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Director of audiences and media at London's Tate galleries talks about communicating with public in digital era The audience is completely changing, said Marc Sands, director of Audiences and Media at Britain's Tate, just as it was when Tate Modern opened in 2000.

Success with digital media for museums, education and cultural organisations isn't about scrambling to sign up to the latest fads, those teasmades of technology, and more about attitudes of organisations and the individuals within them. What are the handles we can grab hold of to begin or better develop our journeys into digital media use in the world of exhibition, performances or engagement of new audiences? It tries to make a few points, some more successfully than others, no doubt. Key amongst them:- how to institutions do better what is now so easy for everyman to do?- is there anything to be learned from the world of startups where coming up with a compelling problem that needs solved? What are the problems museums manage to solve? Do they need to think in that way at all?- what potential is there for cultural organisations to open themselves up to new audiences by tackling the same content and ideas in alternative ways and on different platforms?

Kostenlose Angebote hat es immer wieder mal gegeben, warum funktioniert gerade das Modell der Kulturloge  so gut? Die Evaluierung nennt zwei Erfolgsfaktoren: da ist zum einen die persönliche Ansprache über die sozialen Partnerorganisationen und die telefonische Kontaktaufnahme der MitarbeiterInnen der Kulturloge. Da die Partnerorganisationen um die Bedürftigkeit der einzelnen Menschen wissen, müssen diese später nicht irgendwelche Nachweise vorlegen, sondern sind bei der jeweiligen Veranstaltung Gäste unter Gästen. Zweitens haben die Gäste der Kulturloge die Möglichkeit, einen weiteren Gast ihrer Wahl mitzunehmen, ein Angebot, das als sehr wichtig eingestuft wird und ein Beleg dafür ist, dass im Kunst- und Kulturbereich der Kontakt und die Kommunikation zu anderen Menschen eine sehr hohe Bedeutung hat. Die Ergebnisse dieser Befragung zeigen, dass das Modell der Kulturloge (entwickelt von Christine Krauskopf, die diesen Ansatz erstmals in der Marburger Kulturloge umgesetzt hat) sehr gut angenommen wird und es damit gelingt, auch kultur- und bildungsferne Millieus für Kunst und Kultur zu gewinnen. „Die Kulturloge stellt somit ein Instrument des Audience Development dar",

Last month, the Irvine Foundation put out a new report, Getting In On the Act, about participatory arts practice and new frameworks for audience engagement. Authors Alan Brown and Jennifer Novak-Leonard pack a lot into 40 pages--an argument for the rise of active arts engagement, a framework for thinking about ways to actively involve audiences, and lots of case studies. It is framed as a kind of study guide; pop-outs provide questions that tease out opportunities and tensions in the narrative. This report is not an end-all; it is the opening for a conversation.

Every day millions of Britons engage with the arts and cultural sector through digital media.1 This engagement comes in many forms and is in a constant state of evolution, driven by technological change. Five years ago, mobile phones were for texts and calls and Facebook barely existed. Today, a quarter of us have a smartphone through which we can listen to a song, or watch a trailer for an artistic performance.2 Over 40,000 people track the Royal Opera House, and over 58,000 the British Museum, through Facebook; while FACT in Liverpool has 7,000 Twitter followers.However, this research represents the first time that this online engagement with arts and culture in England has been captured and quantified

The first few years of social media brought new approaches to audience engagement, emphasising knowledge sharing through open platforms. As organisations explored the potential of social media, they focused on the impact this would have on their internal practices. Today there is growing emphasis on how these seemingly democratic forms of communication can support and develop culturally diverse audiences.

Museums are increasingly using technology to reach an audience outside their walls. And I, of course, am a complete evangelist for new media and for institutions adapting as fast as possible to changes new technologies are bringing to our world. But when the time came to talk to the museum heads about using social media tools to expand their audiences and enrich the museum-going experience, I found myself oddly reticent.

"So what is spreadable media good for? * To generate active commitment from the audience, * To empower them and make them an integral part of your product's success, * To benefit from online word-of-mouth * To reach niche, highly interconnected audiences, * but most of all, to communicate with audiences where they already are, and in a way that they value. ...an open photo policy is a cornerstone of any institution that sees itself as a visitor-centered platform for participatory engagement. Here are five reasons I think museums should have totally open photo policies:

One of the most common questions we get is about the use of computers in museum settings.  Are they necessary?  Should museums be putting them in to attract broader audiences?  Do visitors expect them?  Or do visitors come to museums for other reasons?

Museums are quickly adapting to Web 2.0, and engaging with a new on-line audience. Social media projects are being developed and used by museum staff, and curators are starting to explore this new space. When the Powerhouse Museum's curatorial department created their first blog, they had no idea what they were in for, or what challenges they would face. They also had little idea of how curators as a whole are participating in social media activities. This paper will use the Powerhouse Museum's 'Object of the Week' blog and a major international survey of curators to investigate how social media activities are impacting on curatorial practice.

This report describes the demographic characteristics of U.S. adults that participated in the arts (such as concerts, plays, and dance performances) via electronic media (e.g., TV, radio, computers and portable media devices) in 2008, based on the Survey of Public Participation in the Arts (SPPA). Separately, the report examines broad categories of arts participation via Internet. The report also investigates factors contributing to the likelihood of some Americans experiencing art through media. Finally, the report considers the relationship between media-based arts activities and other types of arts participation, such as live attendance and personal arts creation. June 2010. 146 pp.

Super, das ist ja ein toller und hilfreicher Report, danke fürs Aufspüren. ;-)

Engaging young people using digital technology - project examples Project examples emailed in response to a request via GEM, DLNET and MCG lists Sep 2010.

The conference will focus on building communities, empowering audiences and fundraising all approached from the perspective of new technology and developments on the web

audience+ Roundtable: Interview mit Henner Fehr

"Companies often approach Social Computing as a list of technologies to be deployed as needed - a blog here, a community there - to achieve a marketing goal. But a more coherent approach is to start with your target audience and determine what kind of relationship you want to build with them, based on what they are ready for. You can use the tool on this page to get started."

Companies often approach Social Computing as a list of technologies to be deployed as needed - a blog here, a community there - to achieve a marketing goal. But a more coherent approach is to start with your target audience and determine what kind of relationship you want to build with them, based on what they are ready for. You can use the tool on this page to get started.

And the award for biggest theatrical troublemaker of the year goes to... the amateur critic. Over the past 12 months, blogging and tweeting audience members managed to get under the skin of the world's top theatre-makers in a way professional critics haven't for years.

A project by the MoMa. They asked their audience to tell their MoMa story. As a starting line they gave them the words: "I Went to MoMA and ...

Storytelling: digital technology allows us to tell tales in innovative new ways. As the tools available to publishers grow more sophisticated, it's up to us to experiment and see what sticks. [...]Stories are memory aids, instruction manuals and moral compasses. When enlisted by charismatic leaders and turned into manifestos, dogmas and social policy, they've been the foundations for religions and political systems. When a storyteller has held an audience captive around a campfire, a cinema screen or on the page of a bestseller, they've reinforced local and universal norms about where we've been and where we're going. And when they've been shared in the corner shop, at the pub or over dinner they've helped us define who we are and how we fit in. Human experience is a series of never-ending, overlapping stories bumping into one another in expected and unexpected ways.[...]

Audience research, trends, observations from Reach Advisors and friends.

"This year's Communicating the Museum conference is being held in the elegant, creative and historic German city of Düsseldorf. Our theme this year is the Visitor Experience and the vital role it plays in building and retaining audiences. Leading international speakers and practitioners will present important and ground-breaking thoughts and ideas on: * creating the very best experience for all visitors * cutting edge visitor research from around the world * generating income from visitors * the dynamic and creative relationship between marketing and the visitor experience - the unified tone of voice and customer service * brand and the visitor experience * interpretation and learning * the future of the visitor experience - on-line and beyond"