But the young net natives, for the most part, rank too low in the organizations that employ them to be invited to the pivotal discussions determining the strategic initiatives that could help their employers sustain their franchises.
“In most organizations, the people with the most online experience have the least political capital,” said one mid-level online editor at a newspaper. ...
Members of the wired generation say the process, bureaucracy and caution common to most media companies steals spontaneity and edginess away from ideas that could be appealing to their peers.“Management is more concerned about who owns the change than they are about creating change,” said the online newspaper editor.
O'Reilly's Peter Brantley notes that this could apply to young professionals in publishing and libraries.
I wonder if this is just as applicable to art galleries? Is this what lies behind galleries' apparent slowness in coming to terms with Wikipedia, or with blogging, with starting a group on Facebook, or even with just getting on Flickr (a quick search this morning revealed a lot of lovely exterior shots when I searched on Christchurch Art Gallery, City Gallery Wellington and Dunedin Public Art Gallery, but nothing that looked like it came from the galleries themselves. Having said that, check out this great set of photos of Michael Parekowhai's Jim McMurty installed at CAG.).
I know one person who quit their job in an art gallery because they just got so frustrated about the management's reluctance to make use of technology that was cheaply (or freely) available that would help them work better. At the risk of sounding doddery, there's a generation coming through that's incredibly savvy, not just about online tools, but about building brands and networks online. So how will galleries harness this?