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Museum number Museum size Town size Categorizations 1 Large Big A large museum in a big town 2 2 Large Big A large museum in a big town 2. 1 3 Medium Medium A medium sized museum in a medium sized town 1 4 Medium Small A medium sized museum in a small town 2 5 Small Medium A small museum in a medium sized town 1 6 Small Small A small museum in a small town 2 Table 3: Categorization of museums interviewed In Table 2 the studied museums, are presented and categorized. They are given a number and a category to ease the reading of the “Findings” chapter. Also the number of informants per museum is presented in Table 2. The sizes of the museums and the towns were defined as follows. A museum categorized in this research as small, had less than 10 000 visitors, medium sized had 10 000 – 50 000 visitors, and large museums had over 50 000 visitors in the year 2009, according to the National Board of Antiquities in Finland (National Board of Antiquities, 2011). The towns categorized in this research as small had under 100 000 inhabitants, medium sized 100 000 – 200 000 inhabitants, and big town more than 200 000 inhabitants in the turn of 2010, according to the Population Register Centre in Finland (Population Register Centre, 2011). As some of the museums wish to stay anonymous, these categorizations are used to define what kind of museum is in question. 4.2 In-depth interviews The different approaches to an in-depth interview (later on simply ‘interview’) can be categorized into objective and active as the two extremes of a continuum. In the objective approach the goal of the interview is to find out pieces of information. This usually produces an answer to questions like how things are. The active approach then again considers the interview as a dialog. This way one gets an answer to questions like how the informants see their reality. (Holstein, 1997) Within the present research, the style of interviewing is a somewhat a mixture of the two mentioned styles. Number of informants There are different types of interviews based on how fixed the questions are, when the situation begins. This research takes on the rather wide approach of semi-structured 59
interviews, instead of unstructured interviews, where the interviewer has only prepared the topics they want to discuss but no formal questions, or a structured interview where the posed questions need to be exactly the same for all informants. A semi-structured interview means the interviewer has some questions laid out that help him/her to have some control over the topics of the interview, but they can change the order of the questions as best suits the situation, and they can pose new questions of something the interviewee has said. (Bryman, 2008, 699-700; Arksey & Knight 1999, 7). The semi-structured interview is the most commonly used form in qualitative research. Interviews, or focus groups, are an appropriate way of learning about an unfamiliar subject (Rasmussen et el., 2006, 99). When there is no ready literature or statistic on a topic, as was the case within the present research, the knowledge needs to be acquired from the people who work with the topic (in this case the informants at the museums). This kind of information is then coloured during face-to-face contact with expressions, body language, stressing of certain words, and the level of excitement towards the topic, for example (see Gordon, 1999, 138). All the interviews for the present research were conducted in a face-to-face situation, not, for example, through email or phone calls. The questions for the interviews were composed through the themes occurring in the relevant previous literature, creating a level of credibility, and information gathered from the museums’ own webpages and social media profiles and pages. Face-to-face interviews, which are relevant for the present research, can have different forms; there can be multiple interviewees or multiple interviewers in one interview. (Arksey & Knight 1999, chapter 6). In the present research the interviews were conducted either with one or two informants at the time to make the best out of the situation. In three of the interview situations there were two, instead of only one, informant present, either partially or throughout the interview. Pair interviews are a common way of interviewing for qualitative research (Eriksson, 1986, 21; Gordon, 1999, 88). In total six (plus one) interviews were conducted for the present research. In addition to the six interviews conducted with the museum employees, one interview was done in order to get a better view of the title and the research area. This interview was conducted with a senior researcher and the research director from the Foundation for Cultural Policy Research, Cupore, in Helsinki (see Cupore, 2011). This interview was done in the beginning of the research project in the late 2010 in order to hear whether the topic would be currant and interesting for the actual arts community in 60
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Is there more to it than posting a
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Tiivistelmä Tämä tutkimus osalli
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5 FINDINGS OF THE RESEARCH ........
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1 INTRODUCTION “Winning and keepi
Page 9 and 10: museums, are expected to outperform
Page 11 and 12: 1.1 Research questions and structur
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Page 17 and 18: and the consumer of a service are t
Page 19 and 20: 3 THEORY: RELATIONSHIP WITH THE CUS
Page 21 and 22: 3.2.1 A mindset for customer relati
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Page 29 and 30: RM, however, is not a new phenomeno
Page 31 and 32: step to creating a relationship. Wi
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Page 35 and 36: all problems, for example, also in
Page 37 and 38: Traditionally customers have seen t
Page 39 and 40: entire process of co-creation of va
Page 41 and 42: messages received by the customers
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Page 45 and 46: engage with the organization in soc
Page 47 and 48: media in an organization, and thus
Page 49 and 50: 3.5.1 Social media applications Soc
Page 51 and 52: & Leighton 2011). Kozinets et al. (
Page 53 and 54: approximately 30 percent of the use
Page 55 and 56: developed for the function of filte
Page 57 and 58: important, what will it give to the
Page 59: 4 METHODOLOGY In order to find out
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Page 65 and 66: with regard to the number of organi
Page 67 and 68: collections, the museums spent 2,8
Page 69 and 70: using the internet, but also they a
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Page 75 and 76: wise to consider the style of writi
Page 77 and 78: there is or how to behave, or what
Page 79 and 80: Even though a few museums seemed to
Page 81 and 82: …There, in the online world a mus
Page 83 and 84: sized museum had, not only customer
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Page 87 and 88: Yes, you could day the experience i
Page 89 and 90: inquired on whether different conte
Page 91 and 92: 6 DISCUSSION In this chapter the fi
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Page 97 and 98: 7 CONCLUSIONS In this chapter a dis
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Page 101 and 102: large-scale interactions with exter
Page 103 and 104: 8 REFERENCES Alasuutari, P. Laadull
Page 105 and 106: Conway Tony & Debra Leighton. ”Co
Page 107 and 108: Grönroos Christian. ”Service Qua
Page 109 and 110: McDaniel Clay. ”3 Key Metrics To
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Passebois Juliette & Philippe Aurie
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Sorav Jain. ”40 Most Popular Soci
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APPENDIX 1: List of Finnish art mus
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