Is there more to it than posting a status update?

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however, seemed to believe that the content that a museum posts is something that could have a viral effect. They believe that people would like to share the posts onwards to their friends, even though it comes from a “faceless” organization, as the content always has something to do with the arts and not, for example, selling a certain item to people. When asked what could further help in the activation of the customers a few informants mentioned the amount of fans (the more fans the more opportunities that someone will react) and the change in style of communication overall. I don’t remember anyone ever just coming and writing something to our wall. …It would already help to have more fans. …But also something is needed that the fans can grab onto. (Informant 7, Museum 5, A small museum in a medium sized town). - It would take time to improve, and perhaps also some ”juicy bites” there that would provoke conversations… (Informant 4, Museum 3, A medium sized museum in a medium sized town). In the offline world museums communicate to their customers, and potential customers, through their own magazines (in the larger museums), adds, flyers, posters and invitations to openings. When talking about these some of the informants noticeably relaxed, as it seemed to be more familiar to them than social media. One informant talked about the ease of approaching the museum in this offline context; the material needs to be of certain kind to make it more “approachable”. We thus got a change to ask about the easiness of approaching the museum in an online context as well, and got some interesting answers. The informants felt that a museum can make itself more approachable by conducting in social media. They hoped it would lower the bar for those who don’t really know what to expect, or how to behave in a museum. This was then raised as one of the most important issues as to why a museum would be in social media to begin with. Social media doesn’t change it (the mission of a museum), on the contrary,there we try to find more of the touch points to our customers. Thus, what we do here would become more approachable to people. (Informant 7, Museum 5, A small museum in a medium sized town). - I think it (social media) allures people to come visit. …There can be a teaser online… …Many times people feel astrainged from museums… …because they don’t know what 75
there is or how to behave, or what then and what they get out of the visit… …This is material that helps people to get familiar (with the museum). (Informant 5, Museum 4, A medium sized museum in a small town). The museums do seem to recognize very strongly that content is king in social media, even though they have not really had time, qualification, or desire to think about how the content is received by different audiences. They feel the way something is said is secondary to the thing that is being said. The different types of content (links, video, slides, photos et cetera) do evoke different kinds of reactions in their fans, and are shared onwards with different levels of activity. A few informants did deliberate also on how it affects the relationship between a customer and an organization that the organization status updates, posts, or “tweets” appear always under the organization name, facelessly. They found it might be nicer for the individual customer, or fan, to see who is actually behind the post, but at the same time they did not want to subject themselves into that kind of exposure. It is not (name of informant) who is writing to people… Though it could be. …It would be more personal than having an institution (name of museum) telling something… …But then one would need to think to whom it would be personalized into. I don’t want it to be me. (Informant 2, Museum 1, A large museum in a big town). One informant thought a solution to the facelessness could be a fictional character created by the museum that could give “a face” to the communication. On the contrary, another informant self-imposedly noted that any kind of fictional characters would be a bad idea as it would be too artificial. Is there a high bar (for an individual) to communicate with a faceless institution? …In a way it’s good that an institution does not get personified into anyone. …On the other hand perhaps it could be a fictional character? (Informant 7, Museum 5, A small museum in a medium sized town). - …We don’t want it to be a fictional mascot…that’s doing the talking…Neither do we want for private people to represent the museum. (Informant 4, Museum 3, A medium sized museum in a medium sized town). 76
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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
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1.1 Research questions and structur
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& Levy (1969) defined it, it is jus
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profit, and governmental. Each of t
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and the consumer of a service are t
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3 THEORY: RELATIONSHIP WITH THE CUS
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3.2.1 A mindset for customer relati
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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 and 62: interviews, instead of unstructured
Page 63 and 64: The methods used for data collectio
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: wise to consider the style of writi
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
Page 95 and 96: utilization, would be clear to them
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
Page 113 and 114: Sorav Jain. ”40 Most Popular Soci
Page 115 and 116: APPENDIX 1: List of Finnish art mus
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