How are audience expectations and public participation changing?
This project investigated various issues surrounding (co-)authorship in cultural production, asking questions around definitions of authorship, collaboration, audience participation, the influence of marketplace, and other concepts.
Pig Iron member Dito van Reigersberg ruminates on past and present artistic influences for the production *Zero Cost House*.
For the conclusion of Act I of our Push Me, Pull You series, we posed some remaining questions about (co-)authorship to Gordon, the 2011–13 Visiting Artist at The Pew Center for Arts & Heritage.
Hong, director of academic affairs and program development at the Getty Leadership Institute at Claremont Graduate University, looks at the opportunities presented by co-authorship through the lens of entrepreneurship.
Wooley's rigorous study and extensive performance of a wide variety of musical scores offers us an expert musical perspective, as well as unique insight, into our questions of (co-)authorship.
Noyes, director of the Center for Folklore Studies at Ohio State University, shines light on many issues of authorship within folk practices, including notions of conservatism vs. freedom of expression.
Van Loon and Wilder chronicle their individual remembered experiences during the making of their collaborative dance piece Eulogy for John Kerry.
Yoshitomi, chief knowledge officer of MeaningMatters, LLC, responds to a few questions around "Pro-Am" and how cultural organizations engage with their communities and potential audiences.
Rajagopalan, associate artistic director and principal dancer of Chicago's Natya Dance Theatre, discusses her perspective on co-authorship—one that stands in relation to a time-honored form.
Chinn, deputy executive director of the Wing Luke Museum of the Asian Pacific American Experience, reflects on what it means to co-author someone else's story.