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Finland. Encouraged by this first interview the actual interviews for the research were conducted in the summer and early fall of 2011. All of the informant interviews were conducted within the physical space of each art museum in question. Usually it was either in the office of the interviewee, a conference room, or a public cafeteria located in the museum premises. The length of the interviews varied from a minimum of approximately 25 minutes to a little less than an hour, placing an average of 39 minutes 54 seconds per interview, as is quite suitable for qualitative interviews in general (see e.g. Gordon, 1999, 83). The person interviewed, in every museum, was the one actually creating their social media presence, or deciding on issues related to it. The idea was to reach the people who are indeed behind the updates and posts of that museum, as their view tell the most up-to-date reality of the utilization of social media in the museums. The issue was approached from a practical level, which led to the communications managers, project planners, customer services managers, curators, et cetera. In one smaller organization, where there is not a communications manager, we interviewed the general manager. In Table 3 the titles of the informants are presented, as some of them wished to maintain anonymous. Museum Lenght of Inteview No. Titles of informants Interview date number interview date Public Relations Manager A large museum in a big 1 (Asiakkuuspäällikkö) town Museum 1 39:10 30.6.2011 Communications Manager A large museum in a big 2 (Tiedotuspäällikkö) town Museum 1 39:10 30.6.2011 Communications Manager A large museum in a big 3 (Viestintäpäällikkö) town 2. Museum 2 25:30 21.6.2011 Service manager / Educational Curator (Asiakaspalveluvastaava / 4 amanuenssi) A medium sized museum in a medium sized town Museum 3 38:19 26.9.2011 Project Planner A medium sized museum 5 (Projektisuunnittelija) in a small town Museum 4 49:01 12.9.2011 Museum Director A medium sized museum 6 (Museonjohtaja) Museum Exhibitions and in a small town Museum 4 49:01 12.9.2011 Communications Curator A small museum in a (Museoamanuenssi, näyttelyt, medium sized town 7 tiedotus) Museum 5 34:37 19.9.2011 Museum Director A small museum in a 8 (Museonjohtaja) small town A small museum in a Museum 6 53:00 26.9.2011 9 Archeologist (Arkeologi) small town Museum 6 53:00 26.9.2011 Table 4: Titles of informants of the present research 61
The methods used for data collection are appropriate for this line of study, as there was no information available on how Finnish museums act in social media, nor the reasons behind their actions, when the research began. One-to-one interviews were selected due to practical reasons; for example group interviews were not possible, as most of the museums interviewed have scarce resources, and it was difficult enough to even reach one person at the time. Also some of the museums interviewed only haw a few employees, so a group interview would have been impossible. Theoretically, though, group interviews could have provided the same information as one-to-one interviews did. 4.3 Analyzing the data One of the things that distinguishe qualitative from quantitative analysis, is the evaluation of the data collected. In qualitative research the analysis of the data begins already while the data is still being gathered. When something interesting was discovered in one interview, that was utilized in the next one, as is usual for qualitative research (Rasmussen et al., 2006, 110). In qualitative research process, where the analysis is ongoing, also the research questions may change along the way (Ghauri et al., 1995, 96). The present research started from the idea of investigating the strategy of museums in Finland and comparing those to their online behaviour. However, within the process the research problem was narrowed down into its present form. All the interviews, except for the first directional interview with Cupore staff, were recorded. After the interviews the recordings were listened to at least two times in order to form an accurate picture on the attitudes and ideas of the informants. After this the interviews were all transcribed into a written format. The written interviews were further studyed by reading them through and analysing also the possible hidden meanings behind the actual words. Alasuutari (2001, 71), notes that there are at least two possible ways for analyzing interviews; the fact and the sample approaches. The fact approach considers what the informants say to be a fact, and tries to categorize what the informants have said, thus looking for regularities in the data. The sample approach, then again, looks for irregularities in the data and tries to interpret what is behind the interviewee’s answers. However, these two approaches often are so intertwined that it’s difficult to see the difference (Alasuutari 2001, 71), which is why also in this research both of the approaches are used. 62
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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
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museums, are expected to outperform
Page 11 and 12: 1.1 Research questions and structur
Page 13 and 14: & Levy (1969) defined it, it is jus
Page 15 and 16: profit, and governmental. Each of t
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
Page 23 and 24: depends on the customer and industr
Page 25 and 26: to understand in service organizati
Page 27 and 28: fact that a service is created at t
Page 29 and 30: RM, however, is not a new phenomeno
Page 31 and 32: step to creating a relationship. Wi
Page 33 and 34: 25). When the clientele of an organ
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
Page 43 and 44: confused with the technology behind
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 and 60: 4 METHODOLOGY In order to find out
Page 61: interviews, instead of unstructured
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
Page 71 and 72: Registered as a user in a social ne
Page 73 and 74: does what, at least almost on case
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
Page 85 and 86: We don’t know whether people from
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
Page 93 and 94: Another concern the museums pointed
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Page 97 and 98: 7 CONCLUSIONS In this chapter a dis
Page 99 and 100: that even when people do arrive int
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
Page 111 and 112: 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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