Post by arfanho7 on Feb 25, 2024 1:52:00 GMT -6
Digital activities can be tracked through clicks page views and time on the site as well as through a host of other metrics. But says Avery there is often still not a direct link to the type of customer behavior we want to measure such as ticket sales. What s the value of a Facebook like or a re tweet or a blog comment There is no magic formula we have for linking this type of digital activity to the actual sale.
In addition to the presumed increase in ticket sales Tate has found value in the information users have provided online which has saved the museum costs in marketing by allowing it to target its efforts toward specific communities and around specific visitor interests based on their clicks. Tate has also experimented with monetizing digital content directly by either charging for apps or linking content to suggested products at the online Ukraine Mobile Number List gift shop. For a cultural institution whose mission is to expose the public to art this aggressive digital marketing and selling raises uncomfortable questions about the difference between disseminating artwork and profiting from it. Museum marketing directors are walking a fine line says Avery.
If they are putting free content out there boy are they delivering on their mission but when does that become financially untenable given the cost of producing and disseminating digital content On the other hand if they charge people for digital content they can afford to put more of it out there but when does that become too commercial and risk alienating parts of the public who are unwilling or unable to pay Along with that risk of overcommercialization the push into new online realms also carries with it the danger that the museum will cheapen its position in the art world in order to bring in new audiences. Personally I love the Magic Tate Ball says Avery.d—that it doesn t need to be so serious.
In addition to the presumed increase in ticket sales Tate has found value in the information users have provided online which has saved the museum costs in marketing by allowing it to target its efforts toward specific communities and around specific visitor interests based on their clicks. Tate has also experimented with monetizing digital content directly by either charging for apps or linking content to suggested products at the online Ukraine Mobile Number List gift shop. For a cultural institution whose mission is to expose the public to art this aggressive digital marketing and selling raises uncomfortable questions about the difference between disseminating artwork and profiting from it. Museum marketing directors are walking a fine line says Avery.
If they are putting free content out there boy are they delivering on their mission but when does that become financially untenable given the cost of producing and disseminating digital content On the other hand if they charge people for digital content they can afford to put more of it out there but when does that become too commercial and risk alienating parts of the public who are unwilling or unable to pay Along with that risk of overcommercialization the push into new online realms also carries with it the danger that the museum will cheapen its position in the art world in order to bring in new audiences. Personally I love the Magic Tate Ball says Avery.d—that it doesn t need to be so serious.