by Courtney Duffy, Robert W. Deutsch Arts & Technology Policy Fellow at Fractured Atlas This post is the second installment of #CopyrightwithCourtney, a series from Courtney Duffy on the copyright challenges faced by artists in various disciplines. Courtney, who is Fractured Atlas’ Robert W. Deutsch Arts & Technology Policy Fellow, focused on authorship in her first post. Today she begins a three-part post for the series on filmmaking. You’ll find her on Twitter @cduffy90.

by Jason Tseng, Community Engagement Specialist at Fractured Atlas On the Boards TV was recently named a 2015 Arts Entrepreneurship Awards honoree for their pioneering work in providing high definition video content to the contemporary performance world. On top of that their business model shares half of its profits directly with the artists. Project leads Lane Czaplinski and Monique Courcy sat down with us to talk about how they’re bringing contemporary performance into the Netflix age.

by Jason Tseng, Community Engagement Specialist at Fractured Atlas Fractured Atlas recently recognized The Laundromat Project as an honoree of the 2015 Arts Entrepreneurship Awards for their pioneering work in connecting communities to their creative potential. We interviewed Executive Director Kemi Ilesanmi to find out just how The Laundromat Project is able to use artists to engage people with art when they least expect it.

How Two Documentary Filmmakers Became Their Own Independent Distributor

(Cross-posted from the National Arts Marketing Project Conference Blog Salon over at ARTSBlog.) The hardest question to answer in arts research is “what would have happened if we had done things differently?” Researchers call this question the “counterfactual,” since it refers to a scenario that doesn’t actually exist. Generally speaking, it’s hard to measure things that don’t exist; hence the difficulty for arts research.

(This is the second in an occasional series on Fractured Atlas’s research approach and philosophy. The first can be found here.)

(Cross-posted from the NEA’s Art Works blog. The version that appears there was edited for length; this is the original.)