Games, especially video games, as a topic for arts and cultural management - that might sound surprising. But the production of digital games is a highly differentiated field with huge economic and personal significance for many people. So, it's time to examine the structures and methods of the games industry as a field of work for cultural managers.

Museums in the Arab World - holding a significant collection of the world’s cultural heritage - can reconfigure themselves as virtual platforms for their digitized artefacts and offer discussion rooms, workshops for assimilating new technologies, and spaces for intensifying regional cooperation. They would be spaces for a participatory discourse in societies under stress. To become such a "place for change,” museums must rethink their own roles, self-understandings, and capabilities. However, why museums have so far been prevented from assuming this role is not (only) due to technologies and funding.

Before the pandemic, it did not occur to many arts and cultural institutions that they could - or even had to - generate revenue online. This has rapidly changed. What can organizations learn from the experiences of the last months?

In the face of the ongoing COVID-19 pandemic, artists and cultural organizations globally have been reinventing ways to present their offering on audience’s screens. But the streaming platform Twitch has so far been largely left out of the discussion among art professionals, even though it offers numerous potentials also for generating revenue for cultural offerings.

When developing digital formats, it can be difficult for galleries, libraries, archives and museums (GLAM) to involve potential users and new groups instead of spinning in their own circles. In order to be successful, hackathons such as Retas Budaya ("Hack Your Culture”) are a great way to integrate new perspectives.

Currently, the union of art and digital technologies is entering a new phase of relations. What opportunities does this open up for cultural organizations and projects? The Russian Fund of Cultural Projects "Thursday” shares its experience of creating the online exhibition ART-MEMORY - a socio-cultural project adapted for the Google Arts & Culture platform during the lockdown.

At the beginning of 2020 and the end of the Solar Hijri year of 1398 for Iranians, three Iranian theatre groups decided to create the international online festival "Reconnect” from scratch. In doing so, they had to overcome numerous obstacles, which have a lot to do with Iran's international position.

Jeremie Gluckman spoke with the cultural managers working with or within arts enterprises in the U.S. and China. These leaders are all using the internet to engage local communities and share stories with the world. All the while, they are wrestling with challenges related to representation when contributing to the sea of messages, information, and images online. They are also equipped with an awareness of skewed access.

Users come to Tates website with different motivations, knowledges of art, and have different preferences for browsing information online. At Tate, we have undertaken research to understand, analyse and map these users needs and expectations. We have then used this analysis to consider how we can develop more effective ways for users to find and consume our content about art, as well as enabling them to create their own experiences and meanings.