Excerpt from article on BBC: "Each year, the BBC showcases more music than any other broadcaster across its radio, TV and online services. However, once broadcast, it can be difficult for audiences to find the music they hear on the BBC again. The first of its kind, BBC Playlister changes that for ever.
With BBC Playlister, music fans can:
1) Collate the tracks they love from across the BBC – via a simple sign-in process, audiences can click to remember the music they hear on the BBC and add these to their personal playlist;
2) Discover recommended tracks from favourite BBC DJs and presenters or popular programmes – helping fans discover more of the music they wouldn’t have otherwise found, and get inside picks from some of the best experts in the world;
3) Easily export their playlist to their chosen digital music service – to replay whenever they want to in the simplest way possible.
The first stage of BBC Playlister will launch in the coming days on PC and via a mobile browser, letting you remember tracks, and export and listen to them on your chosen digital music service. Music lovers will be able to quickly and easily export their playlist from the BBC to either Spotify, YouTube or Deezer and listen back to tracks in full. Over time, the BBC will look to welcome a number of other services to the product.
The BBC will release significant new developments over the coming months, including recommendations from DJs and presenters and the ability to integrate fully with your mobile via the BBC iPlayer Radio app. BBC Playlister will go live across the BBC’s websites in the UK and throughout the world..."
"In the past several months, many museums have begun using live video chat as a way to enhance and foster new online discussions and interactions between museum educators and the public. One of the most popular tools has been Google Hangouts which is part of the Google+ social network. It allows for up to 10 users to video chat together and gives them the ability to broadcast the video stream live to a large audience and even record the session for future viewing. The recorded video, which is archived on the museum’s G+ page and YouTube channel, can be shared on various social networks. In addition, the videos collect (limited) analytics information so museums can track the attention it receives. Users who express interest in a museum video session ahead of time can be alerted when it is about to begin via Google+ email messaging."
"One of the primary trends for museums I’ve been researching and discussing lately is their potential renewed role as curators of information in the digital age. The amount of online information approximately doubles every two years and when the 4+ billion people without internet access will start contributing, it will become ever harder to find the stuff that is worth your while online."
"Today’s Museums & Mobile event (the sixth in a series of online conferences) featured case studies from museums around the globe and some excellent food for thought. Here are my 6 key takeaways:
1. Keep it simple. No, seriously. Even simpler.2. Design for “mobile first.” Or is that “tablet first”?3. Design sites to be task-responsive, not device-responsive.4. “Success comes more from visibility than from quality.”5. Know who your audience really is and what they really want.6. Stick to measuring what matters.
"...what was the question?* And seriously, what questions should museums ask before investing in a mobile or tablet app?
So if your cultural organisation is considering an app, perhaps you should consider the questions the GDS poses before asking for an exemption to the requirement to just build a responsive website:
Is our web service already designed to be responsive to different screen sizes? If not, why not?What is the user need that only a native/hybrid app can meet?Are there existing native/hybrid apps which already meet this user need?Is our service available to 3rd parties via an API or open data? If not, why not?Does meeting this need justify the lifetime cost of a native or hybrid app?
What questions should we add for cultural heritage, arts and educational organisations? (My pet hate: are you creating amazing content that's only accessible to people with the right device?) And since I know I'm being deliberately provocative - what exceptions should be allowed? What apps have you seen that could only work as an app with current technology?"
Social media practitioners from local museums and arts organizations gathered for a lively discussion about the value of social media to our institutions. Are our current social media practices engaging online communities to their greatest potential? What outcomes are we hoping to achieve? And how can we better evaluate the success of our efforts and take our social media engagement to the next level?
Our panelists shared recent research about how social media has transformed the arts in America and presented lightning talks on the social media outcome that matters most to them.
"All too often, I encounter CEOs of nonprofit organizations who simply think that the task of carrying out effective social media consists of, well, “doing social media.” To these leaders, the task would seem to require one full-time equivalent (or, preferably less, if they can possibly get away with it!), and comprises some nebulous combination of posting Facebook statuses, re-writing press releases to masquerade as blog posts, and running around a museum with a cell phone camera."
Les 8 tendances : - Application mobile pour le jeune public et les familles, - Communication et médiation par la gamification, - Les photographies amateures au musée, - Co-création de contenus avec le visiteur, - Développer la créativité du visiteur par le numérique, - Reconstituer le patrimoine par les outils virtuels, - Les musées sur petit et grand écran, - Le musée hors les murs.
"The wildly popular photo-sharing application Instagram is used by millions of people around the world. Nevertheless, the social media phenomenon is often dismissed as a trivial pastime.
Interestingly, a new study conducted by researchers at the University of Gothenburg, Sweden, is now claiming that quite a lot of effort often goes into a picture before it is shared.
To be sure, the study investigated how visitors at the Gothenburg Museumof Natural History used their cellphones during a visit. Through ethnographic field studies the researchers examined how visitors documented and shared their experiences."
2. Your social media person has to be a good writer.
3a. ‘Likes’ and followers matter
3b. Caveat: If your likes go up and your engagement numbers also don’t go up (number of active comments and conversations), that’s a problem.
4. Talk to people.
5a. Make it genuine.
5b. A confession: I’m hyper-aware about the number of messages being sent out from each channel every day. Probably too much so. People don’t mind if you post several times on Facebook in a day, as long as those posts are spread out a little bit, but I’m very sensitive about it.
5c. What is doing it right? Paying attention to Twitter, what’s trending nationally, internationally (to a certain extent, don’t talk about pop stars in scandals), and within your sphere.
5d. The argument for different voices is a consistent argument.
The topic for this session was finding out what museum visitors really want from mobile devices and mobile digital services based on their own words.
To do this, the session reviewed and discussed surveys of museum visitors conducted in a number of London museums and what people visiting in person said about their own and museum mobile devices, what they might want from them in a museum and their thoughts on content and services that are, or could be, delivered to those devices.
The session included summaries of the findings of two visitor surveys on the use of mobile. The first was conducted at the V&A. This is complete and is now publically available (link below or click on the image). The second was a separate joint study conducted at the National Gallery, Tate and Imperial War Museum. This is not yet published, having only recently been completed, but some themes from it are included below.
Via Christine Berding
Hace dos años, la Fundación Compromiso Empresarial realizó un estudio de los niveles de transparencia de los museos españoles, A través del espejo, Transparencia en la web de los museos españoles, que analizó la información que estas organizaciones culturales publican a través de sus páginas web. Aquí os presento las conclusiones y recomendaciones del estudio.
1. La mayoría de los museos cuentan con una web, pero constituyen una excepción los que proporcionan información relevante desde el punto de vista de la gestión.
2. A diferencia del sector empresarial, los museos no cuentan con una metodología o estándares de información, aceptada mayoritariamente, para seleccionar y hacer públicos los contenidos más relevantes.
3. La información más completa suele ser la que se refiere a las actividades (documentación, conservación, investigación y difusión) que desempeñan los museos (un 67% de cumplimiento).
4. Muy pocos museos (20%) proporcionan información o dan detalles sobre decisiones importantes relativas a actos de disposición de la colección.
5. Resulta sorprendente que únicamente un museo (Museo del Prado) haga público su plan estratégico en la web. Este dato podría ocultar una importante carencia en el área de gobierno de estas instituciones.
6. Es notoria la falta de información económica que proporcionan los museos a través de sus web y memorias. Únicamente dos museos proporcionan los estados financieros y la memoria económica, y tan sólo uno publica el informe del auditor.
7. Resulta igualmente llamativo el escaso número de museos que proporcionan información cuantitativa y cualitativa sobre las visitas.
I recently had a conversation with a museum educator about how twitter can be used to engage audiences. We were speaking specifically about using twitter hashtags in an art history lecture-based course she runs (If you want to know more about using twitter this way read Tweeting for Class: Using Social Media to Enable Student Co-Construction of Lectures). This educator told me that she thought what I was proposing was very exciting but that she doubted any of her students had twitter accounts because of the demographic – she said most were over 40. She had a point. Why use something if the audience doesn’t? What is the point of investing time in a tool that won’t reach people? This led me to wonder if this is true only for her course or is it also the case for all visitors to the museum she works in?
The critical take-aways for nonprofit organizations from these recent ruling are less tactical and more strategic and conceptual – and absolutely necessary. Here are four guiding principles that nonprofit organizations may benefit by adopting:
1. Stop being scared of social media
2. Concider what your social medai policy is supposed to do
3. Understand that staff member satisfaction (now more than ever) strongly affects the reputation of your organization and, ultimately, your success.
4. Know and accept that your internal culture is external