Planning for Engagement: Tech Strategy & the Visitor Experience

Earlier this week, the Pittsburgh Children’s Museum hosted a talk by Nina K. Simon, author of The Participatory Museum and the Museum 2.0 blog. Simon works with museums throughout the country to develop programs for improving visitor engagement.

Simon brought up some great ideas about the ways in which museums could use programming to increase engagement and create meaningful experiences between visitors.  Might arts organizations be able to apply her ideas about museums when designing their own strategies with technology and social media?

Here are a few of her ideas from the talk and how I think they might be applied:

Museums should be seen as places for everyday use

Simon argued that many museums are seen as tourist destinations that have a long-standing stereotype of being a place to be visited maybe only once a year. This is also true for many other types of arts organizations.  Many of us would like to see that change and for arts organizations to become places that people consider frequenting practically everyday. Social media could be a strong tool for stimulating this impression. Offering frequent, engaging content online and creating a personal connection with our organizations’ constituents can help counter the idea that arts organizations are aloof and impersonal tourist destinations.  Social media offers an opportunity to communicate the frequent, sometimes daily offerings of your organization.

Museums should be trusted hosts for social experiences

Simon spoke last night about the success some museums have had with programs that involve voting, encourage competition, and prioritize face-to-face interaction between visitors.  Arts organizations could apply this idea towards utilizing social event sites like meetup.com, where the end result is a real-life, social interaction. Or this idea could be applied towards using such tools as real time tagging of artworks from any discipline or mobile device voting systems as a way to create conversation and interaction between visitors. The Indianapolis Symphony Orchestra went the mobile voting route when they had audience members vote, via text, to choose which encore the symphony performed.

Museums should be places for seeing and exploring as well as sharing and making

Another great way to engage visitors in a meaningful way is to encourage them to share their experiences of the organization with their friends and to create their own content. Social networking sites are centered on this idea of sharing experiences online and many organizations have taken advantage of this by encouraging their visitors to share photos and stories on the organizations’ social networks. The Vancouver Opera has a flickr fashion page that gives visitors who have “dressed to the nines” a place to shine online. The Mattress Factory’s iConfess is a confessional booth for visitors to express their ideas about the museum and publish those ideas directly to YouTube. Photos and personal experiences are definitely visitor-created content, but current technology can push this idea of participation even further. The success the Guggenheim had with YouTube Play, an online exhibition of user-created videos, and online projects like The Johnny Cash Project, where users re-interpret a Johnny Cash video by drawing over each frame, are two great examples.

As technology and social networks continue to expand and grow at a rapid rate, it’s hard to know which to develop programming for. These ideas presented at Ms. Simon’s talk can serve as great starting points to that conversation. As your organization moves forward developing technological programming, some questions should be asked, such as: Is the technology serving the end goal of bringing people to our institution? Is it helping to create a worthwhile experience for visitors, or is it just tech for tech’s sake? How varied of an audience can a particular technology or social network reach? Are there better, low-tech solutions to visitor engagement? New technology and advances in web 2.0 can offer powerful tools that can help expand audiences and increase visitor engagement, but remember to step back and look at which strategy best serves your organization's visitors and creates a meaningful experience.

Giving Thanks for Your Fans

Thursday marks that wonderful time of the year when we gather with friends and family, give thanks, and have a perfectly valid excuse to eat too much food and take a nap. So in this time of giving thanks, has your arts organization thought about how you give thanks for your online communities? Offering ways to thank and reward your organization’s online community is an important part of online social engagement. It reinforces for your followers how much you appreciate while giving them great incentives to spread your brand. These rewards can span from offering exclusive content only available to your online fan base to having something tangible like a specific event or rewards day at your organization focused on your online community.

Take for example the recent move by Barry and Fran Weissler, producers of the musical Chicago, to reward their Facebook fans. On January 30, 2011, Facebook Fan Day will mark the first time that a Broadway show will fill its house exclusively with their Facebook fans -- for free.  Yes, the tickets were free, but they were not simply first come, first served. Tickets were distributed chronologically to those people who got ten of their friends to “Like” the Chicago Facebook page.

Facebook Fan Day generated quite a bit of buzz and interest in a production that has been running for 15 years.

Brooklyn Museum's special offer on Foursquare

While an idea like Facebook Fan Day is a great way to reward and expand your organization’s online presence, it doesn’t necessarily need to be a one-time offering. The folks over at Brooklyn Museum have included an on-going rewards program for their Foursquare community. By becoming Brooklyn Museum’s "mayor" on Foursquare during their First Saturday social event, a visitor can receive a free one year membership for their 1stfans social event program. One advantage to using a location based platform is that it requires users to be present at the event in order to and claim the reward. Rewarding your social media fans can increase their loyalty to your organization, give them some incentives to get through the door and create more advocates to spread your brand.  What does (or could) your organization do to give thanks to members of your online communities?

Google URL Builder - Deeper Tracking for Your Analytics

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Google Analytics has emerged as the industry's leading tool when it comes to web analytics.  The platform's easy installation process, in-depth reporting features  and user-friendly interface make it a marketer's best friend.  Among the many reporting features in Google Analytics is the ability to chart where your website's traffic is coming from. Google URL Builder is an often overlooked platform in the Google toolbox that can help organizations measure the effectiveness of their web presence. URL Builder is primarily tailored for tracking internet campaigns that fall outside of the pay-per-click or Adwords realm.

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Here's a quick overview of URL Builder:

• Works in conjunction with Google Analytics to provide advanced metrics for measuring the performance of a specific URL that you will “build”.
• Allows you to  chart the traffic for particular pages within your website and determine which communications channels provide stronger traffic per page.
• Allows you to enter tags for detailed tracking, particularly Campaign Source, Campaign Medium, and Campaign Name.
  • Campaign Source indicates the originating source of the traffic.  Does it come from your organization?  Is another organization promoting a web link on your behalf?
  • Campaign Medium is useful for charting how much of the campaign's traffic comes from different locations.  Did the traffic come from e-mail, web ad, Facebook, Twitter, etc.?
  • Campaign Name is a short description for the campaign - often one to three words and often a distillation of the link's page title.
  • Google processes this information and provides you with information about the performance of your unique URL including its bounce rate and conversion

For example, here's the information that we will assign to a URL campaign for the article you are currently reading:

• Campaign Source: tita -- We use "tita" to indicate when Technology in the Arts is the originating source of the traffic.
• Campaign Medium: twitter -- The medium area is where we indicate if a link will be shared on Twitter, in an e-mail, on our Facebook page, etc.
• Campaign Name: GoogleURLBuilder -- Typically, we use a shortened version of our article titles as campaign names for analytics.

Let’s consider some practical applications:

Web Content: It could be very helpful to see how fans and followers on your social media profiles compare and contrast in terms of their interaction with your blog posts, event listings, etc. Simply build a URL for each campaign medium to which you distribute your web content links (Facebook, Twitter, LinkedIn, etc.) and see how your links perform across various sites.

Email Announcements and Newsletter Campaigns: Another useful application could be for tracking the performance of URLs in your email announcements and newsletter campaigns. You would simply enter ‘newsletter’ into the campaign source option. For smaller organizations or independent artists who do not utilize broadcast email service providers (like Constant Contact), Google URL builder could prove to be a viable alternative for tracking traffic deriving from e-mail communication.

Helping Others: When conducting an interview or mentioning another link on your blog or website, consider contacting that person and asking them if there is a specific URL you should use in your post (in case they have a campaign name established for that page). This will make it easier for them to track how much exposure their blog, website or the interview received based on your posting it.

If they do not have a customized URL for you to use, it is still a great idea to create your own.  Because the web page is being tracked within their Google Analytics data, the campaign data (source, medium, name, traffic information) will appear in their reports.  If you share multiple links from the same website, then using URL Builder for each link you share will allow the organization to see if particular links were more interesting to your communication recipients and site visitors.

Google URL Builder Best Practices

• Always take time prior to setting up a campaign to consider your ultimate goals. Which sources and media will you need to track?
• Reach out to other organizations and bloggers prior to posting a link to their information in your post.  They may provide you with a customized URL designed for their Google Analytics campaign reports.
• Consider if any adjustments should be made in your email, social media and overall web campaigns as a result of the data you collect.
• Spread the word! Share URL Builder with your colleagues to make sure that everyone on staff uses the correct URLs when sharing links.

Want to learn more? Check out our mini-nar:

Using Google URL Builder to Track Your Website's Traffic

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NAMP 2010 - Day Two - Recap Discussions

David, Corwin and Amelia report out on Day Two of the 2010 National Arts Marketing Project Conference. Items discussed: disembodied panelists, Vimeo analytics, the Audience Engagement Platform, the value of quantifying intrinsic impact, and more.

NAMP 2010 - Day One - Recap Discussions

David, Corwin and Amelia report out on Day One of the 2010 National Arts Marketing Project Conference. Items discussed: keynote by Chip Heath, breakout sessions (pros and cons), designing conferences for people with varied experience levels, social media rock stars, and more.

Fair Use of Dance-Related Materials: A Discussion

In response to CAMT's "Social Media, Video Footage and the Law" white paper, Lisa Niedermeyer from Jacob's Pillow Dance Festival contacted us with a related video about fair use as it relates to dance-related materials. As the white paper mentions, fair use can be a nebulous concept as far as what, how, and how much copyrighted material can be legally used. The video is a more detailed discussion of The Dance Heritage Coalition's published statement "Best Practices in Fair Use of Dance-Related Materials". It features curators, archivists, documentary filmmakers, librarians and other collectors of dance-related materials discussing what they currently regard as reasonable application of the Copyright Act's fair use doctrine.

What you need to know about viral video and the law

Technology in the Arts has just released a publication reviewing legal issues surrounding using video footage online. (Access the PDF publication here.) Whether you are in marketing, development, education or operations, chances are that you will encounter some kind of contract or legal issue involving performance footage, either online or offline.  This white paper serves as a survey of current industry trends and practices, as well as a guide to those exploring the ever-changing landscape of online media and the intellectual property and union issues associated with it. While nothing can replace the advice of a good lawyer on legal issues, this guide can alert you to potential problems while you are planning online media campaigns involving performance footage.

Do you have a story about issues you've had distributing performance footage online? Please share below.

Are You Getting the Most Out of Twitter? - November Webinar

Getting the Most Out of Twitter

Thursday, November 18, 2010 2:00pm-3:30pm Eastern Register today for $25 Presenter: David Dombrosky

As the ninth most popular website in the world, Twitter has quickly grown into a formidable communications platform. But what can you really do with 140 characters or less? How can arts managers make the most of this increasingly useful tool?

In this webinar, you'll learn:

• Who uses Twitter, and why they want to engage your organization.
• What aspects of Twitter distinguish it from other social sites, how your organization can use these aspects to communicate more effectively.
• The 70-20-10 rule for engagement, and how you can use it to your advantage.
• Best practices for arts organizations using Twitter
• What third party applications can arts managers use to share media, expand your reach, and much more.
• What analytic tools exist to help you chart your Twitter success

David Dombrosky is the Executive Director of the Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University investigating ways in which arts organizations can use online technology to more effectively meet their goals. He frequently presents technology and social media workshops for arts conferences – most recently for The Association of American Cultures, Performing Arts Exchange, Chorus America, Opera America, College Art Association, and Grantmakers in the Arts.

True Personalization: Don't Get Filtered

Researchers from Georgia Tech University recently published their first annual Future Media Outlook, an interactive online publication through nxtbook. Future Media Outlook tackles the concepts of information, technology and media in the future by focusing on "the trends that will fundamentally transform how content is created, distributed, and consumed..." The publication focuses on six main concepts, one of which (arguably the most interesting) is true personalization - the ability to manipulate, personalize and filter a personal data stream. These manipulations change the information that is available or presented to a person based upon their previous actions and settings. True personalization will affect our consumption of products and services as well as how we spend our ever shortening leisure time. The click of a button or the modification of a setting could alter advertising, attendance, and data distribution for companies and organizations in incredible ways.

Due to the Data Tsunami created by the vast amount of information in this projected future, personalization will be required to focus content and allow people to navigate their own networks. Recommendation engines that compile our habits with our preferences will tailor our shopping, leisure and social experiences. People will know what events are going on, what food is being served, where meetings are happening, and where they most likely want to be at the touch of a screen. While this technology will show them exactly what they want to see, it begs the question : will they care about the information they are not receiving?

For arts organizations, this could lead to new levels of advertising, event management and customer service, but it will also require new levels of tech savvy and strategic media planning. Data is powerful and no organization wants to be on the wrong side of a filter.

Personalized recommendations, advertising, and marketing have already been implemented on sites like Google, Groupon, and Facebook. An individual's habits and data input affect the advertisements presented to them and the ways in which  services are provided. In the future, this technology will become even more sophisticated and less conspicuous. The digital wave of news and information will manifest itself in total customization and intuitively targeted marketing.

Data input and manipulation could become a new burden for many  institutions. In a world of customized lives and filtered data experiences, the arts will need to create their own space, partner with other industries and stake a claim in the entertainment and cultural markets. Being able to track events by location, recommend performances from purchasing habits and cultivate new donors from restaurant choices are wonderful concepts that could arise from this technology, but they will need to be created and managed by the arts institutions themselves.

A world with true personalization focuses on providing services to fill a customer’s needs. Having a clear understanding of the market, the service being provided and the correlations that must be made will be integral to navigating a world of filters and preferences. This new world of data will be based on research, correlations and the value of time and information.

Georgia Tech does a compelling job at forecasting the current trends and focusing on where technology is leading us. This trend is real, and I believe it will manifest itself in the not-so-distant future. A world where patrons require automatically updated calendars, events and performances synced with their Google calendars, and interactive donor plans is just around the corner. Recommendation engines, geolocation-based event maps and social event feeds are quickly moving from the future to the present. It will be interesting to see if these predictions become reality and how the arts and cultural sector reacts to this new world of filters and data.

The Handheld Guide: Experimenting with Mobile Technology in Museums

There has been a lot of buzz lately about mobile technology with the release of mobile apps by some major museums like MoMA, The Brooklyn Museum, and the Museum of Natural History. Reviews have been mixed, but the discussion about the way mobile technology should be used in museums has definitely picked up speed.

The popular view of mobile technology seems to be focused (a little too much?) on one main format - having a downloadable, mobile application. While developing your own app can be a good way to deliver content to your visitors, it is definitely not the only approach. I decided to take a look at four different ways that some museums have been experimenting and implementing mobile tech in their institutions.

The TAP home screen and numeric input screen. via the Indianapolis Museum of Art blog

Providing not just an app, but also the device itself - TAP at The Indianapolis Museum of Art

The IMA wanted to include all their visitors in their mobile tech program, not just those who own a smartphone. So they took the extra step of providing gallery goers with an iPod Touch for the duration of their visit. By placing the device in the visitor’s hands, everyone has access to the digital content the IMA provides and no user is alienated for not owning or having an incorrect mobile device.

The iPods cost five dollars to rent and only contain the TAP app and an instructional video on how to use both the iPod and the app in tandem with the galleries. The app works on a numeric input system, a 3-digit code is associated with every piece in the tour that presents users with different content such as video interviews with artists, text files, pictures, and audio files explaining the artwork.

By sticking to one type of device, the IMA was able to tailor the user experience exactly the way they wanted, which was their main goal for developing a mobile program. This approach circumvents the need for an app store and allows for all content to be controlled in-house. The content management system is the same one used for their website and allows IMA to instantly edit and update their content without needing to go through a third-party developer.  The devices also have built-in polls and can provide both museum staff and TAP users with the real-time results.

Visit the IMA’s blog to check out the development process of the Tap Program and some of their ideas about developing a successful mobile standard for museums.

Integrating mobile websites and mobile apps: The Brooklyn Museum

A mobile website is the mobile-friendly version of an organization’s existing website. In a recent post, we examined the differences between mobile websites and mobile applications.

The Brooklyn Museum has developed a mobile website that is accessible from any web-enabled mobile device. In addition to sharing information about the institution, users are encouraged to get involved by recommending pieces of art work and apply descriptive tags through the Brknlynmuse and Gallery tag! features of the mobile website.

Brooklyn Museum's main website (left) and their mobile site (right). Via the Brooklyn Museum blog

To create a more accessible experience for those with more app-friendly devices, Brooklyn Museum also created downloadable apps for both iPhone and Android that simply wrap the current mobile website. The same functionality and features of the mobile site are there, the apps just act as a different port of entry. This has proven to be a more sustainable approach to their mobile strategy than building each app up from scratch.

You can find more info on Brooklyn Museum’s blog for their approach to their mobile website and their mobile applications.

Connecting to content with QR codes: The Mattress Factory

The Mattress Factory, an installation art museum in Pittsburgh, has been experimenting with implementing QR codes in their exhibits in an effort to reduce the number of brochures in their museum as part of a green initiative.  QR stands for “Quick Response”, connecting users to content within seconds of scanning the code with your phone. A QR code is a two-dimensional barcode that is readable by mobile devices with 3G access, a built-in camera and a barcode reading app.

A developer is not required to create QR codes; and with this method, a museum can start immediately experimenting with mobile technology.

QR code placement in the Mattress Factory's exhibition space. via the Mattress Factory blog.

The codes are free to generate and contain text information. Once you generate a code online, it can be printed out and placed next to the piece in your collection. For more media based content such as pictures, audio and video, the content must be uploaded to sites like YouTube or Flickr. The QR code will link users directly to that content.

More info on the Mattress Factory’s use of QR codes can be found on the Mattress Factory blog.

Taking advantage of an existing app: Augmented Reality with the Andy Warhol Museum

Augmented Reality (AR) refers to using a mobile device to view digital images overlaid onto real locations.  AR apps use a smartphone’s built-in camera and GPS to identify where the user is and overlays the content for that location.

Warhol, Warhol, Everywhere! A typical street view using the Andy Warhol layer. Via the Andy Warhol Museum.

The Andy Warhol Museum’s AR layer places images of Andy Warhol’s face over real-world locations in Pittsburgh and New York that were historically relevant to his life. Touching each icon provides users with pictures of artwork and/or content associated with each location and the way it played a part in Warhol’s career.  The Andy Warhol AR project is not an app itself, but a filter layer that is installed on an existing AR app called Layar, available for Android devices and iPhones.

You can find some more info on the Andy Warhol AR project here and how to create your own AR layers here.

So where does your organization weigh in? We would love to see some your opinions in the comments section of what you feel are some of the advantages and disadvantages of these approaches. What would most influence your organization’s approach to mobile technology?

Related Posts: Museums and the Web 2011: Thomas's Recap The State of the Mobile: The 2011 Museum & Mobile Survey