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Weather impacts expressed sentiment
Baylis et al 2018: Abstract

We conduct the largest ever investigation into the relationship between meteorological conditions and the sentiment of human expressions. To do this, we employ over three and a half billion social media posts from tens of millions of individuals from both Facebook and Twitter between 2009 and 2016. We find that cold temperatures, hot temperatures, precipitation, narrower daily temperature ranges, humidity, and cloud cover are all associated with worsened expressions of sentiment, even when excluding weather-related posts. We compare the magnitude of our estimates with the effect sizes associated with notable historical events occurring within our data.
climatecomms  communications_science  audience_research 
22 days ago by huntercutting
Tourist attractions are being transformed by immersive experiences – some lessons from Scotland
While audiences like immersive visitor attractions, they particularly like the ones that combine virtual and physical experiences with a strong storyline. The battle experience at Bannockburn works well, for instance, where you play with other people and there’s a member of staff to act as a guide.
When the experience is purely a simulation, audiences like to be able to handle objects at the same time. They can do this at Culloden, for example, where there are certain artefacts at the visitor centre such as 18th-century guns that are available to touch. We found that while people prefer physical objects, even being able to handle virtual objects is better than nothing – the British Museum exhibition allowed visitors to explore objects from different angles, for instance.
Over 55s, which are the core visitor demographic for these kinds of sites, prefer the likes of the reconstructed street and old Glasgow subway at the Riverside to digital simulations. Under 35s are the most comfortable with digital and virtual reality simulations, and also much more likely to want to experience them remotely – something for heritage organisations to think about in future.
Digital simulations are good for getting visitors to stay longer in a small space. This can either maximise the use of space or cause congestion, depending on the popularity of the experience.
We assumed that more visual experiences would need less narrative, but the opposite is actually true. Visitors saw information as important regardless of the mode of delivery.
immersive  scotland  audience_research 
5 weeks ago by stacker
Children's Media Lives - Ofcom
A research project which follows 18 children, aged 8-15 at the beginning of the study, over consecutive years, interviewing them on camera each year about their media habits and attitudes.
ofcom  youth  kids  audience_research 
6 weeks ago by stacker
Participation in heritage crowdsourcing: Museum Management and Curatorship: Vol 0, No 0
This paper draws upon the experience of several years of running a multi-application crowdsourcing platform, as well as a longitudinal evaluation of participant profiles, motivations and behaviour, to argue that heritage crowdsourcing cannot straightforwardly be considered a democratising form of cultural participation. While we agree that crowdsourcing helps expand public engagement with state-funded activities at Galleries, Libraries, Archives, and Museums, we also note that, the involved public cohort is not radically different in socio-demographic make-up to the one that physically visits such institutions, being for example financially better-off with high levels of formal education. In shedding light on issues of participation and cultural citizenship, through a both theoretically and empirically rich discussion, this paper casts light on the current impact of heritage crowdsourcing, in terms of both its strengths and weaknesses. The study will also be useful for cultural heritage policy and practice, museum management and curatorship to potentially guide the choices and strategies of funders and organisations alike.
crowdsourcing  audience_research  participation  research 
8 weeks ago by stacker
Visitor Motivation Survey and Audience Segmentation for the Whitney Museum of Art Website
This post is a summary of the pilot research project at Pratt Institute undertaken by Sydney Stewart and Samantha Nullman. This research was conducted as part of the INFO 685 course: Digital Analytics: Web, Mobile and Social Media in collaboration with the Digital Media department at the Whitney Museum.
Whitney_Museum_of_American_Art  audience_research  analytics  metrics 
november 2018 by stacker
Art UK Audience Broadening Initiative | Arts Council England
This report, by The Audience Agency, presents the findings of the research, which ran from January 2017 to June 2018. Previous audience development projects have tended to focus on ‘live’ arts. This is the first UK arts research project to systematically attempt, over an extended period, to reach specific target audiences online and to record and share the findings from the process with the wider sector.
ArtUK  audience_research  Audience_Agency 
october 2018 by stacker
Art UK - Audience Broadening Initiative Report | The Audience Agency
The main report contains detailed learnings and recommendations for organisations that are considering work of a similar nature. These can be summarised as follows:
When aiming to reach a new audience, that audience should be involved in formative research and/or in the development of the activity, project or content.
Deciding success metrics is important. An organisation needs to determine the type of change it is seeking, how this fits within the overall organisational strategy and how impact will be evaluated.
Experimentation will help an organisation understand what does and doesn’t work in engaging an audience. As a result of the ABI project Art UK has a much clearer view of activities that are likely to attract younger and more diverse audiences.
audience_research  Audience_Agency  Arts_Council  ArtUK 
october 2018 by stacker
High Tea Evaluation Report (pdf)
High Tea is a browser-based strategy game based around the opium trade in China's Pearl Delta in the 1830s. It was commissioned as part of the web presence for 'High Society', a Wellcome Collection exhibition that ran between November 2010 and February 2011.
Our objectives were to reach new audiences with Wellcome Collection themes and content, establish new and meaningful engagement with the themes of the exhibition and do this through a high-quality game that offered a satisfying playing experience.
This report is an evaluation of the game against these objectives, through both quantitative and qualitative research. Plays were tracked with Google Analytics; an online survey was carried out; individual players were interviewed in depth and a focus group held; and comments on games portals and wider reaction was tracked.
wellcome  evaluation  audience_research  games 
september 2018 by stacker
Engaging with the YouTube Generation - Young Cultural Journeys Report 2018 - Museums + Heritage Advisor
YouTube was the most referenced platform in the qualitative elements of our recently published research. It came in third place across the quantitative, behind Snapchat and Instagram.  As Snapchat is a peer to peer messaging platform, contact might feel unprofessional and inefficient due to the short lifespan of the content. Instagram can bridge the gap between quick and friendly follower engagement but was less accessed by those in disadvantaged areas. YouTube is universal. In our research, YouTube was the most popular platform for 58% of 10-11 year olds.
audience_research  youth  YouTube 
september 2018 by stacker
Young People’s Cultural Journeys Arts Connect June 2018
This report shares rich and robust insight into the lives of digitally native young people, their journeys and attitudes to arts and culture – as they define it – and its place in their lives.
Commissioned by Arts Connect,
the Bridge Organisation for
West Midlands, the research was undertaken by Morris Hargreaves McIntyre, the largest cultural strategy agency in the UK, and one of the UK’s most creative, participatory arts organisation, We are Frilly.
youth  audience_research 
september 2018 by stacker
Digital Catapult - Immersive Reports
Innovate UK’s recent Knowledge Transfer Network report on The Immersive Economy in the UK estimates that Britain has around 1,000 immersive-specialist companies employing around 4,500 people and potentially representing as much as 9% of global market share. UK Creative Industries have a huge amount to contribute to this emerging immersive sector, not least because many of the skills involved are derived from different corners of this thriving, diverse and crucial part of the economy (such as film, TV, games, visual effects, etc).
audience_research  Digital_Catapult  nesta  report  vr  ar  immersive 
july 2018 by stacker
Digital Catapult - Evaluating Immersive User Experience and Audience Impact
This report on Evaluating Immersive User Experience and Audience Impact, conducted by Nesta and i2 Media Research for Digital Catapult, looks at the challenges of understanding the value of creative content while the consumer market for VR and AR content is still small, and traditional quantitative measures of measuring impact are not always available or reliable. The report develops a research methodology for testing and evaluating the experimental immersive content that is being made now, in a way that will help us predict the potential audience appetite, cultural impact, and commercial opportunity in the future.
vr  audience_research  nesta  Digital_Catapult  report  ar 
june 2018 by stacker
Updating the ACMI Games Lab with a new selection of videogames
All of this research resulted in a matrix of our target audience, balancing experience and enthusiasm:
Australian_Centre_for_the_Moving_Image  games  audience_research 
june 2018 by stacker
Unpacking 260,000 visitor photos at the Royal Ontario Museum
Traditionalists are probably shuddering right now, but it is time, in 2018, to recognize that museums have an opportunity to leverage what their visitors do in their spaces. And more often than not, they take photos. This may be hard for some, but in my opinion, what our visitors do on their phones is more important than what we want them to do. Museums should insert ourselves into that activity, rather than trying to insert a museum experience into their phones. This visual influence directly affects purchasing decisions, think about it, when was the last time you bought something without looking at it first?
photography  audience_research  Royal_Ontario_Museum 
may 2018 by stacker
Understanding museum website users | arts & metrics
One of the main areas I have worked on, both at Tate and at The Met, was understanding users and defining segmentations that could help us think about designing and evaluating experiences for each type of user. Having a segmentation also helps to establish an internal language so when a new feature is added, content is created or a new digital product is developed, we can discuss internally who are the audiences we are targeting or serving with that specific initiative or piece of content. Both pieces of research to define the segmentations ended up with similar typologies. Moreover, other museums have reached similar findings in terms of what are the variables that define the different user profiles. The process to develop a segmentation should be influenced by how the museum plans to use it. For example, in order to improve the experience, knowing users’ motivations and, in consequence, their needs and expectations is a key component of those profiles. However, if the museum aims to reach more users then, in that case, a look at the market analyzing the current audiences versus those who do not use your website or digital product may be the best way to approach the segmentation work.
audience_research  segmentation 
may 2018 by stacker
Online scholarly catalogues: Data and insights from OSCI | MW2016: Museums and the Web 2016
In 2009, the Getty Foundation launched the Online Scholarly Catalogue Initiative (OSCI; http://www.getty.edu/foundation/initiatives/current/osci/index.html), a landmark initiative to help museums make the transition from printed volumes to online publications. The OSCI initiative was completed in 2015, and the eight museums of the OSCI consortium have produced a diverse body of online scholarly catalogues (select catalogues are listed at http://www.getty.edu/foundation/initiatives/current/osci/osci_browse_catalogues.html). Importantly, we also now have an initial understanding of the reach and impact of these new publications. The Walker Art Center and San Francisco Museum of Modern Art have completed formal evaluations of their OSCI projects, which provide a rich body of evidence about how the catalogues are actually being used. The paper will explore the reach and impact of online scholarly publications and provide data and insights framed for the museum community at large: • Who is using online scholarly catalogues? • How are the catalogues being used? • What does the Web environment offer that makes online catalogues more useful? • How are the catalogues perceived by the target audience of scholars, art historians, and curators? • What are the drivers and barriers to the success of online scholarly publications? The research findings underscore the enormous potential for online scholarly publications, and even the opportunity for online catalogues to support new forms of scholarship and unique intersections between the museums and academic community. But they also reveal practical barriers to success and larger concerns around issues of permanence and status that are relevant to all museums exploring digital publishing.
osci  mw2016  Getty  evaluation  audience_research 
april 2018 by stacker
Exploring the Relationship between Visitor Motivation and Engagement in Online Museum Audiences | museumsandtheweb.com
In this paper, the authors will describe the rationale, methodology, and results of a series of studies that have been conducted with visitors to the Indianapolis Museum of Art website. The objective of the studies is to better understand people’s motivation for visiting the site and whether this motivation has an impact on the way they engage online. The hope is that these results will provide a reference dataset, and a replicable model for other museums that are interested in better understanding their online audience and in conducting similar studies for their own web efforts.
mw2012  metrics  analytics  audience_research  ima 
april 2018 by stacker
Levelling Up: Towards Best Practice in Evaluating Museum Games | museumsandtheweb.com
Museums make games because games can provide compelling educational engagement with museum themes and content, and the market for games is enormous. Truly understanding whether games are achieving your goals requires evaluation. In this paper, we identify the kind of games that museums make and use case studies of our own casual games to look at the benefits and means of evaluation. Beginning by identifying different kinds of evaluation within the broad framework of formative and summative practices, we suggest ways to plan an evaluation strategy and set objectives for your game. We then look in detail at evaluation methods: paper and wireframe testing, play-testing, soft launching, Google Analytics, surveys, and analysing responses “in the wild.” While we draw on our own experience for examples of best practice, we recognize that this is an area in which everyone has a lot to learn, and we conclude by suggesting some tactics for sharing knowledge across the museums’ sector.
mw2012  games  evaluation  metrics  analytics  audience_research 
april 2018 by stacker
Instagram Trends: Visual Narratives of Embodied Experiences at the Museum of Islamic Art – MW18: Museums and the Web 2018
The Museum of Islamic Art (MIA) in Doha, Qatar is a landmark building in the city and the country. Located on its own island, the museum seems to float in the Arabian Gulf nestled between 'old' and 'new' Doha. Designed by renowned architect I.M. Pei, MIA is a popular destination for tourists and residents alike. With an Instagram following of more than 37 million users, the museum and its surrounding areas also prove to be a popular destination for photo opportunities. This paper presents the results of a 6-month study of more than 4,000 Instagram images, posted between November 2014 and November 2015, tagged to the Museum of Islamic Art's geolocation. Drawing on visual content analysis, the project reveals graphic trends in the visiting narrative, situating this experience not only within the museum's collection, but also within the social and cultural fabric of the country. The paper argues for a stronger emphasis to the role of visual media shared online, as a meaning-laden medium and embodied social practice that has the capacity to create preconceptions and expectations about museum visiting experiences. In addition, the potential of visual media is discussed as habitual products that fuel a virtuous circle of influence between individuals and communities through practices of collaboration and co-creation of information and narratives. Overall, the paper will offer an understanding of the potential of Instagram as a reflection of the cultural citizenship of the varied memory communities associated with the museum - online and offline.
mw2018  instagram  Museum_of_Islamic_Art  research  audience_research 
april 2018 by stacker
Invisible Insights: learning from Trip Advisor reviews
The British Museum gets on average 1,000 Trip Advisor reviews a month, with an average rating of just over 4.6 stars. These come in multiple languages, describing visits in great detail and giving unprecedented insight into the visitor experience. The comments include things that emails to the Museum rarely, or never mention: the temperature in the galleries, the size of the crowds on specific days, language and wayfinding issues, how overwhelming the Museum can seem, who they visited with and how amazing it is that it’s all on display for free. Each of these thousands of reviews holds an indication of what visitors like and what we can improve — having scores with the reviews means that we can also figure out which topics have the strongest impact on satisfaction. This dataset is not only much larger in size than the one we previously built using direct messages. It is also more representative of our international audience, and features much a much broader range of conversation topics.
Trip_Advistor  British_Museum  audience_research 
march 2018 by stacker

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