Page 57 - AC/E Digital Culture Annual Report 2014

AC/E digital culture ANNUAL REPORT 2014industry or brand that give body to this strategy such as how many and what kind of books people read, if they go to exhibitions, if they often go to the theatre, their musical preferences, where and how they buy their tickets, etc.Facebook have relations with brands and 32% on Twitter. Here we have our first conclusion, namely, the greatest engagement between brands and users is on Facebook, advantage being taken of the fact that there is no limitation to the length of the message to be published and there is the possibility of adding support material such as a photo or a video. Furthermore, any other user following this profile can leave a message or simply say they like the content. It is important to remember that in some cases, this can mark the point where a more profound conversation or reflection can commence.Secondly, a report by the CMO Council in December 2011 indicated that 80% of consumers say they are more likely to try new products and services when they receive recommendations for them from friends in social networks.And finally, a report from the McKinsey consultancy in June 2009 stated that two of every three information points influencing purchasing decisions were not generated by the companies involved but by other consumers. That is to say, it is the community itself that determines and defines the behaviour of the members of the group with regard to recommending purchases.Everyone knows that a recommendation to visit an exhibition that comes from a member of the family or a close friend is always more important to us than one that can be read in a Sunday cultural supplement section of a newspaper. When speaking of “the power of the recommendation”, the credibility and trust in the source of that recommendation counts for everything.With this data we can say that in today’s digital spaces a philosophy and a strategy are being created and designed to link customers to collaborative conversations in pursuit of mutual benefit: customer loyalty with regard to the cultural content they demand and, from the company’s perspective, knowing, better than ever before, what consumers want with regard to content, timing and form.But now, due to the intensive use of social platforms, there is a third criterion for achieving this segmentation, and that is the level of relation and interaction of users within the social networks. What is their activity like, is it sporadic or frequent? Do they interact with specific groups? Do they habitually share content of interest? Are they considered to be prescriptors, opinion leaders, or are they users who are interested in specific topics? How many followers have they got? What kind of followers are they? Are they producers capable of generating content, or are they just dispatchers who distribute what they receive? Do they regularly update a blogwith culturalinformation? Dothey establishlinks with otherfollowers? Andso on.In the world of marketing special attention and large resources have always been devoted to creating CRM models and setting up solutions that help the brands to identify the users who relate with them, and get to know them more and better. The aim of seeking this broad relationship is no other than to learn about their behaviour and to create a more personalised communication strategy, one that is more closely based on fulfilling their expectations and that is completely adapted to their tastes and preferences.Now, with the arrival of digital spaces for relation and conversation we are faced with a new model that is key for learning more about users: the Social CRM.Three starting points can be observed. Firstly, according to a study carried out by The Cocktail Analysis consultancy (4th wave) 65% of users onAC/ESocial CRM consists of identifying and actively listening to users via the social mediaWHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURETHEME 5: CULTURAL SECTOR MARKETING AND CONSUMPTION THROUGH DIGITAL TECHNOLOGY CURRENT PAGE...57