with the art.  We've long hung fast to the belief that there's nothing like a live experience, but digital entertainment is getting closer and closer to replicating that experience, and live theatre will struggle to compete with the former's convenience and cost.

As a cinema approaching our fifth anniversary, we have seen significant audience growth in spite of the fact that many of the films we play are being released "day and date" on-demand. While streaming and piracy are increasing, we've been able to deliver the message that seeing films on the big screen with an audience is a singular, important cultural experience. I can't emphasize the importance of the internet and social media in our marketing efforts enough. It's most certainly a net positive value.

As a film exhibitor, our challenge is to go through the digital convergence for projection and exhibition, a supremely costly change that doesn't even have a long-range viability (these systems will have to be upgraded and/or changed every 3-5 years).  Finding the revenue for these digital systems is an enormous challenge and threat to our ongoing activities.

In the field of film production and distribution, more internet and digital access will result in far fewer movie theaters, as audiences have greater access in their homes to the medium. Already, as marketing dollars become more limited for films, production companies are shortening the movie lifespan in a movie theater and moving them to digital and television media sooner and sooner.

Literature and the book are being very impacted by digital technologies due to the growing popularity of ebooks and to the influence of huge online booksellers like Amazon. There are both good and bad effects associated with these technologies. These days books are more easily accessible to a greater number of people however it is difficult for the book industry to produce a sustainable amount of income whether for individuals and for organizations. It is crucial that the public understand the importance of supporting nonprofit literary orgs, publishers, independent bookstores, libraries and other supporters of book culture and in turn it is crucial for foundations and government to provide this support.

All literary magazines are in peril right now, so if magazines such as ours continue to exist it will be because of a paradigm shift in how literature is funded as an art form in the U.S. I am loathe to believe that print publications will cease to exist because they are still more beautiful, but all publishers will eventually have to create simultaneous digital and print editions, I imagine, which will make the whole enterprise more expensive.

I believe that the more expensive arts producers ­– symphony orchestras, for example – will find it more difficult to draw enough audience to continue in the same manner they've operated for the past decades. Smaller groups will find it easier to adapt because they're more flexible (they don't require a large stage and hall). I am very concerned about losing some of the greatest music ever written — symphonic music — for this reason.

For opera, it has made it more accessible, by providing low-cost performance broadcast of Met performances. This has increased the potential audience for our live performances. It is our companies responsible to promote effectively to those audiences. Overall I believe the effect is positive.

It will radically shift the way in which we catalog and share information about collections; the museum as less the all knowing authority and more the conduit for rich institution-driven AND user-driven information. It will also allow regional collections the ability to link to similar collections worldwide – as such our local collections can be recontextualize and made meaningful in ways not possible without linked data and semantic web technologies.

Digital technology and the resulting accessibility of information and images, while fostering accessibility of collections online, have the negative impact of diluting the desire of individuals to visit the museum to see works of art in person.

Digital technologies have essentially made it impossible for book critics to support themselves in traditional ways; possibly the next 10 years will bring the shift of book criticism to academic world, where salaries are paid for teaching, and reviewing is a secondary activity. Twenty-five years ago, working critics had full time salaries from newspapers, magazines, other publications. Today there are only a handful of critics able to do this.

Our chief concern for the literary arts is the increasing "validity" of self-publication among reviewers, readers, and writers. Online publishing and book sales through Amazon (for example) contribute to this problem. If there are no gatekeepers, it will become even more difficult to draw attention to works of genuinely high quality.

The demise of daily and weekly newspapers and the increasing fragmentation of traditional radio and television media outlets combined with the increasing consolidation of media ownership due to revised FCC regulations has marginalized arts coverage and criticism to a point where it no longer plays a part in the larger civic conversation. Hence, it is becoming increasingly difficult to reach and engage potential audience members and arts participants, and has shifted the entire burden (and costs) to arts organizations that are ill equipped and unprepared to both engage in their traditional function (i.e., support the creation and presentation of art work) as well as build support structures to take the place of traditional media organizations.

Digital technologies will level the playing field for all and old school, professional artists will be left behind. It is the advent of the amateur. For those who are savvy and ahead of the curve, there is money to be made if the content is strong. It means the complete reversal of a contributed based model founded on single funding sources and moves toward an earned revenue model and crowd sourced funding. Now more than ever, artists need to be entrepreneurs and not just artists. You can't survive now as an artist unless you have a strong business model.

[The internet] is becoming the major distribution platform for documentaries, which is what we do. The DVD will be gone in ten years. Artists are going to struggle to monetize their work on the Web.

Access will be good for educational purposes and to increase awareness of the arts especially historical material in performance of all types.  However, issues of copyright and payment for that material, such as in apps and in streaming or downloading, are murky and hard to navigate for artists themselves as to value and fairness of payments to the artist for original content.

Digital technologies allows for students and artists all over the world to be inspired by one another.  In some ways this is fantastic, in other ways, this breaks down the cultural differences that is so beautiful about having multiple countries involved in an art form.

Materials we have that aren't available digitally will be lost from the human record.

Attendance at live performances will favor more fervent fans and those with disposable incomes who reside in cities, and the increased prevalence of simulcasts and livestreams will alter the viewing experience while also making it more democratic and affordable. Audiences will expect the digital presence of institutions to be well maintained and curated.

Organizations will continue to need to adapt and incorporate digital technologies into their programming. This will be a good thing for art consumers and patrons by increasing accessibility and improving collaboration. At the same time, organizations will struggle with funding to keep up with technology. Funders so rarely fund some of the infrastructure necessary to create top-notch digital programming, and that will be a major struggle.