Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

G39 ibeholder DIFAW event slides

62 views

Published on

G39 ibeholder DIFAW event slides

Published in: Data & Analytics
  • Be the first to comment

  • Be the first to like this

G39 ibeholder DIFAW event slides

  1. 1. Chris Brown Director g39 Patrick Towell CEO Golant Media Ventures
  2. 2. We’ve created a prototype tool that helps us learn more about our audiences and the personal meaning they attach to our exhibitions and activities What we’ve built
  3. 3. We created three beta versions, each adopting a slightly different approach, and conducted three user testing sessions. G39art.co.uk artesmundi7art.co.uk orielwrecsamart.co.uk
  4. 4. The content for each version included a short series of questions that asked you for particular information, for example: your location within the venue; your choice of content type (eg artwork interpretation, exhibition themes, artist bio etc); your preference and/ or response to a work.
  5. 5. Why? - the brief Non-ticketed arts organisations are able to capture only a limited level of detail about their audiences. Because of this, our engagement, marketing, and programming is not as effective as it could be. With a greater depth of knowledge about our audience we will be able to enhance their visit, their relationship with artworks, and our relationship with them. We will also use this insight to inform future programming.
  6. 6. Enhancing the visitor experience ENHANCING VISITORS’ EXPERIENCE Encourage & enable visitors to share their experience Provide an engaging & thought-provoking learning experience
  7. 7. The data venues collect Emotional reactions to event/artworks Visitor feedback on the venue Permissioned personal data THE DATA VENUES COLLECT ENHANCING VISITORS’ EXPERIENCE Encourage & enable visitors to share their experience Provide an engaging & thought-provoking learning experience
  8. 8. What the venue does with it Emotional reactions to event/artworks Visitor feedback on the venue Permissioned personal data THE DATA VENUES COLLECT WHAT THEYDO WITHIT ENHANCIN G VISITORS’ EXPERIEN CE Inform/influence programming, curation, presentation, space-use Personalise marketing communications Gain insight into audiences – current & new Encourage & enable visitors to share their experience Provide an engaging & thought-provoking learning experience Enable arts partners to collate & analyse visitor data
  9. 9. Outcomes for venues Emotional reactions to event/artworks Visitor feedback on the venue Permissioned personal data THE DATA VENUES COLLECT WHAT THEYDO WITHIT OUTCOM ESFOR VENUES ENHANCIN G VISITORS’ EXPERIEN CE More responsive space-use, presentation & programming Outreach to new audiences Deeper engagement with existing audiences Inform/influence programming, curation, presentation, space-use Personalise marketing communications Gain insight into audiences – current & new Provide an engaging & thought-provoking learning experience Users motivated to share content etc. Enable arts partners to collate & analyse visitor data Provide an engaging & thought-provoking learning experience Encourage & enable visitors to share their experience
  10. 10. Outcomes for sector Emotional reactions to event/artworks Visitor feedback on the venue Permissioned personal data THE DATA VENUES COLLECT WHAT THEYDO WITHIT OUTCOM ESFOR VENUES ENHANCIN G VISITORS’ EXPERIEN CE More responsive space-use, presentation & programming Outreach to new audiences Deeper engagement with existing audiences Inform/influence programming, curation, presentation, space-use Personalise marketing communications Gain insight into audiences – current & new Encourage & enable visitors to share their experience Provide an engaging & thought-provoking learning experience Users motivated to share content etc. Enable arts partners to collate & analyse visitor data OUTCOM ESFOR SECTOR Cross-sector data is sufficiently scaled to allow segmentation Develop new/evolved segmentation models Opportunity to create cross-sector platform to facilitate data, comms etc. Develop new audiences, grow existing ones
  11. 11. Alpha testing
  12. 12. What we found out about content – alpha testing
  13. 13. What we found out about content – alpha testing Participants told us: ● They wanted a way to make comments on the artwork they were seeing. ● They found it off-putting to be asked for personal details up front. ● They valued ‘uniqueness of experience’ and wanted share it ● They wanted to access user comments & information about artists in other exhibitions or galleries.
  14. 14. What we learned from the Beta test / 1 • Authoring content for digital is a specific skill • Users found the content useful and engaging • Most users said content was easy to read and not too detailed, others wanted more detail • Pacing felt awkward to some users: some interactions were very short; others involved a lot of text
  15. 15. What we learned from the Beta test / 2 Registering was unpopular • The first beta version required registration & email verification before granting access to content • This deterred all but the most determined of users • It was the actual process, not the principle of registering that put people off
  16. 16. What we learned from the Beta test / 3 Navigation is important • The tool needed a clear hierarchical navigation and home page • In-gallery users wanted to access content based on their location in the space • Users navigated the tool easily in exhibitions that followed a linear route • Some lost their place, particularly those unfamiliar with the venue • Some content was easy to miss on a mobile Wayfinding • was the most popular method of navigating when audiences were given the option of wayfinding,
  17. 17. What we learned from the Beta test / 4 Offsite preference • Some users disliked using the tool in the gallery, preferring to learn more after their visit. • All users replied ‘yes’ or ‘maybe’ when asked if they would use the tool outside of the gallery • In Artes Mundi user testing, 41% of total engagement was by off-site users – much greater than we expected.
  18. 18. What we learned from the Beta test / 5 Social sharing • Users want a more interactive interface where they can offer their views and share their interaction on social media. Feedback • Users liked being able to offer feedback via a range of responses • They said it prompted them to stop and think about the work • Some users felt their opinion was asked too early and wanted more time to ponder the work
  19. 19. What we learned from the Beta test / 6 Personalised recommendations • Most users asked said that they would be willing to share further information about their experience of the work… • ...in exchange for recommendations about future exhibitions, artists & artworks • Once people had been offered the opportunity to engage anonymously with content, the incentive to give their personal data for future engagement was not sufficient enough
  20. 20. What we learned from the 3rd Beta test / 1 • This version of the tool was easy to understand and use; it functioned well • People wanted even more content and personalisation while in the venue • Some were confused about its purpose: information gathering? • Or personalisation of the gallery experience, in real time? • “What’s in it for me?” some saw value for the gallery, but not for them
  21. 21. What we learned from the 3rd Beta test / 2 • People wanted to know what the information they gave was being used for • They liked being asked about their feelings and interpretation of the works • Some didn’t ‘get’ the typology of taste, or felt the choices were restrictive • They wanted the email follow-up in the gallery or shortly afterwards • Some liked the idea of a personalised email, but had no strong preferences
  22. 22. The data we captured – headlines • We need to design the tool to deliver a good balance between good data and good experiences • 41% of test users chose to engage with gallery and art works from outside of the venue: the design must include this use case • Email sign-up rates were low; the process needs to be incredibly simple to increase them • Awareness of the tool is a significant hurdle and needs to be supported by communications and marketing • A low drop off (18.5% ) after a single question and a steady number of clicks through the experience indicate people found value in the experience
  23. 23. Benefits / 1 Benefits to G39/AM/OW • Upskilling in terms of good R&D practice • New vocabulary relating to digital • Introduced to principles of marketing, audience segmentation, psychometric profiling etc • New ways of authoring supporting/contextual material
  24. 24. Benefits / 2 Potential benefits to other visual arts venues • Engage audiences in a much more responsive way than previously • Encourage new audiences to register and engage • Build up a picture of audience behaviour patterns • Use patterns in taste and feedback to inform curation and marketing
  25. 25. Benefits / 3 Potential benefits to the sector (and beyond) • A sector-wide deployment of the tool could enable benchmarking and data aggregation • Provide more detailed understanding of the impact of visual arts on people’s lives
  26. 26. Market context • Public/commercial sector – focus is often on ticketed venues & big systems • Audience Insight Wales – data gathered from ticketing and transactions • Audience Finder, Audience Spectrum – box-office data; surveys; aggregated for sector • Systems need: big audiences; IT support; dedicated marketing team; £££ • Smaller venues lack: capacity; data/analytical skills; tools; volume of visitors/data • System approach tends to focus on demographic data and infers attitudes • Less on – emotional responses to art, personal meanings, what people want
  27. 27. Market Opportunity / 1 • Cloud-based: venue needs less IT capacity/cost; works with lower vol. of data • Integrates easily with personalised/targeted marketing and communications • Self-serve, low-cost, subscription-based for smaller venues • Potential to create user-centric services that span multiple organisations • Leverage new technologies & models from the Arts sector and beyond e.g.: • Approaches/techniques from Digital R&D Fund for The Arts (ACE) projects • Qualia; publically funded, open source, includes many relevant tools/modules • Visual dna; used in advertising and marketing, recently acquired by Neilsen
  28. 28. Market Opportunity / 2 Outcomes: • Targeted/personalised marketing & communications • User-responsive curation & programming • Enhanced experiences for gallery-goers/visitors
  29. 29. Market Opportunity / ’Elevator Pitch’ iBeholder: the next generation data collection and analysis tool for unticketed venues & events
  30. 30. Roadmap • Current business strategy phase • Recommending a tech approach using learnings from prototyping/user testing • Exploring possibility of utilising Qualia, leveraging previous public investment • Setting out organisational/governance objectives and potential options • Designing possible business models: commercial/non-commercial/hybrid • Future roll out phases • building the first version of the full product • initial market launch within Wales • wider user-testing • subsequent product iteration • branding and creation of essential marketing elements (web site etc)
  31. 31. What’s Next? • We are actively looking for arts venues to participate in this next phase. • And for funding & professional bodies and strategic partners to support it. • Get in touch: chris@g39.org patrick.towell@golantmediaventures.com

×