samuel bausson's List: * socialmedia

• ROI is measured purely in the context of dollars and cents, however, the principles can really apply to any type of investment — monetary or not.

• What each museum needs to decide is what this success looks like. And if – as is usually the case – success is about museums becoming more used, more embedded in people’s lives, more human – then success is, frankly, about Google. There, I said it.
• Do we really think that people come to museums to begin their search? Really?
• But for the majority, success is increasingly about making enough SEO noise for more general audiences.

1 more annotation...

• and museums should embrace the idea that “everyone is a curator”.
• But because this has primarily been done as a marketing tool, institutions are missing a far greater opportunity.
• If they were to make a proper commitment to the enterprise, they could transform their relationship with audiences, change people’s perceptions of them and vastly expand the reach of their collections.
• The Nielsen research shows that a major factor in the success of social networks is that they allow people to select and share content
• with web users spending time “curating” their online space.
• Museums are well placed to appeal to this new generation of “curators” because they offer rich and interesting content that can be virtually “cut-up” and stuck back together online in numerous different ways to reflect the individual tastes of each user.
• If remixing, reinterpreting and sharing interesting content is, as Nielsen suggests, the kind of engaging interaction that draws people to social networks, then museums should embrace the idea that “everyone is a curator”, both online and offline.
• (MoMA)
• Users can also create personal online accounts, which allow them to bookmark upcoming events, create online exhibitions and “collect” works of art via their mobile phone as they walk around the gallery and view them later on the website.
• People want to engage with content they are really passionate about, and museums have a great opportunity to provide this for them
• MoMA website helps users to co-create content and share these creations with friends.
• becoming part of the conversation, rather then just pushing content or questions at visitors and then sitting back.
• This means museums and galleries need to expand the sites where they introduce, narrate and edit their programmes

11 more annotations...

• segmented by audience
• in the Museums
• Download this on the Museum’s website’
• why are videos in galleries not available online?
• curators that as part of their jobs, they have to blog weekly.
• And in the Powerhouse web team there is a web producer who is dedicated to social media and monitoring social media activities.
• Social media is about the 1% of visitors who are engaged with the Museum and are in the cycle of making repeat visits. These are your most important visitors, and these are the visitors that you will target your social media content at.

• Seb mentioned the five rules of Museum content:

   
   
  1. Discoverable – it is where I am and where I look for it
   
  2. Meaningful – I can understand it
   
  3. Responsive – to my interests, moods, location
   
  4. Useable/Shareable – I can pass it on and share
   
  5. Available in all three locations – online, onsite and offsite.

6 more annotations...

• André-Yves Portnoff, directeur de recherche à Futuribles International
• Le défi est de séduire une fraction du milliard et demi d’adultes connectés dans le monde et leurs proches. Attention, comme dans toutes les activités, il ne s’agit pas de plaquer du numérique sur l’existant, d’automatiser le passé.
• Un musée attrayant pour les internautes, ouvert et visitable en ligne tous les jours de l’année.
• Il faut les satisfaire à distance, leur donner du plaisir, de la culture, leur vendre aussi des produits culturels et l’image de la France.
• Les internautes qui fréquentent le plus les sites web sont aussi les visiteurs physiques les plus assidus.
• Les gagnants dans tous les domaines sont ceux qui construisent des synergies entre modes complémentaires.
• D’abord, attirer vers le site web. Permettre une visite et une consommation en ligne. Persuader une fraction des internautes de venir dans le musée physique. Pendant ce deuxième temps, aider la visite mais aussi établir un contact durable. Grâce à cela, troisième temps, l’après-visite. Il s’agit de fidéliser, de faire revenir les visiteurs sur les sites virtuels et physiques, leur donner envie de se transformer en propagandistes du musée mais aussi de sa région. Cela va créer des impacts et des revenus durables, bien au-delà de saisons touristiques.
• Reproduction d’une insuffisante collaboration entre culturels et acteurs du tourisme
• La question est culturelle. Pour certains, le visiteur – un ignorant a priori – est un mal nécessaire. En général, dans les pays nordiques, l’optique est moins arrogante. On y admet que le visiteur vienne avec son éventuel manque d’expérience, ses enfants ou, encore, pressé.
• C’est l’occasion d’inventer le musée sur mesure, de l’enrichir par plus de collaborations avec universitaires, étudiants mais aussi grand-public.
• Plus globalement, on doit créer une continuité entre documentations accessibles et téléchargeables à domicile, sur les mobiles, dans la rue, dans le musée. RFID, NFC, Bluetooth sont déjà exploités.
• C’est tout l’écosystème de la région ou de la ville, avec ses établissements culturels, ses acteurs du tourisme, ses commerçants, entrepreneurs, infrastructures de transport qu’il faut associer dans des partenariats sincères. Une réorganisation sera indispensable dans nombre d’institutions… et dans beaucoup de mentalités, pas encore tout à fait web 2.0.

10 more annotations...

• There is currently a genuine opportunity for many museums to look at how they can reinvent themselves as social enterprises. In doing so they are in a position to become highly participative institutions which play a much larger role in enhancing communities and local public services.
• envious levels of public trust and the assets they hold
• Museums can now build on this reputation for trust and value to form dynamic community enterprises.
• Museums are already often experts in bridging social capital and are hugely experienced in working with a wide range of audiences.
• This event will argue that museum directors ought to see themselves as social entrepreneurs

3 more annotations...

• Le net fascine les organisations en partie parce qu'elles ne peuvent pas le contrôler et qu'elles ont toujours un train de retard sur les comportements qui, eux, sont spontanés.

• So many of cultural institutions' efforts are focused on getting people over the starting line--into museums, paying tickets--as opposed to focusing on the long game of connecting people to cultural pursuits in a sustained way
• genuine interest is almost always a comforting start to a new experience
• Make it clear that your institution is there to help the community
• consider taking off your badge sometime and engaging in some of these conversations
• enjoys the goodbye at the end of a satisfying interaction
• like science museum staff pitching in on the climate change talk on Twitter.

4 more annotations...