Content marketing in the arts

C O N T E N T M A R K E T I N G A N D T H E A R T S

AUDIENCE ENGAGEMENT WITH IMAGES IN A POSTMODERN WORLD

PATRICK TOWELL, CEO

T H E E C S T A S Y O F C O M M U N I C A T I O N

“In any case we will have to suffer this new state of things, this forced extraversion of all interiority, this forced injection of all exteriority that the categorical imperative of communication literally signifies.”

“[the subject] becomes a pure screen a pure absorption and re-absorption surface of the influent networks.”

The Ecstasy of Communication, Jean Baudrillard, 1987


49% check their phone within five minutes of waking (83% after 30 minutes)Global Mobile Consumer Survey, August 2016 Deloite

73% of adults use social media 2015 (66%, 2013)Media Literacy Tracker, Ofcom

66% of adults use mobile phone to access internet 2016 (57%, 2014)Tech Tracker, Ofcom


“Users of mobile video will more than double to 2bn users by the end of 2022, equal to a 36% penetration among global mobile users”Global Mobile Video Forecast: 2010-2021, Strategy Analytics, July 2016

“Although one might be tempted to conclude that multi-screeners are endlessly distracted… data shows they're actually more observant…”July 2016, YouGov

“Around one-third of adult internet users… had an ad blocker installed on their desktop PC, and… 27% on their mobile device.” eMarketer

T W O WAY S T O C R E AT E VA LU E F R O M S T I L L & M O V I N G I M A G E S

Your own Content Marketing

Licensed for others’ Content Marketing

WH AT I S CO NTE NT MAR K ET IN G?

”the discipline of the marketing of branded content”Defining Branded Content in the Digital Age, UK Branded Content Marketing Association, 2016

“the discipline of creating quality branded content across all media channels and platforms to deliver engaging relationships, consumer value and measurable success for brands… …worth more than £5bn in the UK alone” UK Content Marketing Association

WH AT I S BRAN DED CONTE NT?

“any manifestation associated with a particular brand in the eye of the beholder”

or…

“it's any [communication/] content that is created and paid either wholly or in part by a brand [owner]”

Defining Branded Content in the Digital Age,Branded Content Marketing Association, 2016

A U D I E N C E E N G A G E M E N T W I T H B RA N D E D C O N T E N T

“audiences/stakeholders actively engage with it”

“content that the audience are going to genuinely want to watch”

“good enough for people to opt to see it”

“not interruptive messaging – [advertising]”


CR EAT I NG B RANDED CON TEN T

“content marketing is always, always, always about the audience… [they] come first”

“what would be entertaining – what do they want to know?”

“we don’t talk as a brand; we talk about what's interesting to people”

“content marketing fails…when you don’t carefully consider your audience in the first instance“


'Girl with Dogs' 1893, Charles Burton Barber

C O N T E N T M A R K E T I N G I S N O T N E W !

B A R R I E R S T O E F F E C T I V E C O N T E N T M A R K E T I N G

“Budgets are being used to produce content – but not to:

• Promote content, or

• Measure its effectiveness”

Curing the Content Headache,Branded Content Marketing Association, 2016

( S O M E ) T O P RA N K I N G C U LT U RA L O R G A N I S AT I O N S I N V I D E O burstinsights.co

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( S O M E ) T O P RA N K I N G C U LT U RA L O R G A N I S AT I O N S I N V I D E O burstinsights.co

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T H E I N T E R N E T O F P E O P L E ( I N S T E A D O F T H I N G S )

• We are entering the era of the Personal Information Economy

• Our personal data represents us – and our interests and tastes

• Entertainment, leisure, lifestyle and culture services, brands and organisations will all be optimising the content we receive based on this personal data

T H E I N T E R N E T O F P E O P L E

The focus of public funding is shifting:

• from producing work and supporting conservation

• to engaging audiences and delivering public value

We need as much metadata about people as we do about images

Image metadata needs to represent potential ‘personal meanings’ for people in their world view

Aligning the profiling of people and images is data-informed curation

O L Y M P I C SL E G A C Y

W E S T H A M

R I V E R L E A

C O N V E R S AT I O N A L E N G A G E M E N T – I M A G E S G I V E U S S O M E T H I N G T O TA L K A B O U TCollaboration with g39, Artes Mundi and Oriel Wrecsam

Arts version of a cross between ‘conversational commerce’ and ‘visual‘ psychological profiling

Putting a curatorial sensibility onto the choice of images and words to engage people

Capturing ’personal meanings’, interests and permissioned contact information

Funded by the Digital Innovation Fund for the Arts in Wales

D A T AC A P T U R EG O A L S

http://www.golantmediaventures.com/interesting/madonna-blue-death-and-taxes-solving-the-data-problem-haunting-the-

arts

W H AT I S V I S U A L P S YC H O M E T R I C P R O F I L I N G ?

Visual quizzes are based on images to deliberately trigger a rapid, emotional reaction from deep in participants’ subconscious.

VisualDNA is one such service:

“40m people have taken worldwide – the world’s largest psychometric database – with Demographics, Interests, Intent, Personality data”

RockSo what kind of music do you like?

Classical

Electronica

Whale song

Sneak preview –

work in progress!

KnittingSo what kind of craft do you engage with?

Bullet journal

Baking

Chain mail

Sneak preview –

work in progress!

Continue

In which case, you might like Anish Kapoor, an Indian-born sculptor who is known for his

monumental minimal sculptures. He was responsible for the

ArcelorMittal Orbit at London Olympic Park!

Sneak preview –

work in progress!

The shackWe're very pleased that we're still on your cultural radar / itinerary. Now, let’s get to the

art. This work The Poison of Free Thought, Part II is a

new sculptural work that Mark has made in response to Mike Kelley’s work. It expands on an

increasingly apocalyptic vision in Mark’s work and thinking. This is part of a multifaceted

project by S Mark Gubb, all under the umbrella title of Revelations. Here are some references that are present in Mark’s work. Pick one that

you want to explore first:

The inverted crucifix

The atom bomb

The KKK

Doing other things

Sneak preview –

work in progress!

It looks great in the space doesn’t it? Clad in galvanized corrugated sheet and with no doors

or windows, this structure’s purpose isn’t immediately obvious but is reminiscent of

utilitarian buildings with a social purpose such as church halls, cub scout huts, club huts, even

Anderson shelters. Mark’s structure is in fact based on a shotgun shack, those basic American dwellings primarily found in the southern states. The nickname came from the observation that it would be possible to open the back door and the

front door, fire a shotgun through the middle, and hit nothing on the way through

The shack

continue

Sneak preview –

work in progress!

Everyone loves neon art! Mark is interested in the power of the object as a vehicle for communication,

whether that be a grand sculptural statement or something more subtle or fleeting. The inverted neon cross is immediately emblematic of Satanic

practices. However, the inverted cross symbol comes from the crucifixion of St Peter, who

requested he be crucified upside down as he wasn’t worthy of being crucified in the same way as Christ. There is a long historical precedent of the use of the inverted cross in the Catholic religion to represent

humility, specifically the humility of St Peter, whose direct historical lineage leads to the standing Popes

of today

The inverted crucifix

continue

Sneak preview –

work in progress!

BAR R I ER S TO CONT ENT (R E )U S E

Only 17% say that content is easily retrievable

49% cite finding content as one of top 3 barriers

Only 21% believe they have the right organisation or structure

• Many siloed

• Some centralised

• Few integrated

Curing the Content Headache,Branded Content Marketing Association, 2016

M A N A G I N G A N D E X P LO I T I N G C O N T E N T – R E V I E W O F A S S E T M A N E G E M E N TConsiderable resource and staff time spent on creating, managing, finding and (re)using still and moving images:

• photographs, drawings, plans used by technical teams

• material that is shared with audiences – online, print, in-venue etc

• marketing of productions, ’the House’ and its companies, corporate services

• commercial reuse

We were asked to review how still and moving images were managed and exploited – for public and commercial value

M A N A G I N G A N D E X P LO I T I N G A S S E T S – R E V I E W AT T H E R O HKey findings were:

• Still and moving image and ‘technical’ production content have different kinds of assets that need to be stored and retrieved differently

• Reuse for content marketing, development, participation & learning, reviving/touring productions and commercial exploitation does need to search across all types of asset

• For images to be meaningful and reusable a considerable amount of information needs to be associated with them – but this risks being duplicated and inconsistent across multiple systems

M A N A G I N G A N D E X P LO I T I N G A S S E T S – R E V I E W AT T H E R O HKey recommendations were:

• Still, moving and technical content assets should be managed in different systems

• ROH needs an Enterprise Architecture defining which systems hold the master of which content or information – and which other systems access this information

• Systems external to the asset management systems should hold the master copy of:

• Information about productions (the creative works underlying the content)

• People appearing in or who have helped make the creative works and/or content

• The rights (including crediting rights) people have in content

D I F F E R E N T S Y S T E M S , S A M E S TA N D A R D S

M A N A G I N G A N D E X P LO I T I N G A S S E T S – R E V I E W AT T H E R O HKey recommendations were:

• Common data standards across asset management systems will enable cross-searching and interoperability

• The data standards need to cover the semantics of what, who, where, when

• To make this work and be valid an Information Architecture needs to be created based on a model of the real world of how the ROH works – not its data or systems

T H A N K Y O U A N D Q U E S T I O N S

AUDIENCE ENGAGEMENT WITH IMAGES IN A POSTMODERN WORLD

PATRICK TOWELL, CEO [email protected]

@go lantmed ia