Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori
•Download as PPTX, PDF•
4 likes•577 views
Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori , Workshop Invasioni Digitali al Digital Think in, Museo Maxxi Roma
Recommended
Recommended
More Related Content
Viewers also liked
Viewers also liked (8)
Similar to Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori
Similar to Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori (20)
More from Fabrizio Todisco
More from Fabrizio Todisco (7)
Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori
- 1. Audience engagement, online e offline la creatività ci aiuta a stimolare la partecipazione dei visitatori
- 2. Chi siamo
- 3. Dal 2013 proviamo a rendere le nostre istituzioni più social. Che cosa facciamo?
- 4. Andando oltre gli strumenti… Non basta aprire un account social per diventare “social”.
- 5. Un museo è “social” quando:
- 6. WELCOME TO DIGITAL ERA "Crediamo che il mondo digitale offra incredibili opportunità alle istituzioni che lavorano con i beni culturali, la cultura e le arti per creare un legame con i pubblici e realizzare la propria mission. Sì, ci sono sfide serie, ma un'istituzione che strategicamente abbraccia la rivoluzione digitale, andrà meglio. Il mondo è cambiato ed è il momento di cambiare con esso." Jasper Visser & Jim Richardson
- 7. Crediamo che internet ed i social media siano una grande opportunità per la comunicazione culturale, un modo per coinvolgere nuovi soggetti, abbattere ogni tipo di barriere, e favorire ulteriormente la creazione, la condivisione, la diffusione e valorizzazione del nostro patrimonio artistico.
- 8. Crediamo in nuove esperienze di visita dei siti culturali, non più passive, ma attive, dove la conoscenza non viene solo trasmessa ma anche costruita, dove il visitatore è coinvolto ed è in grado di produrre egli stesso forme d’arte.
- 9. Engagement?
- 10. Reach Interest Involve Activate Digital Engagement Process Individua il tuo audience e prova a raggiungerlo selezionando i canali giusti. Offri loro dei contenuti di valore capaci di generare interesse Invita loro a partecipare, stimola l’azione e metti in connessione Rendi attiva la loro partecipazione DEP jasper Visser
- 12. L’ENNESIMA APP??
- 13. Crowdfunding
- 14. Alcuni torinesi hanno continuato a recarsi al museo per effettuare donazioni. Crowdfunding
- 15. “Lasciare che il pubblico prenda il controllo delle immagini è cruciale per incoraggiare le persone a creare un legame con le opere stesse.” Mr. Dibbits (Rijksmuseum) OPEN DATA
- 21. « Coloro che fanno distinzione fra intrattenimento ed educazione forse non sanno che l'educazione deve essere divertente e il divertimento deve essere educativo » (Marshall McLuhan) Gaming
- 22. Hack Museum Disegnare nuovi tipi di esperienze.
- 23. Social events: Museum Mashapp Invasioni Digitali etc
- 24. Co-creation of cultural value with Re-Use of Cultural Content Vocazione di San Matteo, Caravaggio, 1600, San Luigi dei Francesi, Cappella Contarelli – 2014 @ Invasioni Digitali
- 25. Hammer Museum, Los Angeles. Music & Dance
- 27. - Diffondere contenuti di valore - Coinvolgere il proprio audience - Dar vita ad una comunità attiva 3 keypoints:
- 28. Come (costruire una strategia) Digital Engagement Framework
- 29. TOCCA A TE
Editor's Notes
- If museums are to remain relevant, vital, and meaningful, then they must adapt to a changing society, which means not only recognizing and incorporating new digital tools for communication, but more importantly, recognizing the changing needs and aspirations of society as reflected in their communities of physical and virtual visitors.” (225). Susana Smith Bautista
- app ASK del Brooklyn Museum che, prendendo come modello le piattaforme di instant-messaging più famose, ha introdotto la possibilità di ricevere informazioni in real-time sulle opere presenti nel museo direttamente mandando un messaggio o una foto.
- How We Plan a Museum Mashup The impetus behind this is simple: empowerment and ownership. People on Twitter (encouragingly using#MuseumEdMashUp tag) reached out to me asking if they could do a Mashup and/or I or someone from my organization could come out and lead one at their museum. People here were asking if they could come since they weren’t an educator and others asked if they could invite non-art educators. My answer is and always will be yes. Yes, invite non-art educators. Yes, come even if you are scared. Yes, do one anywhere and everywhere. Yes. Found a group of people. As some of you may know, I just moved from NYC to Winston Salem, NC. I knew a handful of people, museum people mostly, through traveling and my partner. After chatting with Debbie Randolph of the Southeastern Center for Contemporary Art, who was part of the NOLA NAEA Mashup at the Ogden, I emailed a group of people I knew in the Triad museum world and told them about the idea. I asked them to ask people they knew, and we had a group. Found a place and date. Lucky for us, Debbie had done the Mashup in NOLA and knew how successful it could be. She offered to host the first at SECCA. As a group, we did a Doodle poll and found a date and time frame that worked for the majority. Promoted away! Yep, promotions before logistics. Since the basic idea was experimentation, and because I had done a Mashup before, I wrote a quick blurb and put up a Facebook Event. The Engaging Educator wrote a press release and shared it with SECCA’s Marketing Director, who shared it with their press contacts. Just did it. Logistics were a big part, and the part that always stresses me out. I broke it down into a few key areas when planning for this Mashup: The Schedule: Mashups are fast. There was 15 minutes alloted for greetings, groupings and a quick warm-up, about 35-45 minutes for the participants to create a 5-7 minute experience, and then the time for the experiences. That last time frame is flexible, based on the number of participants. The Works: Since the exhibition at SECCA, Point & Counterpoint has 18 artists on display, it was natural to use them all, since we didn’t know exactly how many people would be attending. Alex Brown from SECCA printed out cards with the artist names, and the groups would randomly choose which artist they would be working with. Some artists had multiple works, but ultimately it was up to the group to decide what they wanted to create. The Groups: As people walked in, they signed in. Taking the total number and dividing by three people per group, people were assigned into six groups in the good old fashioned method of ‘1, 2, 3, 4, 5, 6…1, 2, 3, 4, 5, 6…ok all the 1’s over here, the 2’s over there.’ I ended up doing this in a notebook and just calling out each group, but that elementary school grouping happened in a tiny moleskin. Facilitation: The facilitator is crucial, but the lack of facilitator voice is even more important – it isn’t their show. Debbie introduced SECCA and the exhibition, and I explained the Mashup goals – random groups would randomly be assigned a work, they would have a finite amount of time to create an experience with the work. This experience would have to be experimental – that is, no VTS, inquiry, traditional teaching styles, and ideally something that could fail. Aside from instructions, the facilitator needs to push the event along, but not comment. While I did lead the group in an improv warmup (everyone felt scared! I feel energies too often in rooms, so I had to fix it!), I timed groups, cut them off when they went over time, and turned the attention over to the next group. On a personal note, I leave things vague and don’t like to give the group ideas, suggestions, props – I want them to define experience themselves, the interpretation to come organically and the experience to be group driven, not agenda driven. Yes, I would love to see everyone do crazy out there experiences – but risk to me is very different than risk to others. Lunch: Lunch was provided for the participants. This is optional, clearly, and our next one (YES, we have another planned!) will happen after lunch. I’m a fan of giving people some kind of treat after positive-risk taking. Reflection: They came, they created, they presented, they ate, and they reflected. Below, you can read the reflections of several participants – I left it optional to submit a written reflection, but post-lunch we chatted about a few key things. I asked the group to think about how they felt before, during and after the Mashup, what successes and failures they saw and had, and what can they do today, tomorrow or eventually with what they saw today. Those questions were also posed to the group for the written response.