Some framing questions . . . Some framing questions• What do you really want? h d ll ? – A larger audience? – A broader audience? – A different relationship with your visitors? p y• Why do you want it? do you want it? – Increased revenue – G t di Greater diversity it – Deeper impact
So . . . What s keeping them?So What’s keeping them?
The biggest barriers are often in our own minds . . .• People there aren’t like me• I don t know the norms and codes I don’t know the norms and codes• I’ll draw attention to myself• Crossing the threshold is a point of no return
. . . but we can address them but we can address them• Explore your blind spots and assumptions• Allow ‘lurking’ space Allow lurking space• Get out and about and ASK
Other kinds of barriers Other kinds of barriers• Lack of awareness – Raise profile in new areas p• Lack of relevance –T Target specific groups and needs ifi d d• Inertia horizon – Attach incentives to NOW• Choice induced paralysis Choice‐induced paralysis – Taster or ‘highlights’ offers
Types of Visitor Participation: ‘Me to We’ (Nina Simon, Museum 2.0) Individual receives Individual content interacts with content Individual actions are ol nal Contro collated ll t d Individual rganisation actions are networked Individuals di id lOr engage directly Visitor Participation
Types of Visitor Participation: ‘Me to We’ (Nina Simon, Museum 2.0) Individual Web 2.0 receives Individual content interacts with content Individual actions are ol nal Contro collated ll t d Self‐organised Traditional communities Exhibitions Individual rganisation actions are networked Interactive Exhibits Curator‐controlled C ll d Individuals di id lOr crowdsourcing engage directly Visitor Participation
Social media – everyone’s doing it . . . Should you too?
One size doesn t fit all One size doesn’t fit all• Creators (bloggers & uploaders) 24%• Conversationalists (status updaters) 33%• Critics (commenters, raters, editors) 37%• Collectors (feedreaders d t Collectors (f d d and taggers) ) 20%• Joiners (infrequent updaters) 59%• Spectators (read, listen, watch) 70%• Inactives 17%Source: Forrester Research
Museums & Social Media Museums & Social Media1. It’s not magic!2. It s not compulsory It’s not compulsory3. It’s not ‘free’ – costs time4. Listen, get to know the lay of the land5.5 Go where your audiences are Go where your audiences are6. Share, don’t just broadcast7. Tailor your voice for different platforms and audiences
Some examples. . . . Some examples• @austmus, Mr Blobby & @jurassiclounge• @fieldmuseum & @suetheTrex & @suetheTrex• @museumvictoria• @QCAGriffith• @ACMI (tied in with specific exhibits) @ACMI (tied in with specific exhibits)Source: the TwitterverseSource: the Twitterverse
Reading listReading list – Full of practical tips – FREE online www.participatorymuseum.org – Case studies and examples of visitor participation of visitor participation (easily adapted to other scenarios) )
Reading listReading list – Describes and explains the five different visitor ‘identities’ identities – Strategies for reaching different visitor types different visitor types
Reading listReading list – ‘Industrial’ to ‘Knowledge’ –D l i Developing experience‐ i based business models – New relationships with New relationships with audiences
Some closing questions Some closing questions• How would you characterise your current audience?• What’s the most important way for YOU to develop your audience RIGHT NOW – bigger, develop your audience RIGHT NOW bigger broader or deeper?• What are the barriers and what are the opportunities?