Digital Audiences by Caroline Greener
-
Upload
caroline-greener -
Category
Business
-
view
820 -
download
1
description
Transcript of Digital Audiences by Caroline Greener
Digital Audiences
Arts and CulturalEngagementOnline
Caroline GreenerMarketing ManagerAudiences North East
The digital space
2
73%
There were 19.2 million households with an Internet connection in 2010, representing 73 per cent of households. The region with the highest level of access was London, with 83 per cent, the lowest was the North East, with 59 per cent.Source: ONS Opinions Survey
Online is the media space where people spend the most time
“When I haven’t got the internet I just feel completely lost…it’s scary how much you rely on it”
Leading Edge : 18-24
LEISURE TIME (HOURS/WEEK)
Over 3/5 UK online adults use social networking
5
Have set up a profile
Use daily
6
5 today trends
7
•Email marketing ‘more effective than social’
Tweetlouder - automagical
Digital coupons
Facebook, the leader
Smartphones hit 25% penetration
• Why?— How arts and
cultural organisations can use technology to deepen existing relationships with audiences
— Can we segment the online audience?
— Implications for differing audience needs
• How?— 2,000 quantitative
surveys— Focus groups— Qualitative
interviews
Digital audiences research 2010
8
• Who?— Arts Council
England— Arts & Business— MLA— MTM London
Overview of findings
9
• 53% of online users are engaging with arts and culture online
• There are 5 types of online interaction requiring different levels of engagement
• People see the in real life (IRL) experience as superior to online
• Music is the leading arts genre online
• Social media has become a major tool for discovery
• Brand is key, particularly with email
• Online engagers are offline engagers
• It is possible to segment online users by attitude and behaviour and target online activities to them
53% of online users are
engaging with arts and
culture online
10
5 ways of interacting online
11
1. Access2. Learn3. Experience4. Share5. Create
12
13
“A tremendous survey
– exceptional” The
Observer
“Fascinating” Sunday
Express
“You must visit this fab
show” The
Independent
14
People see the in real life
(IRL) experience as
superior to online
15
Jessie at the Brooklyn Museum
16
17
Music is the leading
arts genre online
18
19
20
Social media has become a major tool for discovery
21
22
Brand is key, particularly with email
23
Online engagers are offline engagers
24
Online segmentation
25
It is possible to segment online users by attitude and behaviour and target activity towards them. Three segments are of interest to the cultural sector:
Confident core (29%)
Late adopters (21%)
Leading edge (11%)
• Key user needs— Discovery— Filtering— Learning— Some
experiencing— Some sharing
• Must do– Online ticketing
Encouraging online engagement among Confident Core
26
• Key strategies— SEO— Be in the
audience’s chosen online spaces
— Consider going mobile
— Whet appetites— Be informative
and credible— Encourage
sociable experiences
• Key differences to Confident Core
— Nervous— Distrust of online-
only brands— Private
• OPPORTUNITIES— Online learning— Email dialogue
Encouraging online engagement among Late Adopters
27
• Key things to bear in mind
— No unsolicited email contact
— Very little social networking
— No user generated content
— Reassurances needed re online security
— Low skills and low confidence
• Key differences to Confident Core
— Mobile internet— Immersive
experiences— Advocacy and social
media— Interested in
creativity— Expectation of free
content— Tech literate – easily
disappointed— Passionate
advocates — Vocal detractors
Encouraging online engagement among the Leading Edge
28
• OPPORTUNITIES— Providing unique,
money can’t buy experiences
— Being ‘first’— Partnerships with
mobile content providers
— Apps
• Opportunities
• Marketing
• Audience Development
• Selling tickets
• Delivering content
• Participative engagement
Strategic implications for the cultural sector
29
• Challenges
• Direct revenue vs costs
• Ambition vs pragmatism