Julianna Yau’s blog

Because I need to feed the geek in me.

 

TIAC - Understanding Your Audience and Your Community

Ken Coulter’s presentation, Understanding Your Audience and Your Community – Mapping Software that Reveals Key Characteristics, was mostly a case study in what the Oakville Centre for the Performing Arts was able to get from MapInfo Inc’s PSYTE.

Much of the information he presented is available on PSYTE’s website, so here are the general thoughts/notes I was able to get out of the presentation:

-tracking info about audience
-what do they believe and how do we talk to them?

Todays Audience
-values based on age

Changes, Changes, Changes
-flexibility, choice and convenience
-the value proposition (time vs money)
-brand loyalty
–brand is the trust in your implied promise
–consistency of what is offered

-membership mapping

~where are they? who are they? how do they spend their money?
~what about the people you WANT to attract?

-using stats to determine what type of content to produce for communications
-story captures
-outcomes
-pre and post change surveys

-people want their opinions to be heard
-what does your service do for the community?

-stats also give you a view of how others see you
-one time buyers (important because they had to change their behaviour to interact with you) vs behavioural subscribers vs loyal subscribers
-what do you provide that others don’t?
-computer as communication device, not calculator or typerwriter

User Generated Content – what people are saying to each other about you

Environics Institute
-EXPENSIVE!!!

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Filed under : arts administration, technology in the arts conference
By Julianna Yau
On May 10, 2008
At 8:19 pm
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TIAC - Where Virtual Worlds Collide

This afternoon, there was a workshop presented by Rowley Mossop: When Virtual Worlds Collide - Challenges for the Arts in the Hypermedia Age. It was a much more focused presentation and discussion on some of the things discussed by Eli and John this morning, but with a much stronger marketing slant (comments with ~ are mine):

-songza.com

-new media –> impact on:
–concept of rarity
–production, distribution, etc
–behaviour & expectation

-the experience –> the emotional investment
-price/value of distribution & experience is shifting

-incumbent media are innovating to protect the value of their existing experience & products
-entrant media are innovating to build new businesses from new experiences & products
-innovations will impact how audiences expect to experience culture

-how can we use emerging technology to create something of value to attract and retain users/buyers?
-what is valuable to users? buyers? advertisers? funders?

-concept of RARITY
-emerging technology combinations are replacing rarity with ubiquity
–songza
–youtube
the real news (broadcast out of Bathurst St in Toronto; technology has made it possible to reach a wide audience with a small budget)
-being able to find things
–rarity used to be a value because things were hard to find; ubiquity now more prevalent and effective
~~> but, again, what about Barney?

-”we all know now that intellectual property doesn’t mean much”
~~> what?!?!

-asking why people would go to concerts which were formerly sold on rarity if everything is available online
-need another strategy if your work is based on rarity (again, what about Barney’s success at forcing rarity?)

-market definitions based on geography
–no longer apply
–used to NEED to have geographic footprint & monopoly due to technological restraints
–because of reach, loss of local ads & personalities as value
–also loss of value for scheduled programming to reach specific audience

-users don’t pay content creators for access
~~> no, they pay the companies who provide access to the content, which is causing a whole host of problems between creators and those companies

-cost of content creation & distribution dropping
-boundaries of IP are dissolving
-offline, the cost of production is often higher than the price people are willing to pay for it

-new tarrifs, new ways to pay, new products
-ad-supported content

~it’s easy for people to make money by creating content in new formats and media, but what about people who are offering traditional things? how do we bridge the two? esp with physical objects?

-it’s all about “the experience”
-how to make live experience valuable rather than simply a replacement
-people find there is a higher engagement level online
-incorporate audience into the art!
-sampling ~~> not just for beauty products and food!

-metropera.com/metroperafamily.org
–haven’t changed the core of what they do or offer
–created impression of rarity
~~~>how does that fit with all the talk about rarity disappearing? I think there are two models here…
–redefined their market
–made themselves THE opera house of the world
–multiple formats of broadcasts; many ad-supported

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Filed under : arts administration, social networking, technology in the arts conference
By Julianna Yau
On May 9, 2008
At 8:32 pm
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Probing the Concept of “Free”

One of my friends sent me a link to Stuart Jeffries’s article on freeconomics (sic). I went from not intending to blog about the article to wanting to leave notes all over it the way I do with books (using stickies, of course).

It wasn’t until a few paragraphs into the article that I started to see how it was applicable to more than flying for free. During the first 1/3 or so of the article, my mind was swimming with questions on what the definition of “free” was and is. Thankfully, I was able to temporarily put those questions aside when I reached Chris Anderson’s quote that “a free lunch doesn’t necessarily mean the food is being given away or that you’ll pay for it later - it could just mean someone else is picking up the tab”. Although I don’t completely agree with that definition of free, it’s sufficient in providing a context for Anderson’s position as presented by Jeffries.

The concept of generating revenue from something which is not the primary product is still something I’m struggling to apply to artists who create unique (or limited editions of) works of art. I’ve been asking myself the question “how can we make that work” for so long that I’m starting to loose faith and wonder whether it’s even possible. The most successful non-traditional business model of which I’m aware (for visual art) is the one being used by Matthew Barney, and that doesn’t involve giving away anything for free (except for limited images online).

Distinguishing between “feels like free” and “free” is something we need to accomplish. I wonder how many of the creators who balk at “free” are unhappy not because their work is so accessible but because there is the feeling of the work being taken rather than given. Creative control is a big concern for most creators, and its most recent manifestations in copyright law litigation suggest that maybe it’s not just the money we’re worried about.

The most overwhelming thing about the article? It lead me to three or four books to add to my already long list of books to read.

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Filed under : arts administration
By Julianna Yau
On May 6, 2008
At 8:38 pm
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MCM’s new book: Panda Apples

At copycamp, I met MCM, author of the well-known (at least by most copyright geeks) The Pig and the Box. I had actually read the book when it first was released, but didn’t remember it until I saw the cover. It’s a great commentary on the shift in how some creative works (like music and literature) can be distributed, and challenges our traditional concepts of where the value of something exists. What threw a wrench into my though process was the use of physical objects to represent intangible copies. Although I understand the necessity for that to make the concept easier to understand, it did make me temporarily uneasy because it’s already becoming increasingly difficult for sculptors and other artists who make tactile objects to explain that there is still a very real (and, often, steep) cost to production (not to mention our desire to make one-of-a-kind or limited-edition works).

MCM now has a new book, Panda Apples. He explained the life of this book as being something of a counter experiment to The Pig and the Box. With The Pig and the Box, he invested almost no marketing time or money, and didn’t start to offer the option of donations or actual purchases of paper books until he was actually asked for them. Unlike The Pig and the Box, Panda Apples is not merely a collaboration (with Len Peralta), but also being supported by marketing which The Pig and the Box didn’t have. A few days ago, MCM told me that:

Again, with very little marketing […] we’ve had about 2,500 downloads and 250 purchases. So already, in this first 24 hour period, I’ve technically earned more than I did on the Pig book after a year

Panda Apples is probably also benefiting from MCM’s past exposure from The Pig and the Box. It’ll be interesting to see how this turns out!

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Filed under : copyright, internet
By Julianna Yau
On May 4, 2008
At 2:41 pm
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Is there hope for alternative business models?

Close on the heels of Sidorkin’s article on Matthew Barney’s mode of generating income from his art is an article by Glenn Peoples about fan-funded musicians (via Michael Geist). Barney’s model is about selling more than merely the film and distributing the film differently. However, the fan-funded model is essentially turning the traditional model of music production on its head. Rather than getting a record company to cover the costs of production, the musicians are going to their fans for the money. It almost feels like a commissioned process, only with multiple financial sources and great creative freedom. If this can be maintained (and can maintain the financial stability of the creators), it would be an excellent model.

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Filed under : music
By Julianna Yau
On March 12, 2008
At 8:10 pm
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The “Matthew Barney” Model

Gleb Sidorkin has written for Tisch Film Review the article I’ve been wanting to write on this blog about Matthew Barney’s model for generating income from film. Unlike most “indie” film-makers (I use the term loosely — Barney is more of a multimedia artist than a “traditional indie film-maker”), Barney does not seek mass distribution of his work. In fact, most people are probably out of luck if they have missed The Cremaster Cycle or Drawing Restraint while they were “on tour”. It wasn’t until last summer when Anthology Film Archives in New York was screening Cremaster 2 as part of a Norman Mailer event that I was no longer one of the many Barney fans who had not actually seen any of his work. Sidorkin’s article is very thorough and insightful, and provides part of the answer to my burning question: what about visual artists?

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Filed under : art, copyright, movies
By Julianna Yau
On
At 5:52 am
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Norwegians try P2P distribution

Ars Technica covers the p2p distribution experiment conducted by a Norwegian broadcaster. Maybe if they’re smart, they’ll even start embedding advertising, perhaps as watermarks or product placement, in their shows to find a revenue source. Considering they don’t have to pay for much of the distribution aside from the initial seeding, it should allow them to dramatically reduce the cost of distribution.

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Filed under : internet, technology
By Julianna Yau
On March 3, 2008
At 4:46 pm
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For-Profit Open-Source Software Concepts and Impacts on Other Creators

Next Thursday, The Center for Internet and Society at Stanford is presenting “Innovation Goes Public”, a talk by Bruce Perens on business models for open source software.

Sadly, jetting off to Stanford for a day to attend the presentation isn’t within my time or fiscal budget. I suspect that much of the presentation will focus on shifting from the sale of software to the sale of technical support. But, despite this, I also suspect the very basic concepts behind the shift in business models may be of use to other creators (visual artists, musicians/songwriters, writers, movie-makers, etc).

What is persistently annoying for me is my inability to see how visual artists can rethink their business models in this new environment where distribution is dramatically easier than before. Are we to rethink what influences the value of a work of art? What does influence the value of a work of art? Will multiple copies of a work still decrease its value in the current environment? Does that apply to all media?

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Filed under : art, technology
By Julianna Yau
On February 26, 2008
At 4:09 pm
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Facebook doesn’t exist purely for our entertainment? Gasp!

Last week, I was reflecting on the fact that my cynicism actually protects me from quite a bit of frustration. This reflection came just in time for me to be aware that because I don’t expect anything to be done for the right reasons, I am not shocked to find capitalists behind the bubbly front of social networking sites. I do, however, still experience quite a bit of frustration because I maintain that things should still be done properly, and am often called an idealist for that reason…but that’s a whole other discussion.

Tom Hodgkinson’s article on the “shady” inner workings of Facebook sound, to me, like the lamentations of someone who is more naive than insightful.

I totally respect the fact that there are many people out there who choose not to participate on websites like Facebook (even though I give some of them a hard time, just for fun). Like phones, email, post mail, VOIP, instant messaging and “the rest”, a social networking site is merely a tool, and doesn’t work for everyone.

Personally, I like maintaining regular contact with friends and colleagues through Facebook because it allows me to do it on my own time. Of course, it’s no substitute for in-person interaction but I find it very handy for keeping abreast of my friends’ more mundane events. By doing so, I’ve noticed that when I have lunch with a friend, we can have more [frequent and valuable] meaningful conversations without having to play catch-up firstly.

If someone else wants to use it as a make-shift dating site or homage to themselves, do I really care? Not so long as I continue to be able to ignore their requests to be my friend. Like in a high school or any other social space, cliques form naturally and most people gravitate towards others who are there for similar purposes. I’m sure the people who are merely on Facebook to boost their self-image think that people like me are taking the fun out of Facebook by using it to network professionally, but don’t really care because there’s enough space for us all.

Hodgkinson’s profiles on the brains and finances behind Facebook were actually a very interesting read. I’m sure he had intended for the information to show how that Facebook is really being operated by “The Man”, but I found their histories to be quite cool. I had not known about Peter Thiel prior to reading Hodgkinson’s article, but found his work to be extremely exciting. I know my affinity towards Thiel is mostly due to “The Diversity Myth”, which he co-wrote, because it seems to be a more expansive version of the same realization I reached in high school during one of our many assemblies to “celebrate multiculturalism”.

Although I don’t think Facebook is perfect (far from it; I agree with Hodgkinson’s, and most other people’s, dislike for the recent fiasco over the opt-out/opt-in problem with Beacon), many of the problems Hodgkinson has with Facebook are not unique to Facebook.

1 Everyone will advertise at you

Facebook doesn’t charge for membership, and instead uses advertisement as its main source of revenue. Even newspapers like The Guardian, in which Hodgkinson’s article was published, use advertisement. Not only do many other businesses use ads, and targeted ads, as part of their revenue source, not all of them are transparent about their ad targeting practices.

2 Nothing ever gets deleted on the internet

Maybe not nothing ever gets deleted, but data retention is a huge issue which is not limited to Facebook. You’ve got to be very new to the internet if you aren’t aware that anything you put online will probably exist until the end of time (or at least the end of the internet), either online, on a backup, or on someone’s personal computer.

3 Privacy isn’t guaranteed anywhere anymore

Social networking sites may make private detectives a thing of the past, only to be relived in Film Noir, and are certainly making people realize that privacy is an illusion. While I don’t agree that privacy should be allowed to be an illusion, I also realize that anyone who really wants to know about my most intimate confessions will find a way to do so, whether I’m on Facebook or not. Luckily, I don’t think anyone really cares to do so.

4 Facebook only knows what you tell it

Most of the information you give Facebook for it to build a profile on you is optional. Users need to take responsibility for how they share their information. If you’re going to do it through Facebook, of course they’re going to use that data. Duh. Many of the fields, like your gender and marital status, are optional. So are the bajillion applications which harvest more information about users. Just because you’re presented with a field doesn’t mean you need to complete it. Social networking sites need to be responsible for how they use the data they have, but the users who provide that data share that responsibility and need to start owning up to it.

5 Opting out doesn’t mean closed communication…ever

If Hodgkinson ever read any other privacy policy (like the one for a financial institution or utilities company), he’s probably likely to find that they also indicate that opting out of notifications will not cease all communications. I assume those clauses exist so that the company with which you’re doing business can still contact you if there’s a problem with your account—whether they abuse that is a whole other issue, and I have yet to be spammed by Facebook. They actually deliver fewer direct mailings (via email) to me than my credit card companies, opting instead to broadcast updates on their blog.

6 The CIA would probably look at your stuff anyway, if they really needed to

Does anyone really think that the CIA, or any other homeland security organization, would not be able to access your information on a social networking site just because that site’s TOS didn’t say that they could? I don’t.

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Filed under : internet, privacy, social networking
By Julianna Yau
On January 27, 2008
At 4:58 pm
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