Google has regularly shared findings from studies conducted from various sources (including its own analytics from searches and YouTube) in Think with Google, which I receive as an email a couple times each month as a subscription. They’ve now gathered those studies together in a new Data Gallery which, of course, can be searched by topic. There’s nothing for “museums,” “historic sites,” or “tourism,” but there is lots for “travel & hospitality.” You can also narrow your search by industry (e.g., “travel & hospitality”), by platform (e.g., mobile, video), by themes (e.g., consumer trends, Millennials, U.S.).
A quick browse through the “travel & hospitality” shows the growing importance of video. For example, their research shows that two out of three U. S. consumers watch online travel videos when they’re thinking about taking a trip and nearly 90 percent of YouTube travel searches focus on destinations, attractions/points of interest or general travel ideas. This suggests that historic sites and house museums need to Continue reading →
In this 2:01 video, Randi Korn explains how museums and historic sites can define impact and how an “impact statement” integrates personal passion, the organization’s strengths, and the audience’s interests and needs. And to measure impact you have to go beyond the usual numbers involving attendance and income and instead look at the experience that people had. This is one in the “Questions of Practice” video series produced by the Pew Center for Arts and Heritage.
In this 4:03 video, Artsy explains why a patron supports an artist and how this influences the art market. What compels patrons to support artists’ careers? How has the model of commissioning impossible ideas lasted from the ancient Egyptians until today? This short film is the third and latest in a series of four short films about the art market by Artsy. Even if you’re not interested in this topic, the interpretive presentation may be a model for your videos.
“From Pixel to Print,” the 2015 report on the use of technology in K-12 education.
Project Tomorrow, a nonprofit organization focused on education, just released a national study on the use of technology by teachers and students called, “From Print to Pixel: The Role of Videos, Games, Animations, and Simulations within K-12 Education.” For the past thirteen years, Project Tomorrow has provided these annual “Speak Up” research reports to help schools and elected officials (and I’m including museums and historic sites) better understand the trends in technology in the K-12 education field. This year’s report incorporates responses from 415,686 K-12 students, 38,613 teachers and librarians, 4,536 administrators, 40,218 parents and 6,623 community members representing over 7,600 schools and 2,600 districts in the United States and around the world.
Groupon founder Andrew Mason guides Casey Newton of Verge through the San Francisco Museum of Modern Art using the latest version of Detour, a location-based outdoor audio tour app that now works indoors as well. Through your smartphone, Detour knows your location in the museum and presents the artworks in that specific gallery along with the associated audio recordings so you can wander (giving you the right information in the right place), as well as 15-30 minute “walks”. Parts of this Verge video are silly and the background music too loud, but it looks like smartphone technology now has the capability to be used at historic sites for self-guided tours of the buildings, landscape, and neighborhood in a way that’s more flexible and responsive to visitor interests.
The video below is a better explanation of Detour’s ability to “automatically guide you as you walk, almost like you’re there with a real person”. It debuted last year with ten Detours of San Francisco (including architecture) at $4.99.
This 1:22 video promotes an exhibition of self-portraits (“autoportraits”) at the Museum of Fine Arts in Lyon, France without any words. Showing a series of portraits that transition through the eyes, it also maintains engagement with subtle and dramatic visual effects. It might be an approach for giving historic images or objects a stronger visual presence in orientation films.
This 5:45 video provides a behind-the-scenes view with staff and residents about a 2014 collaborative exhibition between the Hackney Museum and a local neighborhood. This film documents what the museum staff and community partners learned together, both successes and failures, when they created the “Side by Side: Living in Cazenove” exhibition at the Hackney Museum, located in a suburb northeast of London.
In this 3:38 video, Education Week’s Alyson Klein provides an overview of the changes brought by the Every Student Succeeds Act (ESSA), which replaces No Child Left Behind (NCLB) in the 2017-18 school year. Responsibilities for performance, curriculum, and testing shift from the federal government to the states. For museums and historic sites, that means that your local school district may be adopting new standards of learning, which could prompt you to revise your school programs. States are required to adopt “challenging” academic standards, which could be Common Core but it isn’t required. For more details, take a look at Education Week’s written summary or the analysis in The Atlantic.
In this 1:51 video, Colleen Dilenschneider of Know Your Own Bone explains that nearly 60 percent of Americans don’t know that history museums operate as non-profit organizations. It doesn’t get much better for those who visit history museums—53 percent are unaware. That may be alarming because we often distinguish ourselves by our non-profit status. Dilenschneider, on the other hand, suggests reframing the issue:
Our key differentiator is not our tax status, but that our dedication to making a difference is embedded in the very structure of how we operate. There’s a thought that we need to run “more like for-profit companies” (and in some ways we do, but the blanket directive is an ignorant miss). But look around. For-profit companies are actually trying to be more like us in the sense that they want audiences to know that they stand for something that makes the world a better place.
In this 3:42 video, Jennifer Deal, a senior research scientist at the Center for Creative Leadership in San Diego, California, discusses recent studies that suggest that staying connected to work after hours isn’t the problem, but how organizations respect their people’s time. According to her research,
We found that although a majority of our participants were connected to work for 13.5 or more hours a day, five days a week, and for about five hours total on weekends, they didn’t resent their smartphones. Instead, 60 percent said they appreciated the increased flexibility: Many explained they didn’t mind the additional hours connected with work, if that meant their work time was flexible and they could better fulfill their personal obligations. What did they resent? Having to stay connected because of bad management practices that tied their hands, forcing them to spend business hours waiting instead of working.