Our Experience Culture: Arts and Entertainment Experience (Un)marketing


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In this presentation I introduce the concept and nature of our experience culture. In this I discuss why and how we see the arts and entertainment as experiences, which differs from approaching them as products and/or services. How we reflect on and learn about our experience culture, be it as an artist or enterprise through the ongoing reflective practice of a situation analysis.

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Our Experience Culture: Arts and Entertainment Experience (Un)marketing

  1. 1. Ar & ts ^ Entertainment “Experience” UnMarketing Date: 9/10/13! /drkellypage! @drkellypage!
  2. 2. Our Experience Culture “Culture has always been driven by the marketplace. It’s just that today the marketplace, having invaded every nook and cranny of our lives, is completing supplanting cultures; the marketplace has become out culture.”! Tom Robbins! Date: 9/10/13! /drkellypage! @drkellypage!
  3. 3. Technology: Disruption & Engagement •  Roger McNamee is a co-founder of Elevation Partners, an investment partnership focused on the intersection of media and entertainment content and consumer technology. ! –  Roger performs 100 shows a year in the band Moonalice, where he plays bass and guitar. ! –  Moonalice pioneered the use of social media in music, inventing such applications as Twittercast concerts, Moonalice radio on Twitter, live Mooncast (video) concerts, the Couch Tour. ! –  Moonalice's single, "It's 4:20 Somewhere" has been downloaded more than 845,000 times. ! •  What do we mean by convergence?! Date: 9/10/13! Source:  TEDxSantaCruz   /drkellypage! @drkellypage!
  4. 4. Our Experience Culture --What can we learn from the music industry? Date: 9/10/13! /drkellypage! @drkellypage!
  5. 5. The Virtual Choir Source:  TED:  h3p://www.ted.com/talks/eric_whitacre_a_virtual_choir_2_000_voices_strong.html     Date: 9/10/13! /drkellypage! @drkellypage!
  6. 6. Arts & Entertainment as “Experience” Industries –  Passive to active involvement [situation or enduring]! –  Gradual absorption to total immersion of senses [vivid experience]! •  ! We can enhance the “realness” by blurring the boundaries between realms to promote a total immersive experience! Date: 9/10/13! Gradual  Absorp-on   Entertainment   e.g.,  live  dance   Educa2onal   e.g.,  museums   Esthe2cs   e.g.,  visual  art   Escapist   e.g.,  gaming     Immersion   /drkellypage! @drkellypage! Ac-ve  Par-cipa-on   •  In The Experience Economy authors Joseph Pine & James Gilmore (1999) present a view of stages experiences as “experience realms of engagement”! Organized by type and four level of involvement: ! Passive  Par-cipa-on   • 
  7. 7. Comparison 1: Products versus Experiences PRODUCTS   EXPERIENCES   IMPLICATIONS   Tangible   Intangible   Entertainment  can  not  be  inventoried   Pricing  is  difficult   Standardized   Context-­‐dependent   Audience  saIsfacIon  depends  on  unique   delivery  and  many  uncontrollable  factors   ProducIon  separate   from  consumpIon   Simultaneous  producIon   and  consumpIon   Audience  parIcipate  in  transacIon   Audience  members  affect  each  other   Employee  affect  audience  saIsfacIon   Mass  producIon  can  be  difficult   Experience  can  not  be  returned  or  sold     Not  perishable   Perishable     Hard  to  synchronize  supply  and  demand   with  experience   Entertainment  cannot  be  returned  or   resold   Date: 9/10/13! /drkellypage! @drkellypage!
  8. 8. Comparison 2: Economic Distinctions between Products, Services & Experiences OFFERING   PRODUCTS   SERVICES   EXPERIENCES   Economic  Func2on   Make   Deliver   Stage   Nature  of  offering     Tangible     Intangible     Memorable   Key  a=ribute   Customized     Personal   Standardized   Method  of  Supply       Inventoried   Delivered     Revealed   Seller   Manufacturer   Provider   Stager   Buyer   User     Client Factors  of  demand   Features     Benefits         Guest  /  Audience   SensaIons   Source:  Pine  &  Gilmore  (1999)  The  Experience  Economy  (p.6)   Date: 9/10/13! /drkellypage! @drkellypage!
  9. 9. Products are used to tangibalize A&E Experiences •  Licensed merchandise! •  Advertiser funded programs! •  Bottle cap and can top premiums! •  Supermarket discounts! •  Consumer-produced ads! •  The list is endless …! Source: Neatstuff Music Collectables! The Entertainment Industry: Music & Economy! Date: 9/10/13! /drkellypage! @drkellypage!
  10. 10. Activity: My Music Experience •  •  •  •  •  •  •  Collect & Share Activity! Consider an artifact from a music experience you've had in the past that in some way had an effect on you. ! The artifact can be anything that evokes a memory of that music experience --- a song to be played to the class (please also print the lyrics or an artifact for the song), a t-shirt, ticket stubb, receipt, CD cover, a photo, a print out of the home page of their website or Facebook page, a tweet (printed), news article or blog post etc.! Why are these artifacts important?! What do they signify?! What do they help us to do as audience members?! What do they tell us about the economics and structure of the music industry?! Date: 9/10/13! Source: Neatstuff Music Collectables! /drkellypage! @drkellypage!
  11. 11. Evaluating “Experience” Quality [1] “Audience and community expectations” ! Standards of reference points brought to a situation; sources are from pricing, advertising, promotion and personal experience and word-of-mouth! ! ! ! ! ! ! GAPS  Model  of  Service  Quality     “Audience perceptions” ! subjective assessments of the actual experience! Date: 9/10/13! /drkellypage! @drkellypage!
  12. 12. Evaluating “Experience” Quality [2] •  Four gaps that affect experience quality:! •  Elements to consider:! –  –  –  –  –  –  –  –  –  –  •  Access! Communication! Competence! Courtesy! Credibility! Reliability! Responsiveness! Security! Tangibles! Understanding audiences and guests ! 1.  Not  knowing   what  guest  /   audiences   expect   2.  Not  selecIng   the  right   experience   designs  and   standards   3.  Not  delivering   experience   designs  and   standards   4.  Not  matching   performance  to   promise   communicated   and  shared   A GAPS Audit is used to evaluate the difference between expectations & perceptions! Date: 9/10/13! /drkellypage! @drkellypage!
  13. 13. Factors to consider for Communicating about experiences weaving  products   and  services   together  with   experiences   One  chance  and   it’s  gone   Convergence   Immediacy   A3enIon   Date: 9/10/13! Awareness  &  our  evoked  set   /drkellypage! @drkellypage!
  14. 14. Activity: Situation Analysis --- Where are we? Communications planning begins with the Situation Analysis, or an intense self-examination that involves answering the question, “Where are we?” ! By asking a series of questions about your enterprise or creative work [internal audit] and the world in which you function [competitor and external audit] ! This helps to narrow down the monumental problems and/or opportunities of expanding your community and audience. ! ! 1.  Read: “Taming the Dreaded Situation Analysis” (Page 2.1-2.11).  ! 2.  For the organization given to you complete the following two worksheets individually
 A) Worksheet 1: Internal Audit - “It’s all about me”
 B) Worksheet 2: External Audit - “PESTLE”
 ! 3.  Discuss what you came up with with the class.! Date: 9/10/13! /drkellypage! @drkellypage!
  15. 15. Ar & ts ^ Entertainment “Experience” UnMarketing Date: 9/10/13! /drkellypage! @drkellypage!