Page 56 - AC/E Digital Culture Annual Report 2014

AC/E digital culture ANNUAL REPORT 2014known that this user is keen on art, these are small actions that generate big responses.To this should be added the fact that an opinion published about a work or a book, or feedback about an exhibition that has been visited, becomes an interaction of enormous value since it comes from the right context and is intimately related to the cultural discipline in question.To sum up, the idea is to exceed users’ expectations, to understand that their activities and behaviour in the digital conversational space is providing clues, leaving a trail of crumbs along the way, through which to participate in their conversations and offer content and information of value.Becoming part, always in a natural way, of users’ digital lives, with presence but without insistence, is the natural evolution that actors in the cultural industries must adopt.With the tools available it can be determined when the presence of a publisher or curator of an exhibition is necessary and opportune and when it is better to stay listening, waiting for the opportunity to intervene.WHAT YOU SAY SOUNDS FAMILIAR, DO YOU COME HERE OFTEN?There are, within this new setting of permanently connected consumers, two core aspects when it comes to learning who the consumers are who interact and participate in cultural experiences. The first is the massive participation of users in all the spaces for digital conversation (be they on general topics, or private areas), and more specifically in the social networks. Secondly, companies’ and institutions’ capacity to monitor, listen and filter all the conversations, opinions, references and so forth published by means of them.AC/EFurthermore, we should not forget that almost 80% of Internet users habitually use the social networks (Estudio 2012 del Uso de Redes Sociales en España, IAB) [2012 Study on the use of social networks in Spain, Interactive Advertising Bureau ‐ IAB]. In our country 8 of every 10 Internet users between the ages of 18 and 55 years of age use the social networks and devote more than eight hours a week of their time to interacting with the content and with the friends they encounter there.This combination has all the elements needed to provide rich opportunities for defining plans for establishing contact. These plans should work in two ways, firstly they should aim to broaden and strengthen communication with consumers, and secondly they should create an ever more relevant brand image for the institution or company concerned.The arrival of 2.0 tools, and more specifically that of the social networks, makes it possible to be watching, listening and observing what is going on in the cultural sector to see who is talking, and what they are saying about the last book they read, what they thought of their last visit to the International Contemporary Art Fair (ARCO), what their opinion was as they were leaving a concert at the auditorium. They make it possible to scrutinise customer behaviour, and in great detail. It is also possible, something that is almost de rigueur, to identify who the incluencers and prescribers are, these are the people who use cultural content as the basis for their publications and who, to a great degree, stimulate and interact with this sector, bringing thousands of followers along with them. To sum up, it is necessary to know who is out there and how relevant they are within the community.If we talk about getting to know our public then, logically, we must talk about Customer Relations Management, or CRM‐based strategies whose aim is to typify and segment each user on the basis of three kinds of information. On one hand, socio‐ demographic data (age, sex, level of education, city of residence, etc.) and on the other hand, data that are more based on behaviour in relation to theWHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURETHEME 5: CULTURAL SECTOR MARKETING AND CONSUMPTION THROUGH DIGITAL TECHNOLOGY CURRENT PAGE...56