Click here to download

Facebook and Twitter, social networks for culture. An investigation on museums
Journal Title: MERCATI & COMPETITIVITÀ 
Author/s: Fabrizio Mosca, Bernardo Bertoldi, Chiara Giachino, Margherita Stupino 
Year:  2018 Issue: 2 Language: English 
Pages:  21 Pg. 39-59 FullText PDF:  495 KB
DOI:  10.3280/MC2018-002003
(DOI is like a bar code for intellectual property: to have more infomation:  clicca qui   and here 


Social networks are used by companies in order to maintain contacts with existing customers and gain new clients. In the cultural sector these instruments have been adopted only recently. The contribution of new technologies is crucial specially in terms of the huge opportunities they offer to give and receive feedback as well as to create a direct relationship between institutions and audiences. For museums, being online is as important as knowing how to use Web 2.0 in an effective way. Over the last decade, museums have experienced a strong cultural shift from object-oriented towards audience-oriented strategic approaches. Measuring the engagement rate of museums on the main social networks (Facebook and Twitter) is a first indication of the ability of museums to engage audiences, regardless of their popularity or the number of annual visitors. However, considering the number of Likes or Tweets is not enough to evaluate the effectiveness of the social strategies of museums. Users must feel part of museums’ life and interact with it. This research analyzes the results obtained by four samples of museums (varyingly well-known) on their Facebook and Twitter page with the aim of evaluating their level of interaction with audiences.
Keywords: Digital Marketing Museums, Social Networks, Engegement Rate.

  1. Alexander C., Burnette A., Dark D., Hart D., Rossi J and Minor N. (2008). Beyond Launch: museum videos on YouTube -- www.archimuse.com/mw2008/papers/hart/hart.html.
  2. Anderson G. (ed.) (2004). Reinventing the Museum. Historical and Contemporary Perspectives on Paradigm Shift. Oxford: Alta Mira Press.
  3. Bakhshi H., Throsby D. (2010). Culture of Innovation. An economic analysis of innovation in arts and cultural organisations. NESTA 1 Plough Place London EC4A 1DE
  4. Barrett J. (2011). Museums and the Public Space. West Sussex: Blackwell.
  5. Belk R.W., Wallendorf M. and Sherry J.F. (1989). The Sacred and the Profane in Consumer Behavior: Theodicy on the Odyssey. Journal of Consumer Research, 16(1): 1-38.
  6. Black G. (2010). Embedding Civil Engagement in Museums. Museum Management and Curatorship, 25(2): 129-146.
  7. Bodo S. (2003). Il museo relazionale. Riflessioni ed esperienze europee. Torino: Edizioni Fondazione Giovanni Agnelli.
  8. Boylan P.J. (2004). Unesco-International Council of Museums. [Online] – Available at: http://unesdoc.unesco.org/images/0014/001410/141067e.pdf.
  9. Camarero M.C. & Garrido M.J. (2008). The role of technological and organizational innovation in the relation between market orientation and performance in cultural organizations. European Journal of Innovation Management, 11(3); 413-434.
  10. Capriotti P. (2010). Museums’ communication in small and medium-sized cities. Corporate Communications: An International Journal, 15(3): 281-298.
  11. Capriotti P., Carretón C., Castillo A. (2016). Testing the level of interactivity of institutional websites: From museums 1.0 to museums 2.0. International Journal of Information Management, 36: 97-104.
  12. Capriotti P., Pardo Kuklinski H. (2012). Assessing dialogic communication through the Internet in Spanish museums. Public Relations Review, 38: 619-626.
  13. Carnwath J. D. & Brown A. S. (2014). Understanding the value and impacts of cultural experiences: a literature review. London: Arts Council England.
  14. Cataldo L., Paraventi M. (2007). Il museo oggi. Linee guida per una museologia contemporanea. Milano.
  15. Chung J., Wilkening S. and Johnstone S. (2008). Museums and Society 2034: Trends and Potential Futures. American Association of Museums Centre for the Future of Museums.
  16. Colbert F. et al. (2012). Marketing culture and the arts. Montreal: Carmelle and Rémi Marcoux Chair in Arts Management.
  17. Conner L. (2004). Who gets to tell the meaning? Building audience enrichment. GIA Reader, 15(1): 11-14.
  18. Cova B. (1999). From marketing to societing: when the link is more important than the thing. In: Brownlie D., Saren M., Wensley R., & Whittington R. (Eds.). Rethinking marketing: towards critical marketing accountings (pp. 64-83). London: Sage.
  19. Dawson B. (2008). Facilitating Innovation: Opportunity in Times of Change. Museum Management and Curatorship, 23(4): 313-331.
  20. Durbin G. (2004). Learning From Amazon And EBay: User-Generated Material For Museum Web Sites. Museums and the Web 2003 Papers. -- http://www.museumsandtheweb.com/mw2004/papers/durbin/durbin.html. Fabris G. (2003). Il nuovo consumatore: verso il postmoderno. Milano: FrancoAngeli.
  21. Fletcher A., Lee M.J. (2012). Current social media uses and evaluations in American museums. Museum Management and Curatorship, 27(5).
  22. Giannini T., Bowen J. (2015). A New York Museums and Pratt partnership: Building Web collections and preparing museum professionals for the digital world. MW2015:
  23. Museums and the Web 2015. -- http://mw2015.museumsandtheweb.com/paper/anew-york-museums-and-pratt-partnership-buildingweb-collections-and-preparingmuseum-professionals-for-the-digital-world/.
  24. Gonzalez R., Liopi J. and Gasco J. (2015). Social networks in cultural industries. Journal of Business Research, pp. 823-828.
  25. Gronemann S.T, Kristiansen E., Drotner K. (2015). Mediated co-construction of museums and audiences on Facebook. Museum Management and Curatorship, 30(3): 174-190.
  26. Hausmann A. (2012). Creating ‘buzz’: opportunities and limitations of social media for arts institutions and their viral marketing. International Journal of Nonprofit and Voluntary Sector Marketing, August, 17(3): 173-182.
  27. Heath C., von Lehn D. (2009). Interactivity and Collaboration: new forms of participation in museums, galleries and science centres. In: Parry R. (edited by). Museums in a Digital Age. Milton Park, pp. 266-280.
  28. Jarrier É., Bourgeon-Renault D. (2012). Impact of Mediation Devices on the Museum Visit Experience and on Visitors’ Behavioural Intentions. International Journal of Arts Management, 15(1): 18-29.
  29. Kaplan A.M. and Haenlein M. (2010). Users of the world, unite! The challenges and opportunities of social media. Business Horizons, 53(1): 59-68.
  30. Kelly L. (2009). The Impact of Social Media on Museum practice. Taipei: National Palace Museum.
  31. Kelly L. (2009). The Museum’s Social Media Strategy. [Online] -- Available at: http://australianmuseum.net.au/BlogPost/Museullaneous/The-museums-socialmedia-strategy.
  32. Kidd J. (2011). Enacting engagement online: framing social media use for the museum. London: City University.
  33. Lehman K., Roach G. (2011). The Strategic Role of Electronic Marketing in the Australian Museum Sector. Museum Management and Curatorship, pp. 291-306., 10.1080/09647775.2011.585806DOI: 10.1080/09647775.2011.585806
  34. Lippincott J.K. (2010). ‘My Information:’ Digital Libraries, Social networking, and the User Experience. In: Kurbanoˇglu S., Al U., Lepon Erdogan P., Tonta Y., Ucak N.
  35. (edited by). Technological Convergence and Social Networks in Information Management. Second International Symposium on Information Management in a Changing World, IMCW 2010. Ankara, Turkey. September. Proceedings Communications in Computer and Information Science (CCIS), n. 96, Berlin Heidelberg, pp. 1-2.
  36. Livingstone S., Das R. (2013). The end of audiences? theoretical echoes of reception amid the uncertainties of use. In: Hartley J., Burgess J. and Bruns A. (eds.). A Companion to New Media Dynamics. Oxford, UK: Wiley-Blackwell, pp. 104-112.
  37. Lynch C. (2000). Authenticity and Integrity in the Digital Environment: An Explanatory Analysis of the Central Role of Trust. [Online] -- Available at: http://www.clir.org/pubs/reports/pub92/lynch.html.
  38. Marty P. F. (2008). Museum websites and museum visitors: Digital museum resources and their use. Museum Management and Curatorship, 23(1): 81-99. Minghetti V., Moretti A. and Micelli S. (2002). Reengineering the Museum’s Role in the Tourism Value Chain: Towards an IT Business Model. Information Technology &Tourism, 4: 131-143., 10.3727/109830501108750949DOI: 10.3727/109830501108750949
  39. Mokwa M.P., Dawson W.M. and Prieve E.A (1980). Marketing in the Arts. New York: Praeger Publishers.
  40. Novak-Leonard J.L., Brown A.S. (2011). Beyond attendance: A multi-modal understanding of arts participation. National Endowment for the Arts -- https://www.arts.gov/sites/default/files/2008-SPPA-BeyondAttendance.pdf.
  41. O’Sullivan T. (2010). Dangling conversations: web-forum use by a symphony orchestra’s audience members. Journal of Marketing Management, 26(7-8): 656-670.
  42. Padilla-Meléndez A, del Aguila-Obra A.R. (2013). Web and social media usage by museums: Online value creation. International Journal of Information Management, 33: 892-898.
  43. Pencarelli T., Splendiani S. (2011). Le reti museali come strumenti capaci di generare valore: verso un approccio manageriale e di marketing. Il Capitale culturale. Studies on the Value of Cultural Heritage, 2: 227-252 (http://www.unimc.it/riviste/cap-cult).
  44. Pett D. (2012). Uses of social media within the British Museum and museum sector. London: Archaeologists and Digital Communication.
  45. Pitts S. E. (2005). What makes an audience? Investigating the roles and experiences of listeners at a chamber music festival. Music and Letters, 86(2): 257- 269.
  46. Prunesti A. (2010). Social media e comunicazione di marketing. Pianificare e gestire le attività di marketing e comunicazione nell’era del Web 2.0. Milano: Franco Angeli.
  47. Pujol L. (2004). Archaeology, museums and virtual reality. Digit·HVM. Revista Digital d’Humanitats, May, 6: 1-9, -- http://www.uoc.edu/humfil/articles/eng/pujol0304/pujol0304.pdf.
  48. Richardson J., 2009. Creating a social media plan for a museum. [Online] -- Available at: www.museummarketing.co.uk/2009/26/creating-a-social-media-plan-for-a-museum/.Russo A. & Watkins J. (2008). New Literacy New Audiences: Social Media and Cultural Institutions. EVA Conference, pp. 225-239.
  49. Russo A., Watkins J., Kelly L. & Chan S. (2006). How will social media affect museum communication? Nordic Digital Excellence in Museums (NODEM).
  50. Sánchez Laws A.L. (2015). Museum websites & social media. Issues of participation, sustainability, trust and diversity. New York and Oxford: Berghahn Books.
  51. Sandell R. (2002) (ed.). Museums, Society, Inequality. London: Routledge.
  52. Simon N. (2010). The Partecipatory Museum. Santa Cruz.
  53. Solima L. (2012). Il museo in ascolto. Nuove strategie di comunicazione per i musei statali. Quaderni della valorizzazione, 1, Soveria Mannelli.
  54. Spiliopoulou A., Mahony S., Routsis V., Kamposiori C. (2014). Cultural institutions in the digital age: British Museum’s use of Facebook Insights. Participations, 11(1): 286-299.
  55. Stuedahl D., Smørdal O. (2015). Matters of becoming, experimental zones for making museums public with social media. CoDesign, 11(3-4): 193-207.
  56. Tepper S. J. (2008). The next great transformation: leveraging policy and research to advance cultural vitality. In: Tepper S.J., & Ivy B. (Eds.). Engaging art: the next great transformation of America’s cultural life (pp. 363-383).Oxon: Routledge.
  57. Zott C., Amit R. and Massa L. (2011). The business model: recent developments and future research. Journal of Management, 37(4): 1019-1042.

Fabrizio Mosca, Bernardo Bertoldi, Chiara Giachino, Margherita Stupino, in "MERCATI & COMPETITIVITÀ" 2/2018, pp. 39-59, DOI:10.3280/MC2018-002003

   

FrancoAngeli is a member of Publishers International Linking Association a not for profit orgasnization wich runs the CrossRef service, enabing links to and from online scholarly content