building a digital strategy for arts & cultural organisations
TRANSCRIPT
A practical guide
John WhiteChief Operating OfficerThe Space01/05/2023
Building your digital strategy
• Audiences: reaching and engaging audiences online
• Content: Using technology to create content for online or offline engagement: e.g. creative content, captured content, cultural learning content
• Organisation: using technology to drive organisational efficiency/sustainability
See Arts Council England Digital Policy and Plan Guidelines co-authored by The Space and MTM
What do we mean by ‘digital’?
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How much/how long etc.?
• Integrated with business plan: mission/objectives, creative/curatorial, marketing, education, staffing and budget
• Audience-led: puts audience reach and engagement at heart of the plan
• Focused on strengths or opportunities specific to the organisation rather than spreading efforts too thinly
• Realistic: recognises current starting point, skills and resources available and importance of effective advocates, partners and suppliers
• Adaptable/agile: digital landscape changes rapidly so plan should be top-level and have scope to iterate, learn and evolve
• Senior stakeholders involved in policy and plan rather than e.g. limited to digital marketing function
Principles for a good digital strategy
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Year 4 plan
The planning cycle
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Investing in major initiatives
Digital policy
Year 1 plan Year 2 plan Year 3 plan
Project iteration/review
‘Big splash’ vs ‘iteration’
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• Link to overall mission
• Current status of digital practice
• Opportunities for digital to support mission and objectives
• Key digital principles and commitments
• Responsibility for policy and review process
• What will success look like?
Digital policy requirements
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• Digital objectives
• Key activities to meet each digital objective
• Targets: set clear, ambitious but realistic targets
• Budget/resources for each activity
• Deadlines: include a clear timeframe and milestones
• Responsibilities: identify who will oversee and who will deliver each activity
Digital plan requirements
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Audiences
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• Starting point: what is your current online reach and engagement (see ‘Effective use of data’ below)?
• Segments: are you targeting activities to specific audience segments (e.g. Audience Spectrum)?
• Audience outcomes: are activities focused on achieving clear outcomes (e.g. building brand awareness, marketing creative programme, engaging with creative content, building brand loyalty, generating online income, gaining feedback)?
• Audience interests: have you considered different audience needs/interests (e.g. new audiences vs existing, traditional arts audiences vs others, in area vs out of area, diverse audiences, children and young people)?
Audiences: who and why?
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• Have you focused on realistic channels for your audiences and content?
• Sustainability: do your plans support regular content/communication on each channel or do you risk spreading efforts too thinly?
• Audience usage: have you selected channels where your audience segments already consume content and will content work with the devices those audiences use and typical interaction patterns (duration, frequency)?
• Usability and accessibility: have you considered audience access (e.g. mobile vs other devices, subtitling of dialogue, user testing of significant builds)?
Audiences: channels
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• Marketing budget: is the budget/resource allocated to marketing at least 10% of content/production budget (ideally greater, especially if there’s a high expectation of new audience acquisition)
• Content discovery: have you considered how the audience will find the content?
• Social media: paid for promotion of content (can be very targeted and cost-effective e.g. budgets in the £10s per promoted post)?
• Influencers: using your contacts network to promote content via social media (e.g. trustees, friends, high profile talent)?
• Search engine optimisation: ensuring text has key search terms and new websites are optimised
• Retention: does your marketing plan include driving repeat engagements with existing audiences (cheaper to retain than to acquire new)?
Audiences: marketing
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Do you have realistic targets for reach, engagement and audience outcomes?
• Are targets set from a useful baseline? Be wary of metrics like social media “impressions” and Facebook video views which don’t necessarily mean content has been engaged with
• Do you know your current level and growth rate for your target metrics? Plans which assume greater than a 30% improvement in growth rate are ambitious
• Do you have a plan, skills and time to: focus on the most relevant, actionable metrics; set up dashboards for easy monitoring; regularly interpret and share data across the organisation to evolve plans?
Audiences: effective use of data
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Content production
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• Produce one at a time to gain learning and apply to next project allowing 3 month+ pre-production timeframe
• Clear audience targets, distribution and marketing approach
• Cross-departmental and senior buy-in (e.g. creative/curatorial in conjunction with educational and marketing)
• How will the plan build after year 1, learn intelligently and share learnings rather than just doing more of the same?
• Long-form capture typical budget range £35k to £100k (below £25k likely to be archive usable only)
Content production: long-form video
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Costs from Canvas for 3-5 minute videos (excluding rights clearances):
• A) £1k - £1.5k = freelance producer/camera operator/editor charging £300-£500 per day. 1 day shoot and 2-3 day edit
• B) £1.5k - £2.5k = small production company perhaps e.g. second camera operator, dedicated editor, simple graphics
• C) £2.5k - £5k = 2-3 camera operators and/or 2 days shooting, dedicated editor, experienced exec producer/production manager, more elaborate graphics
• 360 degree filming: typical budgets in the £5k to £7k for short-form but budget range can vary substantially
Content production: short-form video
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• Planning phase to consider: user journeys, accessibility, mobile optimisation, SEO, content migration/redirecting from old site where applicable
• Clear schedule with time for testing, content population and iterative development (3 months minimum)
• Plan for ongoing content management responsibilities, maintenance and hosting requirements
• Simple website with open source CMS from £10k. E-ticketing additional £5k to £10k for separately hosted solution or from £30k to £100k for something seamlessly integrated into the main website
• Assume site will require substantial reinvestment/replacement every 3-4 years
Content production: new website build
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• Plans should focus on user experience and be technology agnostic: once experience is clear, what is the best technology to enable the audience to engage with it?
• App store discoverability, getting users to install and to return to the app are major barriers to reach and engagement
• Reduce costs by using software/toolkits to create apps for e.g. Apple and Android or deliver regularly used features: e.g. augmented reality location/image detection
• App development from £10k for the app (that’s before cost of content/animation and marketing, so typically £50k+ total cost)
Content production: apps and Virtual Reality or Augmented Reality experiences
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Organisational
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• Combine a holistic approach to digital (i.e. not just marketing or standalone software) with small practical steps
• Consider using lower cost software-as-service providers rather than investing in bespoke systems
• If making large investments look at options to cost share with other organisations or to build systems that can be reused in future
• Consider long terms costs (e.g. hosting, maintenance, updates)
• Do your timescales and budgets allow for prototyping and then refining and iterating (i.e. ‘agile’ development)?
Operations, resilience and sustainability
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• Have you thought about future digital exploitation of new physical pieces (e.g. ensuring digital rights are clearable even if not any immediate plan for online publication)?
• Have you considered rights ownership for any bespoke digital production (e.g. for a new website have you considered ownership of code, design and content)?
• The Space is exploring with industry stakeholders the potential to develop more standardised digital rights frameworks for publicly funded UK arts
Rights management
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Is there a clear plan to gain and/or sustain the following skills either in-house or through partners/suppliers?
• Board/trustee experience with digital?
• Skills in data tracking and analysis?
• Digital marketing skills?
• Digital production skills?
Leadership and skills: organisation planning
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In summary
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• Integrated with business plan: mission/objectives, creative/curatorial, marketing, education, staffing and budget
• Audience-led: puts audience reach and engagement at heart of the plan
• Focused on strengths or opportunities specific to the organisation rather than spreading efforts too thinly
• Realistic: recognises current starting point, skills and resources available and importance of effective advocates, partners and suppliers
• Adaptable/agile: digital landscape changes rapidly so plan should be top-level and have scope to iterate, learn and evolve
• Senior stakeholders involved in policy and plan rather than e.g. limited to digital marketing function
Principles for a good digital strategy
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Sector resources
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• The Space!
• Audience Agency: digital marketing for arts organisations
• Chartered Institute of Marketing: digital marketing
• Creative Skillset: funding for training and accreditation
• Decoded: from coding to digital leadership
• Digital Action Plan: digital skills training for charities
• E-marketeers: digital marketing and project management
• General Assembly: design, marketing, technology, data
• Ten Ten: rights management
• Webcredible: all aspects of digital training
Training providers
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• See links in ‘Useful Resources’ p.21 of Digital Policy and Plan Guidelines
• The Space: online resources e.g. case studies, how-to guides
• Audience Agency: Digital Snapshot newsletter
• Chris Unitt: Cultural Digital newsletter
• Capacity Interactive: New York arts digital marketing consultancy. Articles and email newsletter
• IPA: best practice guides on e.g. finding and briefing an agency
• We Are Social: social media blog
• Thinking Digital: annual conference on technology, ideas and future
Online resources
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Example projects
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Creative content
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Abandon Normal Devices: In the Eyes of the Animal
• Forest based VR experience with online extension
• Exploring the visual world of different animals in the forest they inhabit
• Distribution: forest installation, festivals, YouTube 360, Country File
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Cath Le Couteur & Nick Ryan: Adrift
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• Film, physical installation and Twitter interactive piece focused on subject of Space debris
• Launched at Royal Astronomical Society. Generated national and international media coverage
• Film placed on sites such as Nowness
• Installation will appear at science festivals and museums
Serpentine Galleries: Zaha Hadid VR
• Four VR experiences in Gallery developed from individual paintings
• Partnership with Google Arts & Culture emphasises benefit of seeking technology partners
• Architectural nature of paintings works well in 3D virtual reality environment as comparatively easy to model well at lower resolutions
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Captured content
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Miracle Theatre: Cinderella
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• Part of a series of ‘lo-fi extends’ from The Space
• Using social media to market and extend reach of live performances/events
• Short-form content and promotion on Facebook, Twitter and Instagram
• Use of consultants to establish a model for future low-cost project support
Artichoke: London 1666
Extending audience for a live event in which a replica of City of London was burned on Thames to commemorate Great Fire of London:
• Pre-event short-form content for social media
• YouTube live stream (including Visit London)
• BBC Four documentary following day resulting in pick-up from e.g. Songs of Praise
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Streetwise: The Passion
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• Capture of Easter performance by homeless charity Streetwise working with professional choir The Sixteen
• Broadcast on BBC Four and via Streetwise’s own YouTube channel
• Helped build social media audience for future projects
• Raised brand awareness of the charity and its activities
Complicite: The Encounter
• Binaural live stream of sold out show
• 7-day online availability with distribution including Guardian, Timeout, Barbican
• Used supportors network: video snippets and countdown clock embedded on websites of supporting organisations
• Online international audiences made business case for additional tours in USA and Australia
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Cultural learning content
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Glyndebourne: opera guides
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• 5 different interactive guides with re-usable, mobile friendly framework
• Concise text with embedded video content
• Teacher resources tailored to subject, key stage and learning format
• Budget structured so that costs significantly lower for future iterations because of investment in reusable technology
Tyneside Cinema: Time Machine
• Interactive game, website, mini films, classroom resources with finale in cinema
• Encourages engagement with history of the cinema via creative themes and venue itself via finale
• Won multiple digital awards
• Income of £150-£300 per school session
• Launched in 2012 and still investing in refreshing content today
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Nottingham Castle: Riot 1831
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• 2014 Digital R&D Fund for the Arts project
• Augmented Reality exhibition with 3D real time environments and animated first person performances
• 77% of visitors found AR engaging
• 85% agreed interactive elements made experience more memorable
Detroit Institute of Arts: Lumin
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• Uses Google Tango technology with GuidiGO augmented reality platform creator: cost benefits of frameworks
• Tour stops include e.g.
• X-ray view of the skeleton inside a mummy
• See the original vibrant colours of a beige limestone sculpture
• Reconstruction of gates of ancient Babylon in front of a section of wall
• Launched 25 Jan 2017
Content distribution & exhibition
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Cinegi: public screenings of filmed content
• Digital service for public screenings to reach audiences in e.g. village halls, community centres, arts centres, pubs
• Filmed theatre, dance, ballet, opera and music – from the major arts companies to the mid scale and smaller
• Content of varying lengths – from 3 hours to 10 minutes – venues can create programmes of multiple titles
• Launched January 2017
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The Old Market: #TOMTECH
• Story Hack event and blog exploring use of VR and other technologies in creative story telling
• Building a digital community around an venue and encouraging collaboration and R&D
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Tyne & Wear Archive and Museums: Collections Dive
• Collaboration between Tyne & Wear Archives and Museums, Nesta, AHRC and Microsoft Research
• Promotes serendipity in search: scrolling speed alters choice of related items or random new topics
• Complements a more traditional search interface
• Three iterations of user testing and improvement
• System learns from user interaction
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• Useful resources at Collections Trust ‘Digital isn’t Different’ and Museums Computer Group
• Consider the audiences for archives projects, from museum staff, trustees and sponsors through to public audiences
• Consider the use cases from free use, social sharing to commercial exploitation
• Ensure systems have technical standards to support a Create Once Publish Everywhere (COPE) strategy
• For archiving of digital creative projects there are challenges around future access to works that depend on hardware/software that may then be unavailable. Video walk-throughs are a low cost reliable way to archive aspects of an experience
Preservation and archiving
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John White – Chief Operating Officer
http://www.thespace.org
http://www.facebook.com/thespacearts
https://twitter.com/thespacearts
Thank you! Any questions or suggestions?
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