The use of generative AI (GenAI) tools is becoming increasingly prevalent in marketing, particularly for smaller organizations or nonprofits seeking innovative ways to engage audiences and improve workflow efficiency. This article dives into data collected through a survey that was sent out to museum professionals in Pittsburgh and Cleveland to better understand how and if they are utilizing generative AI tools in their marketing strategies.
This month, music and film are at the forefront as each battles with the future uses for burgeoning tech. While AI-generated film visuals seem to be coming up short, progress toward realistic AI-generated music is starting to send shockwaves. On the consumer side, music streaming tools are being released to allow more listening experience customization. Across the industry, artists are celebrating ways that some these new tools can enhance their work, while speaking out against potential impacts on jobs, compensation, and creative freedom.
Generative AI (GenAI) has become increasingly integrated into marketing and communication careers, and even our daily lives, with the rise of various text-to-image, text-to-video, & text-to-text tools. As digital marketers find new and innovative ways to keep up with the trends, and specifically GenZ in a quick-changing popular culture scene, how are they reacting to the rise of GenAI?
Arts and cultural organizations are becoming increasingly aware of their climate impact, and many are taking action to reduce harm. Tracking, reporting, and offsetting emissions may seem like an overwhelming feat for small or mid-sized organizations, but emerging blockchain technology may help make the process more efficient and reliable.
As previously foreshadowed by Samantha in an article written in July of 2023, TikTok: Opportunity and Risk, TikTok has been under a microscope from governments across the globe for quite awhile. The analysis provided in her article is still relevant today given the recent vote to ban TikTok, and the United States House moving forward to force Chinese state-owned TikTok company ByteDance to sell their ownership of the U.S. version of TikTok, or lose access to the United States TikTok market. To fully understand the situation, this article will recap TikTok’s controversial Privacy Policy and the 2023 testimonies, and also discuss the current governmental situation surrounding the ban.
Social media platforms and their users are constantly changing, making it difficult for managers to create a comprehensive social media strategy that lasts for more than a year. Still, certain guidelines for engaging your audience through social media are becoming standard. This week’s TBT takes a look at how social media concerns, techniques, and strategies have evolved in the last five years
How do you learn best about art? Maybe you lightly browse, interact with friends, or get right in the middle of the action. There are multiple ways to engage with and explore art forms, however cultural institutions may not always program to meet these needs.
The Cleveland Museum of Art's Gallery One activities, on the other hand, were designed with people's learning needs and preferences in mind. In this article I apply WolfBrown's Making Sense of Audience Engagement Audience Typologies to the different initiatives to see how learners can interact with the the Art Lens App, Collection Wall, Interactives, and Studio Play at the CMA.
First launched in 1996, HSX is a free web-based multiplayer gaming simulator of American film industry. The rules are simple: players use virtual currency to buy, sell, short and cover “shares” of films, directors, actors and other related virtual securities. Although the exchange is entirely fictional, it reacts to actual industry-related news, making itself a community and information hub for both professionals and enthusiasts in the film industry.
Love them or hate them, more and more arts organizations are experimenting with tweet seats. For the uninitiated, tweet seats are a designated section of the audience where traditional etiquette rules are bent. Use of devices in this special section is not only allowed, it is encouraged. This roundup features several AMT Lab articles on tweet seats, exploring how organization have managed both their challenges and opportunities.
According to statistics from Digitalbuzz, there are over 288 million monthly active users on Twitter, 60% of which access the social network from mobile.
Contributor Aoni Wang investigates some best practices for this growing platform by continuing her examination of the Met, Warhol, and Tate's social media strategies. Click here to read the full article.
Per Moz.com Facebook had reached unprecedented levels of popularity, with “1.19 billion monthly active users”, and over 750 million monthly mobile users. These figures underscore why Facebook is such an important communication channel for arts organizations. However, different organizations will have different objectives when managing their Facebook pages. I covered some general best practices in my first research update, but channel specific best practices also exist. To demonstrate how tactics might differ between organizations, I will us three museums: The Met, the Warhol, and Tate to provide specific examples.
Social media use has become nearly universal among arts organizations. A 2012 social media study conducted by Pew Research Center demonstrated just how widespread social media usage was, with Facebook and Twitter as the most popular platforms by far. What best practices exist for social media use, and is managing more platforms necessarily better?
In 2012, Dog & Pony DC, a small theatre company in Washington D.C., encouraged audiences to direct the plot of a show and influence characters using Twitter. In A Killing Game, audiences and actors stood side-by-side, immersing themselves in a collaborative artistic experience. In order to learn more about the company’s decision to utilize social media, and its approach to integrating the technology and management of its uses, AMT Lab’s Kristen Sorek West spoke to company director, Rachel Grossman.
As many arts marketers, social media gurus, and nonprofit professionals attest, the question for nonprofit arts organizations is no longer whether or not to use social media but rather how to use it most effectively. This shift is reflected by AMT Lab readers’ responses to our 2014 AMT Lab Reader Poll, where a whopping 76% of respondents indicated they would like to see additional research on social media analytics while only 31% indicated interest in research on social media platforms themselves.
With nearly 75% of all Americans using social media as of 2013, arts organizations of all sizes increasingly need to devise social media plans to determine which platforms to use and manage how they use them. But particularly among small arts organizations, where time, staffing, or other resources often fall short to effectively implement a social media plan, social media management software is particularly valuable.
