Een beknopte handleiding. In 9 stappen naar een doordacht content- en socialmedia plan. Of het nu een omvangrijke campagne betreft of enkele nieuwsberichten... een planmatige aanpak heeft altijd meer resultaat.
IAB Richtlijnen inzet social media expertiseJohn Meulemans
Wie zeer actief is op Twitter of Facebook is niet per definitie een social media expert. Laat staan een strategisch, kundig adviseur.
Brancheorganisatie IAB Nederland publiceert daarom richtlijnen waarmee bedrijven het kaf en het koren kunnen scheiden.
Data Pioneers - Bart Roozen (Multiscope) - Social Media Data ResearchMultiscope
Welke informatie kan social media research en big data je brengen? Hoe kan social media data tot je beschikking komen en welke analyses kan je er op uitvoeren? Hoe breng je structuur aan in big data en krijg je key informatie in 1 oogopslag in de boardroom? Toelichting over het structureren, analyseren en vertalen van alle data.
Een beknopte handleiding. In 9 stappen naar een doordacht content- en socialmedia plan. Of het nu een omvangrijke campagne betreft of enkele nieuwsberichten... een planmatige aanpak heeft altijd meer resultaat.
IAB Richtlijnen inzet social media expertiseJohn Meulemans
Wie zeer actief is op Twitter of Facebook is niet per definitie een social media expert. Laat staan een strategisch, kundig adviseur.
Brancheorganisatie IAB Nederland publiceert daarom richtlijnen waarmee bedrijven het kaf en het koren kunnen scheiden.
Data Pioneers - Bart Roozen (Multiscope) - Social Media Data ResearchMultiscope
Welke informatie kan social media research en big data je brengen? Hoe kan social media data tot je beschikking komen en welke analyses kan je er op uitvoeren? Hoe breng je structuur aan in big data en krijg je key informatie in 1 oogopslag in de boardroom? Toelichting over het structureren, analyseren en vertalen van alle data.
This document discusses creative urban renewal and the transition to a knowledge society. It notes trends like aging populations, urbanization, and the growth of small businesses. It presents different models of creative enterprises, from individual designers to partnerships. The document then outlines the methodology for creative zone innovators, which involves rethinking approaches, identifying core values, and specifying indicators. Examples of abandoned industrial areas being revitalized through creative means are provided. The importance of communication, alliances, and learning over time for building a creative economy are emphasized.
The document discusses the entrepreneurial dimension of cultural and creative industries (CCIs), particularly small and medium enterprises (SMEs). It defines CCIs as industries that produce and distribute goods/services conveying cultural expressions. CCIs include film, music, performing arts, visual arts. Creative industries use culture as an input for functional outputs like architecture, advertising, design. The document examines CCIs through an entrepreneurial lens, discussing SME characteristics, challenges like access to financing, and recommendations to better support CCIs through skills/career development and targeted funding.
The document discusses several topics related to the cultural and creative industries (CCIs). It notes that CCIs demonstrated resilience during the economic crisis by continuing to create jobs while employment fell in other sectors. The EU goals for cultural policy are outlined, including promoting cultural diversity, culture as a catalyst for creativity, and culture in international relations. The dimensions of national values according to Geert Hofstede are also presented, comparing scores for Great Britain and the Netherlands on indices like power distance, individualism, and uncertainty avoidance.
Rk Duluth Conference: Teaching Cultural AntsRene KOOYMAN
This document summarizes a presentation on teaching cultural entrepreneurship. It discusses the cultural and creative industries, which include goods and services that embody cultural expressions. It notes that these industries are dynamic and fast-growing, even during economic downtimes. They tend to have many small and medium-sized enterprises. The presentation addresses how to educate students for entrepreneurship in this environment, which values social capital, economic capital, and cultural capital. It notes key dilemmas in teaching students to work collaboratively, promote sustainability, take risks, develop intuition, and prepare for uncertainty. The goal is to educate the "entrepreneurial ant" for the changing landscape of cultural work.
Tlcue duluth june 2015 Guillermo Olivarez ChiliRene KOOYMAN
The Innovuss Program provided short-term professional training for cultural entrepreneurs in Valdivia, Chile. Over the course of 6 weeks, the program worked with 75 multidisciplinary entrepreneurs, providing workshops on design thinking, business models, marketing, pitching, and counseling. It also facilitated collaborative work between participants. The results included entrepreneurs improving their businesses by considering new factors, developing positive attitudes towards sharing experiences, and achieving a 75% success rate in obtaining public funding for cultural projects.
This document discusses the UNCTAD Creative Economy Reports and their role in shaping a new sustainable development paradigm. It summarizes the achievements of the reports in highlighting creativity, knowledge, and access to information as drivers of economic growth. The document then outlines some of the challenges and opportunities posed by trends like sustainability, digitization, urbanization, and changing labor markets for the creative economy. It presents the 17 UN Sustainable Development Goals and explores how the expert forum will rank and select goals to analyze the consequences for the creative economy and ways it can contribute to achieving the goals.
This document discusses creative urban renewal and the transition to a knowledge society. It notes trends like aging populations, urbanization, and the growth of small businesses. It presents different models of creative enterprises, from individual designers to partnerships. The document then outlines the methodology for creative zone innovators, which involves rethinking approaches, identifying core values, and specifying indicators. Examples of abandoned industrial areas being revitalized through creative means are provided. The importance of communication, alliances, and learning over time for building a creative economy are emphasized.
The document discusses the entrepreneurial dimension of cultural and creative industries (CCIs), particularly small and medium enterprises (SMEs). It defines CCIs as industries that produce and distribute goods/services conveying cultural expressions. CCIs include film, music, performing arts, visual arts. Creative industries use culture as an input for functional outputs like architecture, advertising, design. The document examines CCIs through an entrepreneurial lens, discussing SME characteristics, challenges like access to financing, and recommendations to better support CCIs through skills/career development and targeted funding.
The document discusses several topics related to the cultural and creative industries (CCIs). It notes that CCIs demonstrated resilience during the economic crisis by continuing to create jobs while employment fell in other sectors. The EU goals for cultural policy are outlined, including promoting cultural diversity, culture as a catalyst for creativity, and culture in international relations. The dimensions of national values according to Geert Hofstede are also presented, comparing scores for Great Britain and the Netherlands on indices like power distance, individualism, and uncertainty avoidance.
Rk Duluth Conference: Teaching Cultural AntsRene KOOYMAN
This document summarizes a presentation on teaching cultural entrepreneurship. It discusses the cultural and creative industries, which include goods and services that embody cultural expressions. It notes that these industries are dynamic and fast-growing, even during economic downtimes. They tend to have many small and medium-sized enterprises. The presentation addresses how to educate students for entrepreneurship in this environment, which values social capital, economic capital, and cultural capital. It notes key dilemmas in teaching students to work collaboratively, promote sustainability, take risks, develop intuition, and prepare for uncertainty. The goal is to educate the "entrepreneurial ant" for the changing landscape of cultural work.
Tlcue duluth june 2015 Guillermo Olivarez ChiliRene KOOYMAN
The Innovuss Program provided short-term professional training for cultural entrepreneurs in Valdivia, Chile. Over the course of 6 weeks, the program worked with 75 multidisciplinary entrepreneurs, providing workshops on design thinking, business models, marketing, pitching, and counseling. It also facilitated collaborative work between participants. The results included entrepreneurs improving their businesses by considering new factors, developing positive attitudes towards sharing experiences, and achieving a 75% success rate in obtaining public funding for cultural projects.
This document discusses the UNCTAD Creative Economy Reports and their role in shaping a new sustainable development paradigm. It summarizes the achievements of the reports in highlighting creativity, knowledge, and access to information as drivers of economic growth. The document then outlines some of the challenges and opportunities posed by trends like sustainability, digitization, urbanization, and changing labor markets for the creative economy. It presents the 17 UN Sustainable Development Goals and explores how the expert forum will rank and select goals to analyze the consequences for the creative economy and ways it can contribute to achieving the goals.
Je vertaalt de direct marketing communicatieplannen en -handleiding om projecten naar een concrete campagne setup en deliverables om te zetten, inclusief de declinatie naar de inbound marketing ondersteuning (Next Best Actions/Next Best Offers)
Handleiding om campagnes via one-to-one kanalen (direct mail, e-mail, sms, calls, online, social, NBA/NBO) op te zetten.
In this presentation you can find the questions, which you would probably have in mind when you consider the topic 'Social Media'. Luckily, we also answered these questions for you. Enjoy!
The document discusses the creative economy and cultural and creative industries. It notes that cultural and creative industries were resilient during the economic crisis by continuing to create jobs while other sectors lost them. It describes characteristics of creative products, including their cultural uniqueness and uncertain success. The document also provides examples of how abandoned areas have been revitalized by creative industries, including case studies of specific projects in Dublin, Germany, and Belgium. Finally, it outlines UNITAR's Creative Economy Initiative and its goals of facilitating dialogue, developing strategies, and providing training and resources to support creative entrepreneurship.
The Cultural Entrepreneuriel Characteristics: approaching the Middel EastRene KOOYMAN
The document discusses the entrepreneurial dimension of cultural and creative industries. It defines cultural and creative industries and notes that they are typically small businesses, with most having fewer than 10 employees. The industries contribute significantly to economies through jobs, revenue, and innovation. However, work in these fields is often uncertain, with many self-employed or freelance workers. The document also examines business models, labor characteristics, and products within cultural and creative industries. It notes the importance of government support and diverse funding sources for small businesses in these entrepreneurial fields.
This document discusses the intersection of art, economics, and cultural policy. It covers several key topics:
1. It defines cultural economics as the application of economic analysis to creative and performing arts, both public and private.
2. It explains different views of capitalism and how economies have evolved from an industrial focus to a knowledge and innovation focus.
3. It outlines Pierre Bourdieu's theory of cultural capital and how social class is stratified based on economic and cultural resources.
4. It discusses different economic philosophies like liberalism, social liberalism, and monetarism and their approaches to the role of markets, the state, and cultural policy.
The document discusses creative urban renewal projects in several medium-sized cities in Northwestern Europe. It aims to facilitate growth of the creative economy in former industrial and decayed urban areas. The projects bring together partners from Germany, Belgium, France, the Netherlands, and the UK to develop and test an innovative model called the Creative Zone Innovator to plan and develop creative zones. Examples of redevelopment projects transforming abandoned industrial sites into areas for creative industries are provided from cities like Essen, Dinslaken, Hagen, and Lille.
This document discusses strategies for urban renewal and area development using creative industries in times of economic crisis. It outlines how creative and cultural industries can drive economic growth and innovation. Small creative businesses and entrepreneurs are important for cultural networks and branding. Case studies show how cities are establishing creative zones to catalyze urban renewal by integrating cultural, social, economic and entrepreneurial development. These zones provide learning environments and cultural business models to stimulate continuous new ideas and alliances through convergence of art, technology and science.
This document discusses strategies for developing creative zones and industries in times of economic crisis. It argues that cultural and creative industries are key drivers of economic growth and innovation. It presents different models of entrepreneurship in the creative industries. The document also examines the urban dimension, noting how creative zones can integrate physical, social, infrastructure and conceptual development. Case studies are provided of creative zone projects in cities like Brugge, Colchester, Kettwig, and Lille that aim to spur economic and cultural value through networking alliances within a learning environment. The conclusion emphasizes the need to build trust through communication, support networks, and focusing on small initiatives over quick cash solutions to support sustainable urban renewal.
11. Opdr I: Social Search
Kies een merk of
organisatie die redelijk
aanwezig is op de
social media.
Doe een social search
voor dit merk met
behulp van de tools die
u kent of die genoemd
zijn in het boek.
12. Opdr II: Conversatiepotentieel
Onderzoek naar het conservatiepotentieel van je case: kies samen een case
inzicht in de conversatiestarters (customer experience, conversations en
content) en de interactie tussen mensen
Let op:
• het benutten van de interactie tussen mensen
• het benutten van content
• het benutten van conversaties
• het benutten van customer experience
13. Opdracht IV: Social Search eigen organisatie
• basis voor een reputatienalyse, doelgroeponderzoek en martonderzoek
• zoveel mogelijk relevante informatie te verzamelen
• Centrale vraag is: wat gebeurt er op internet dat interessant is voor uw organisatie?
• Vragen:
• Wordt er over uw bedrijf gepraat?
• Wie praat over u en wat zeggen ze?
• Waar worden deze gesprekken gevoerd?
• Zijn deze positief of negatief? Waarom?
• Wie zijn de influencers voor uw organisatie?
• ...
• Wat is het grootste onderbenutte conversatiepotentieel?
15. Soc Med Strat II - Bepaal je zakelijke doelen
Social media
strategie in 60
minuten H4
Zakelijke doelen
bereiken met
social media
H5
• Individueel
• Groep
SMART
19. De moduleopdracht
• een vaste opdracht ; zelf geen
probleemstelling inbrengen
• een social-mediastrategie
uitwerken in zeven stappen, zoals
beschreven in het boek Social
media strategie in 60 minuten
(p.52-57)
• kansen en mogelijkheden van
mobiele communicatie
• Jouw rol: Communicatie Adviseur
Inhoud: (min 5 / max 7 pag)
1. Social Search;
2. Zakelijke doelen, KPI's;
3. Social persona's;
4. Intern organiseren;
5. Content en communicatie;
6. Uitvoering, risico's;
7. Meten, beheren en evalueren.
23. Social-mediastrategie - content en communicatie
Stap 4: Content en comm: H7 Social media in 60
minuten
Wat is de contentstrategie?
Welke contentvormen worden gebruik?
Welke kanalen worden ingezet?
• Online, offline.
• Converged Media mix (Paid, Owned, Earned).
• Welke metrics zijn belangrijk? Deze metrics
worden bijgehouden om de KPI's van social media
te kunnen evalueren.
Contentkalender
24. Social-mediastrategie - Intern organiseren
(portfolio)
Stap 5 van de social-mediastrategie: hoofdstuk 6 Social media in 60 minuten:
Hoe wordt draagvlak gecreëerd?
• Is daar een stappenplan voor nodig?
Wie gaat wat doen?
• Rolverdeling tussen verschillende afdelingen
De risico's inventariseren
Budgetberekening maken
Werk deze punten uit op 2 A4'tjes.