In the post-pandemic world, technologies create new language systems and the future of content creation. The Taiwan Creative Content Agency (TAICCA) kicked off the Taiwan Creative Content Fest at Le Méridien Taipei with international conferences inviting professionals from all sectors of arts, technology, and cultural content to begin a series of stimulating conversations on the reimagination of Taiwan’s cultural content industry.
The keynote conference, Post-Pandemic Era: Human Touch – A Closer Future, moderated by TAICCA president CF Hu, discussed the emerging cultural content developments and how to create social, economic, and cultural landscapes. Guest speakers Google Creative Lab Creative Director Tea Uglow in Sydney and Taiwan’s Digital Minister Audrey Tang discussed emerging cultural content developments and how to create social, economic, and cultural landscapes from their respective fields and perspectives. The following conference, Business Model of Content in Location-Based Service, features the CEO and Co-founder of SHOWFIELDS Tal Zvi Nathaneld and DVgroup Head of Studio Eric Fantone.
Tea Uglow has long been working with cultural and creative organizations around the world and exploring possibilities to combine technology and art. In her online talk titled Creative Technology in the Next Decade, Uglow provided her prediction of the integration of culture and technology.
Uglow pointed out that we often follow these archetypes of creativity and content production, much like how we follow the unwritten rules of money or law. However, as the virtual worlds are not bound by rules, the barriers of content creation are blurred. She added that “what the pandemic has taught us is that conventional models have changed, and for me, creativity works best in a curiosity model, and map that into an industrial practice.” As the way humans are changing their existing models, Uglow suggests will see information bursting out these silos into screens, podcasts, books, or webcasts, or TV programs, yet there is no reason why the information should be bound in that way in the next five to ten years.
Taiwan’s Digital Minister Audrey Tang is a key figure in Taiwan’s excellent pandemic response in utilizing big data analysis and artificial intelligence. In her talk, From New Normal to New Ecosystem in Digital Society, Tang mentioned that “digital models allow for stories to be led by the social sector rather than the economic or technical sector. Through the ‘digital’ model in Taiwan, we allow for ideas that are worth sharing to spread in a diversified manner. Allowing the science, technology, and the pharmacist community spread out in a simple and efficient way.”
The next session, Business Model of Content in Location-Based Service, explored new entertainment business models and strategies under the pandemic from offline channels, e-commerce, and digital campaign perspectives. The first speaker Tal Zvi Nathaneld founded an immersive department store SHOWFIELDS in New York praised as “the most interesting store in the world.” With nearly 20 years of experience in e-commerce, startup, and strategic cooperation, he has designed popular consumer products and business models.
Nathaneld shares that SHOWFIELDS offers a one-stop service, from design, production, employee arrangement, to data analytics. Its offline presence is an extension of the website, and consumer behaviors can be connected to online records. He hopes SHOWFIELDS to become a retail channel with inspirations and surprises for artists to use as a stage to tell their stories.
Tal Zvi Nathaneld also mentioned three emerging trends in the future: continuous growth in e-commerce, more competitors in the market, and higher consumer acquisition costs. While some offline stores struggled to expand online, more online brands would have an offline presence. Brands would need to be more flexible, and invest more in content, and less in fixed chargers. “The pandemic has drawn a clear line. If you want to attract consumers to offline stores, experiences would be more important than ever.”
The session also invited DVgroup Head of Studio Eric Fantone to talk about new business models and strategies under the pandemic. As an award-winning company for innovative XR content in France, its services range from international digital campaigns to location-based experiences. His talk focused on business aspects in immersive experiences. “Time is very precious," he said. “Our experiences need to compete with Netflix and Disney+, so consumers will be willing to leave their homes. When designing solutions, we have to create new experience-based entertainment with new formats. It may be immersive physical entertainment experiences. It has to be scalable as a sustainable business model. From single users to large venues, narrative-based VR experiences also have to adapt.”
Eric Fantone also introduced “Naeno,” the latest program in DVgroup. With cloud technologies and artificial intelligence, it creates live digital twins and human connections. It’s also a virtual human resource solution for many industries, such as virtual production, remote work, events, retail, and call centers. Panelists in the session included HTV VIVE ORIGINALS President Szu-Ming Liu and Kaohsiung Film Festival Director Meng-Yin Yang. They underlined an impressive and growing VR ecosystem in Taiwan from hardware development, production, to sales. VR content from Taiwan has also received recognitions from multiple international film festivals.
The international conference approaches future content from different perspectives. While these two sessions introduce new models and location-based performances, the following sessions will cover both tech and human aspects, including tech art and visual effect computing.