Audience Insights: Organizations Overlook the Most Important Clues

Clues for increased satisfaction and visitation are often right under the noses of cultural organizations. I frequently hear executive leaders Read more

Do Expansions Increase Long-Term Attendance? (DATA)

Sometimes it feels like nearly every cultural organization is taking on a major expansion project. But do these projects Read more

Over 60% of Recent Visitors Attended Cultural Organizations As Children (DATA)

You may have guessed it was true – but here’s why this statistic matters. The idea that those who visit Read more

Cultural Organizations: It Is Time To Get Real About Failures

Hey cultural organizations! Do you know what we don’t do often enough? Talk about our failures. It’s a huge, Read more

How Annual Timeframes Hurt Cultural Organizations

Some cultural executives still aim for short-term attendance spikes at the expense of long-term financial solvency – and they Read more

Special Exhibits vs. Permanent Collections (DATA)

Special exhibits don’t do what many cultural organizations think that they do. If fact, they often do the opposite. Read more

satisfaction

Special Exhibits vs. Permanent Collections (DATA)

Special exhibits don’t do what many cultural organizations think that they do. If fact, they often do the opposite.

The prospect of hosting special exhibits – and blockbuster exhibits, in particular – often makes exhibit-based cultural organizations excited. They sound cool! They spice things up! They are temporary so it makes visitation urgent! It’s new content upon which to underscore expertise! What’s not to like?

A whole bunch, actually.

Hosting special exhibit after special exhibit – and, especially, so-called blockbuster exhibits – often results in more long-term damage than dinero for cultural organizations. I’ve previously shared information about the phenomenon of “Death by Curation” (also known as “Blockbuster Suicide”). Essentially, data suggest that blockbuster exhibits often create a negative cycle that challenges the solvency of the visitor-serving organizations that come to rely upon them as a primary audience engagement strategy.

This flawed, unsustainable strategy finds organizations over-reliant on visitation from special exhibits – rather than their permanent collections – in order to (hopefully) achieve their attendance and financial goals. It’s no secret that a true blockbuster exhibit can boost a museum’s attendance to record levels. However, a “blockbuster” is rare, and the fact that these blockbusters spike attendance so dramatically is an important finding: Blockbusters are anomalies – not the basis of a sustainable plan. It’s another example of our getting so excited about short-term visitation spikes that we forget to zoom out longer than our annual timelines in order to see what is really going on.

Death by Curation happens a lot, but we don’t often talk about it within the exhibit-based cultural industry. I’m not in the business of calling out individual organizations, but if you think of organizations that have fallen on hard financial times, you may note the frequency with which Death By Curation plays a role in their respective struggles. Death by Curation is the business of staking your reputation and attendance goals on a stimulus that will by definition soon leave your organization. It’s the business of making arguably your organization’s best reputational equities ephemeral. It’s pouring sacred budgeting resources into building affinity for a special exhibit rather than a meaningful destination – your organization.

Essentially, Death by Curation happens because organizations focus on special exhibits at the expense of their permanent collections. We put a lot of endorsement energy and marketing expenditures around special exhibits and that makes sense. Special exhibits often cost quite a bit to actualize, and there is an understandable want to aggressively promote them in the hopes of recouping our investments. That doesn’t mean it’s the right thing to do. Data suggest that an organization’s permanent collections – perhaps more so than special exhibits – matter in terms of overall organizational wellness and sustainability.

The data below contemplate the perceptions of visitors to six visitor-serving organizations that recently (since January 2014) featured a separately ticketed special exhibit in addition to their regular, permanent collections.

Some important numbers before we dive in: The data indicate that 31.7% of visitors only visited the special exhibits – regardless of if their special exhibit admission included access to the permanent collection. This means that though they may have had access to the permanent collection, they report simply visiting the special exhibit and then leaving. Additionally, 34.9% of folks reported visiting both the special exhibit and permanent collection, and 33.4% of visitors reported visiting only the permanent collection.

The special exhibits are different and the organizations are not all of the same “type” (i.e. all history museums). However, they are all exhibit-based. (Performance-based cultural organizations can eat popcorn on the sidelines here. A form of Death By Curation may reasonably apply to performance-based organizations as well, but I do not have apples-to-apples data to make a comparison.) I also want to mention that these six organizations did not take on the same exhibit so as to preemptively address a possible defense against critical thinking: “There’s no way this applies to my organization!”

Let’s take a look at visitor perceptions concerning (a) value for cost; (b) overall satisfaction; and (c) intent to re-visit within one year. Let’s look at value for cost measures first, because this outcome may be the least surprising and it serves a bit like required reading prior to digging into our next two charts.

The value for cost metric measures, essentially, how much bang a person believes that they got for their buck. You will note that value for cost perceptions are reliably lower for those who purchased the separately ticketed special exhibit – and this, too, makes sense: The special exhibit costs more!  However, this metric is not a measure of cost but rather of perceived value – so the goal is for visitors to perceive high value for cost regardless of the expense. In other words, this metric allows that a visitor may perceive a premium experience with a premium cost more favorably than a lower cost, lesser experience. What organizations often forget when they charge an extra fee is that it increases the expectation of an experience worthy of that additional expense.

Another item of note is the generally minor change in value for cost between those who only saw the permanent collection and those who saw both the permanent collection and the special exhibit. This may be surprising, as organizations might guess that someone who saw both permanent and special exhibits might have much higher value for cost perceptions than those who only saw the permanent collection. Depending on the visitor’s perception of the special exhibit, the exhibit risks disproportionately influencing their perceptions and kicking down the value for cost perceptions of those who saw both the special exhibit as well as the permanent collection.

You will note that overall satisfaction is essentially similar among people solely visiting either the special exhibit or permanent collection. Overall satisfaction is 1.18% higher among those who only visited the permanent collection. As previously noted, this is likely due to the role that value for cost plays in the market’s contemplation of overall satisfaction (i.e. lower value for cost perceptions tend to demean overall satisfaction).  In no case are either the value for cost or overall satisfaction metrics less among those who visited the permanent collections when compared to those who only visited the special exhibit.

These data should perhaps give you pause and encourage some consideration. Intent to re-visit for those who only visited the special exhibit are dramatically less than indicated for those who visited the permanent collection.  Again, this may make sense: Those motivated to visit primarily by a special exhibit may naturally be more inclined to wait until the next special exhibit before re-visiting…and the next special exhibit may not open within the next year. This is one of the negative side effects of special exhibits (all the more magnified when we pour a lot of marketing resources into them): We tie intent to re-visit to temporary experiences and thus encourage potential visitors to wait until we have another one to come back. We invest significant resources in underscoring that our special exhibit is indeed the most “special” experience we offer, and then we are surprised when the market believes us and behaves accordingly.

Death By Curation – and an over-reliance on “bigger and better” special exhibits in general – takes its toll on exhibit-based cultural organizations on the whole. It’s the prevalence of the practice of Death By Curation that “nothing new to do or see” is a top reason why people who have reported specific interest in visiting cultural organization’s don’t make it through the door! It is so common that it is a popular reason for not attending cultural organizations. In many ways, we’ve trained the public to believe that our special exhibits are more special than our organizations on the whole – possibly even more important than our missions and the reasons why we exist. We may be sabotaging one of our biggest reputational advantages: That cultural organizations are more than attractions, and that they can and do change communities and the world.

Special exhibits can do good things, of course, when they are carefully considered beyond the quick hit of a temporary attendance spike that comes at the expense of long-term visitation. And perhaps “It’s time to think about our next special exhibit” shouldn’t be a second-nature thought for cultural executives. Perhaps it’s better to think, “What’s the best thing that we can do to walk our talk in terms of who we are and what we stand for?” Sometimes the answer is a special exhibit. However, I’d like to propose that perhaps it’s not the only answer…or, even, a frequently appropriate response.

Chasing audiences with special exhibits – and especially blockbuster/blockbuster-wannabe exhibits – isn’t generally sustainable in the long-term. It also calls to question the total costs of developing and actualizing these exhibits as a means of engaging visitors – including the costs to promote them – when compared to potential alternative uses of the same funds. There are many other proven ways to increase visitation that may be more sustainable than tying visitation to special exhibits.

Consider this: Perhaps what is special is what lives inside of your organization. Building affinity for specific items in a permanent collection may be an underrated move. Items in your permanent collection stand for who you are, and not simply what might be hot right now.

 

Like this post? Don’t forget to check out my Fast Fact videos on my YouTube channel. Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter.

Posted on by Colleen Dilenschneider in Community Engagement, Financial Solvency, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 2 Comments

The Visitor Engagement Cycle for Cultural Organizations

Securing visitation comes down to increasing reputation offsite and satisfaction onsite. Here’s how it works.

If your organization aims to increase onsite visitation (and whose doesn’t?), then it’s important to understand the basics of the visitor engagement cycle. This week’s KYOB Fast Facts video is a brief overview of the cycle. At IMPACTS, we have a lot of data that inform this cycle…and nearly every post on KYOB applies somewhere in the cycle. While I’ve shared aspects of the cycle before, it occurs to me that I have not shared its overview on Know Your Own Bone. With that in mind, here we are!

For those of you who aren’t into videos, I’ve included a brief write up below. That said, I suggest watching the video as it gives an animated overview that I think summarizes the cycle quite nicely.

There are two primary aspects of the engagement cycle: offsite connection and onsite relevance. The cycle is just that – a cycle. Here’s how it goes, folks!

 

1) Offsite connection increases reputation

(which motivates a visit)

We could start anywhere in the cycle, but it seems to make the most sense to start from the point of view of somebody considering a visit to a cultural organization. I’ve written (and even made a video) about this part of the cycle several times before – particularly because it underscores why social media is so dang important for securing visitation.

In order to get someone in the door, then we need to know what motivates the visitation decision-making process. With help from IMPACTS and the discretionary decision-making model informed by the National Awareness, Attitudes, and Usage Study, it’s clear to see that reputation is a top-five motivator for visitation. This is true among the US composite market, but also among high-propensity visitors (i.e. those folks who profile as our target audiences). In fact, for high-propensity visitors, reputation is second only to schedule as a factor in their decision-making process.

As a fun fact: In Western Europe, reputation is the top driver of visitation by a long shot. This implies that folks in Western Europe would be willing (and do) make time to visit organizations that they’d like to attend. Here in the US, we’re more likely to take the day off work and then fill it with an activity or two that is of interest rather than taking a day off specifically to visit a cultural organization.

 

Great! Reputation is a top motivator for visitation. Now you may be wondering, “ What goes into reputation?” It’s a good question. According to the model of diffusion, two things feed into reputation: The first is called the coefficient of innovation (or, things that you pay to say about yourself). The second thing that goes into reputation is called the coefficient of imitation (or, things that others say about you). This includes word of mouth endorsements, social media, earned media, and peer review sites like Yelp and TripAdvisor.

What others say about you is 12.85x more important in driving your reputation than things that you pay to say about yourself. Yes, organizations need to market, but, more than that, they benefit by communicating and facilitating the sharing of other’s positive experience and perceptions.

When we connect with audiences offsite, we increase our reputation, and, as we now know, reputation is a top motivator for visitation.

 

2) Onsite relevance increases visitor satisfaction

(which motivates endorsement)

Now let’s say that we’ve secured a visit. (Woohoo!) Now what? The goal now is to increase visitor satisfaction. It may seem obvious, but high onsite satisfaction values correlate with a greater intent to revisit within a shorter duration, as you can see in this data from IMPACTS:

If you’re wondering what aspects of the visitor experience contribute to higher levels of satisfaction, there’s a breakdown here. (Yes, we “math”-ed it. Because data.) Hint: Education it not unimportant, but entertainment value matters most when it comes to onsite engagement.

We also uncovered the single most reliable way to increase onsite visitor satisfaction – and it has nothing to do with fancy new wings. Within cultural organizations, we often forget our greatest superpower: The power of “with.”  Who people are with is often more important than what they see (with > what). After all, cultural organizations really are all about people. I could keep going on data-informed ways to increase onsite satisfaction, but my point here is that increasing satisfaction is the goal of onsite engagement.

When visitors have an onsite experience that feels relevant to them, it increases satisfaction, and, thus, their likelihood to provide positive endorsements. And we just covered the importance of positive endorsements! They fuel offsite connection, which increases reputation and leads to a visit, which increases satisfaction and leads to endorsement.

 

3) Offsite connection increases reputation again

(which motivates revisitation and/or a visit from a friend)

 

It’s a lovely cycle and it looks like the above image. To get the cycle right, organizations must aim for connective communications that increase their reputations, and relevant onsite experiences that increase satisfaction.

 

Offsite connection is every bit as important as onsite relevance – and we need them both to feed the fire for ongoing visitation. It’s difficult – if not impossible – to discuss getting people in the door without acknowledging the realities of this cycle. This concept is a critical driver of conversations for me and my colleagues at IMPACTS – and I hope that it is helpful to you and your organization as well.

 

Like this post? Don’t forget to check out my Fast Fact videos on my YouTube channel. Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter.

Posted on by Colleen Dilenschneider in Community Engagement, Digital Connectivity, Fast Facts Video, Financial Solvency, IMPACTS Data, Nonprofit Marketing, Sector Evolution 4 Comments

The Value of Shared Experiences Within Cultural Organizations (DATA)

The value of shared experiences at cultural organizations - KNOW YOUR OWN BONE

Exhibit and program content is important, but visitors who have the best experience aren’t the ones that come for the content.

At cultural organizations (museums, performing arts organizations, aquariums, botanic gardens, historic sites, zoos, etc.), we tend to really value our content experts – and for good reason! Without great content, what stories could we tell? How could we educate and inspire visitors? Certainly, the “what” of visiting a cultural organization is important (the program, the exhibit, the performance), but organizations often overlook the fact that who people are “with” is often more important.

Sometimes we get so wrapped up in the nuance of our content that we forget why people visit us and why they most value us: Cultural organizations are facilitators of shared experiences.

I have previously documented the best attributes of a visit to a cultural organization, and sharing time with family and friends massively trumps anything exhibit or content related. Here’s a look at this important data. As you can see, spending time with friends and family is more than twice as important as the content of the exhibit, program, or performance. This data comes from the National Awareness, Attitudes, and Usage Study of over 98,000 US adults.

IMPACTS - The best thing about a visit to a cultural organization

WITH > WHAT – and it’s not even close. This finding is a big deal and it turns the way that internal experts think on its head. According to our visitors, the best thing that we do is connect them to one another. At cultural organizations, interacting with people matters. Take a look at “interacting with staff/volunteers/performers.” It’s (comparatively) trailing “seeing/interacting with exhibits/performance.” Connecting with people onsite is important – and deploying engaging frontline staff may be the most straightforward and reliable way to increase visitor satisfaction.

This finding brings up an interesting question: Do people feel differently about the visitor experience based upon what they believe to be the best part of the experience?  And, what – if anything – does this portend in terms of optimizing the visitor experience?

Below, we’ve organized the data based upon folks’ “best” visit attribute. For instance, all of the people who think that time with friends and family is the best part of the experience are in one column, everyone who said it was the exhibits or performance are in another, etc. Below are the findings for overall satisfaction, value for cost of admission, and intent to re-visit. For the sake of easy reading and summarization, I’ll call the folks who report “time with friends and family” and/or “interacting with staff/volunteers/performers” as WITH visitors – because to them, WITH>WHAT.  Here’s the value of shared experiences to cultural organizations. 

 

1) WITH visitors report the most visitor satisfaction

IMPACTS - overall satisfaction by best thing

In fact, both types of WITH visitors (“Time with family and friends” and “interacting with staff/volunteers/performers”) are most satisfied with their experiences.

As a conceptual tip (that helps for the sake of comparison): Consider “Day off work/school.” For these folks, the best thing about a visit to a cultural organization isn’t unique to a cultural organization. Rather, it’s simply that they have the day off. This group is still obviously a very important group to watch. After all, schedule is the top motivator for visitation to a cultural organization.

 

 

2) WITH visitors report the greatest bang for their buck when it comes to paying admission

IMPACTS - Value for cost by best attribute of visit

Visitors who find time with family and friends to be the best thing about a visit report the highest value for cost perceptions. This means that they think that paying admission to get in your door was most worth the money. One reason why value for cost perceptions are important because they help inform optimal admission prices.

This finding is important because it tackles a potential, negative internal reaction from some in the industry: the concern that “time with friends and family” could happen anywhere. Certainly, it could. But what this data suggests is that there may be something particularly special about sharing experiences with family and friends within visitor-serving organizations – and it makes our admission prices all the more worth it to have those experiences in these environments.

 

3) WITH visitors are more likely to visit again within one year

 IMPACTS - intent to revisit based on best attribute of visit

Check this out! Not only are WITH visitors most likely to re-visit within one year, but they are significantly more likely to do so!

Visitors who identified sharing time with family and friends as the best attribute of a visit to a cultural organization reported both significantly higher levels of satisfaction and value for cost perceptions than did those reporting content (e.g. exhibits, performances) as the best attribute of a visit to a cultural organization.  Moreover, persons who reported sharing time with family and friends as the best attribute of a visit also indicated a 25.5% greater likelihood of re-visiting the organization within one year when compared to persons who cited exhibits as the best attribute of their visit!

(Don’t be too discouraged about the low values of “learning something new” folks. We know that our education missions don’t play the hugest role in motivating visitation and they play only a small role in visitor satisfaction, but they play an important role in justifying visitation after the visit is over. Here’s that data.)

 

These data reaffirm the role of cultural organizations as facilitators of social interaction. More than connecting people to content, cultural organizations connect people to people.  Given this information, it may seem odd that so many resources are focused on the content aspect of an experience (think exhibits and galleries and theaters) and seemingly less energy on the aspects of an experience that support social interchange. (What if we valued our floor staff as much as we value our exhibits teams?!) We need our content. Our content allows us to tell the stories that make people want to come through our doors to be inspired. We know that content is important. I don’t know that all cultural organizations are aware that being facilitators of shared experiences is even more important to visitors. At cultural organizations, our content becomes the bridge that connects people to one another.

I’ve seen this news (the fact that WITH is so much more important than WHAT) create anger within cultural organizations. In the face of this information, I’ve seen leaders say that one phrase that effective, successful leaders never say: That this doesn’t apply to them and there’s nothing for them to learn from this overwhelmingly unassailable data.  This reaction is a mistake.   In our digital age, we want folks to be engaged and make real connections – to our stories and to one another! In that sense, this data is incredibly uplifting. This data does challenge our ivory towers. Indeed, we are educators and inspirers…. but we are also facilitators of connection and community – and THAT is what our audiences love about us most. 

 

Like this post? Don’t forget to check out my Fast Fact videos on my YouTube channel. Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter.

Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Myth Busting, Sector Evolution, Trends 2 Comments

Which Is More Important for Cultural Organizations: Being Educational or Being Entertaining? (DATA)

From a visitor’s perspective, which is more important for cultural organizations: Being entertaining or being educational? Here’s what the data says.

This week’s Fast Facts video briefly outlines a data-informed aspect of the “Entertainment vs. Education” debate.

There seems to be an ongoing tension within organizations regarding the relationship between providing an entertaining experience and an educational experience for visitors. All too often, we seem to act as though the two forces are at-odds with one another.

Sometimes, the entertainment value of a visit to a cultural organization gets an internal bad rap. After all, cultural organizations are mission-driven and one of their goals is often to educate. “Entertaining” occasionally seems to be a sort of dirty word – much like considering visitors as “customers” and the idea of “selling” admission. They are concepts/words that might make some staffers uncomfortable. In the best interests of the organizations that we love, however, we need to at least embrace these ideas or risk less solvent futures.

The truth is that providing education and entertainment are both important to our visitors – and knowing exactly how these elements contribute to the visitor experience may help inform future strategies and conversations. So, let’s take a look at some data from a visitor perspective and get to the bottom of this relationship.

 

1) Entertainment drives visitor satisfaction and re-visitation

To tackle the question regarding the importance of entertainment versus education, let’s start by considering the data that goes into developing a visitor satisfaction metric.

Individual evaluation criteria – such as entertainment and education values – aren’t weighted equally because the market is not influenced by them equally. Many organizations aiming to achieve higher overall satisfaction measures mistakenly believe that every aspect of a visitor’s experience is equally important – and that’s just not true. To visitors, some criteria (such as employee courtesy) have more weight than others (such as the quality of the gift shop). With that in mind, here’s a look at some of the weighted attributes that influence overall satisfaction – informed by the market and IMPACTS Research. (These data derive from the National Awareness, Attitudes & Usage Study of more than 98,000 US adults concerning visitor-serving organizations.)

IMPACTS Overall satisfaction weight

Yes, folks. This is indeed a data-informed chart of exactly how much each aspect of the visitor experience contributes to overall satisfaction when visiting a cultural organization such as a museum, zoo, aquarium, historic site, performing arts event, etc.

Entertainment experience is the single greatest contributor to overall satisfaction. Education value influences only about 5% of overall satisfaction, whereas entertainment value influences more than 20% of overall satisfaction. Favorability is the visitor’s perception of how “likeable” the organization and its experiences are – and the entertainment quotient of the experience contributes even more to overall satisfaction than does favorability. That’s saying something.

The fact that entertainment value drives visitor satisfaction is cut-and-dry and non-negotiable. And any company or organization telling you otherwise is likely paid by an entity that really, really doesn’t want to evolve. Providing an entertaining experience is absolutely critical for visitor satisfaction, and, thus, return visitation. In short, cultural organizations need to be at least somewhat entertaining in order to stay alive.

 

2) Education justifies visitation

It’s clear that providing an entertaining experience is more important for satisfying visitors – but education isn’t chopped liver. Data suggest that being educational plays a critical role in justifying a visit to a cultural organization after the visit is over.

Take a look at this data from IMPACTS (again, from the National Awareness, Attitudes & Usage Study):

IMPACTS Primary visit purpose

Learning something new and different, seeing something new and different, and wanting a child to learn something new and different are the top three stated responses regarding the primary purpose of a visit after that visit is over. This is a big deal, because it means that while the educational aspect of an organization’s mission may not necessarily bear extraordinary influence on how satisfied a visitor is during their onsite visit, it is thereafter recalled as a primary factor motivating the visit – and this is good news! It helps to reinforce the purpose of cultural organizations externally, underscoring our drive for social good. (And this has financial benefits, too. Organizations that highlight their mission financially outperform those marketing primarily as attractions!)

 

In sum, entertainment value makes a visit satisfying but education value helps justifies a visit. Successful organizations aim to make education entertaining. It’s not a battle, but a balancing act wherein fun and learning work hand-in-hand to make both visitors and the organization better.

I could have guessed that,” many of you may be saying. Well, that’s good. Now when we enter conversations from either the mission or revenue angle, we can be a bit more informed by visitor-driven, industry-wide data. There may be some hard facts to face here, but they are important: We need to prioritize being both educating and educational – and quit thinking of “entertainment” as a dirty word.

 

Like this post? Please check out my YouTube channel for more fast facts! Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter.

Posted on by Colleen Dilenschneider in Community Engagement, Fast Facts Video, Financial Solvency, IMPACTS Data, Myth Busting, Sector Evolution, Trends 3 Comments

What Museums Can Learn From Online Dating (Hint: Touch Really Matters) (VIDEO)

*Accessing this post via email and having problems viewing the video? You can watch it here

Is social media hurting the onsite visitor experience? Data suggest that in today’s world, museums need to be masters of both offsite communication (social/earned media) and onsite, face-to-face communication in order to be successful. Increasingly, a museum’s business strategy cannot thrive without one or the other.

Here’s a handy (pun intended) concept that I recently presented for thinking about the relationship that “digital touch” and “physical touch” play in driving museum visitation and maximizing visitor satisfaction.

Westmusings

I was honored to have had the opportunity to take part in the Western Museum Association’s first-ever WestMusings: Ten Minute Museum Talks in October in Salt Lake City.  What Museums Can Learn From Online Dating briefly traces a museum visitor from the visitation decision-making process through a museum visit and demonstrates how “digital touch” and “physical touch” work together to “seal the deal” of getting folks in the door to experience sparks of informal learning.

Here are those slides about reputation up close (what motivates the visitation decision and the diffusion of messaging).

While I spoke about museums in connection to online dating, I had the opportunity to take part in the WestMusings initiative with three, fabulous museos who imparted their own wisdom regarding museums and their connection to similarly creative topics: Scott Stulen of the Walker Art Center spoke about cat videos, James Pepper Henry of the Heard Museum spoke about culture clashes, and Carrie Snow of the Church History Museum spoke about roller derby (in full roller derby attire, no less)! Intrigued? Check out their WestMusings here.

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter!

 

Posted on by Colleen Dilenschneider in Community Engagement, Digital Connectivity, Financial Solvency, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 2 Comments