In March 2016, I presented artcasting at the creative circles meetup at Codebase (an Edinburgh-based technology incubator), and spoke to developers and other attendees about alternative models for artcasting. Through a series of conversations with members of tech start-ups, I highlighted the technical principles of the application, and used its current manifestation as an instance of use within the cultural sector. The conversations led to a series of speculations about how the technology could be applied to other areas:

  1. The capacity to capture geographic perspectives from audiences would lend itself to other media forms such as television and radio – how would audiences associate media content to geographic spaces? Could people cast from memories triggered from television shows? Returning to the ‘Where does this take you?’ question, how might television use an artcasting approach to capture insights into where an object or media footage ‘takes’ their audience?
  2. Outside of a given context, artcasting could become a socio-technical habit that was associated to many forms social media. Rather than an ability to like, retweet, repost or share which is common in Twitter, Facebook and Instagram, does artcasting offer a further dimension to data capture: namely, which place or time is this media associated with?
  3. How might the use of mapping become part of a way of commenting? For example, in TripAdvisor whilst comments are often about a place, rarely is there a chance to point to another place on a map. How can maps become part of textual commentary? Does artcasting indicate a potential vocabulary or technical method for tagging places within a sentence?
  4. Pinterest, Tumblr and Instagram are popular streams of images collected from disparate sources but curated under one theme or identity. Does artcasting suggest that maps and places could become streams? Would artcasting be the technology to capture them? For example could people tag (artcast) their music playlists with places that are associated with individual pieces of music, which would then generate a stream of maps that represented the playlist?
  5. People were intrigued by how artcasting appears to capture an entire event, and how the time and space of artcasts have a particular signature. In other words – how does the artcast signature of the Bowes exhibition differ when compared to that of NGS? Does artcasting offer a unique way of capturing audience data for any event (for example, Glastonbury, the Royal Highland Show)?  Because of its focus upon time and space, does the data tell us things about audiences that other methods do not?
  6. Shops and chains could use artcasting to promote products and opportunities to loyal customers. By sending out hotspots with offers to regular customers, shops have a unique (and possibly invasive) way to target customers. If a customer trusted a brand, would a list of offers that was triggered as they entered their local bus stop be the right time and place to receive the marketing opportunities? With the help of the customers, perhaps artcasting can help brands identify hotspots that customers are aware will trigger adverts – but on their terms (if Mr Smith does not want to know what offers are available at GAP this week he will not walk into the hotspot, however if he does, he know precisely where to walk along his way to work). There was a further conversation regarding whether artcasting as a marketing technology should occur Storeside or Shopperside. Is artcasting a way for shoppers to push links out, or for the shop to push links out?