Objectives and target Groups

It is essential that the results of SPORES are disseminated widely and calibrated for different types of audiences that will be involved. In particular, it is necessary to underline that the strategy will have on the one hand to adequately communicate with stakeholders and insiders, but at the same time it will have to be a fundamental tool at the level place to involve citizens.

The key subjects of our communication strategy will be the following:

  • Artists: Artists are experiencing precariousness: crushed within an increasingly consumerist paradigm in which the social role of art is diminished, reduced to pure entertainment and where school tends to be a place for the transmission of immediate “efficiency” and “productivity” rather than culture. In this context, artists are urged to reinvent their function in society. Not just as interpreters of realities but also as designers of realities. The greatest and most important result of the circulation and the encounter between artists of different ages, countries, sexes, social and cultural backgrounds is the creation of a new methodology that overcomes the dichotomy between analog and digital languages. Artists need to start over by getting back in touch with our sensible contexts, just as spores do: they must touch the ground to start being productive. Similarly, the invention of a SPORES intermedial experience starts from an immersion within the contexts in which the original artistic proposal is found. Knowing, experiencing places, finding in artistic languages a common basis from which to rediscover humanities, leveraging technology on our side, as an ally rather than a bully. The encounter between analog arts and the digital sphere is a doorway to this borderless, unexplored territory: SPORES encourages hybrid creation through the experimentation of innovative creativity methods. Sharing scenic space will let the artists grow artistically and individually, continuously relating to ways of developing common ground of dialogue and understanding art from others’ point of view. Creating an intermedial experience all together sharing the same methodology will encourage artists to implement their knowledge directed on creating a unique work. Finally, sharing is satisfied thanks to the integration of the audience’s feedback in the design and implementation process, breaking the conventional barriers between spectator and artist. This last act will close a circle in which the shared elaboration is a fundamental part suitable for the qualitative growth of the artists.

  • Audience: Citizens experience a loss of orientation because of excessive media stimuli. Communication has become a one-way invasion of private and intimate spaces, where mutual listening is not contemplated and the other becomes a mere recipient of a message aimed at “making people believe”, “making people act”, “making people think” (Michela Marzano). So-called communities have become spaces in which members think in the same way. The layering of languages does not help understanding: we are in spite of ourselves within a network that dominates us and incorporates us with images, memes, emoticons that communicate emotions, moods, and everyday actions in a flat way, without any nuance. This flattening arises from the general disorientation caused by technologies that we do not know except as “objects” of consumption. For these aims, SPORES improves accessibility of art through digital tools, enabling sensible experiences and interactions. SPORES contributes to granting access to those of our peer citizens who have less opportunities to interact with art because of socio-economic distress, geographical barriers, health barriers, age barriers. SPORES involves audience-users in designing intermedial experiences. The SPORES methodology is a contribution to Design sciences by inventing user-based approaches in the encounter between art and technology. Participant audiences play a key role in the design of intermedial shows because the latter are intended to create unprecedented experiences for the former. Audiences are not only viewers, they will form an integral part of the creative, design and production phases, with a focus on younger generations, people with disabilities, and under-represented groups of digital natives who are distant from the field of art.


  • Stakeholders of the Creative and Cultural Sector: Operators from the CCS need methods, tools, guidance and opportunities to test the approach at their own scale in order to explore possibilities of hybrid artistic languages. Ad hoc capacity-building schemes are needed accordingly. In the specific:


  • Academia and Universities: they need to formalise training schemes which could nurture curricula. Innovate at the service of the development of knowledge and making this knowledge available for relevant groups of next generation professionals as well as active professionals who want to update their skills. Academia needs fields of research in the following areas of interest (this list is not limitative): Theatre Anthropology, Semiotics, Digital Humanities, Ethics. Academic knowledge may also benefit from the serendipity effect: interaction between the technological sector and the cultural and creative sector may lead to unexpected breakthroughs;
  • Needs of Cultural Institutes: Update and enrich portfolio of activities offered to reference pools of users, audience, partners;
  • Needs of all CCS practitioners and civil society at large: Need for commons, need for a sense of belonging to a common European fate. Need to contribute to sustainability through new forms of art.

The overall objective regarding CCS is to ensure continuous dissemination activities such as communication via the SPORES website, appropriate social media presence, newsletters, workshops and conferences which will raise awareness, aiming to create and maintain interest in the project, as well to develop interaction between relevant stakeholders (including European, National, and local authorities) and the public.

SPORES transfers outputs and results beyond the partnership and makes sure that these contents are disseminated and used in the most efficient way, encouraging new collaborations which follow the SPORES methodology.

In particular, the objective is to diversify approaches of cooperation in the field of arts in order to create more work opportunities in the CCS.