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This Week’s Top Audience Stories: Coerce Your Audience Or Follow It?

November 10, 2019 by Douglas McLennan Leave a Comment

This Week’s Insights: The insidious narrowing of algorithmic taste… Publishing depends more on the hits… Netflix is changing and the audience is following… Cellphone prison for theatres?… What happens when library fines are gone.

  1. If Algorithms Shave Off The Edges, What’s Left? It begins with a good impulse – people want to be able to find things they’re interested in. Content makers also want to get their work in front of people who will appreciate it. So algorithms facilitate this process. But over time, content makers adjust to make their work better feed the algos. And consumers over time narrow their choices as their innate taste is reinforced and refined. Writer Zadie Smith identifies a problem: “The key with the unfreedom of the algorithm is that it knows everything and it feeds back everything. So, you can no longer have this bit of humanity which is absolutely necessary — privacy: the sacred space in which you do not know what the other thinks of you.”
  2. Publishing Is More Dependent On Mega-hits Than Ever: Though the hits-driven nature of publishing has not changed in recent years, the nature of those hits has. Due to a number of coalescing factors—including a shrinking physical retail market and an increase in competing entertainment driven by the proliferation of streaming TV platforms—book publishing has watched as a handful of mega-selling titles have begun to command an ever-larger share of its sales. This doesn’t mean smaller titles will disappear, but it’s the content that is selling that is being impacted.
  3. Netflix Is About To Change. The Audience Will Change: The vast majority of Netflix’s viewers (upwards of 80 percent, according to him) watch licensed content (“Friends” and the like) and in order to create a library of programming audiences will pay for, the company’s gone massively in debt: “Netflix is currently in the hole for about $20 billion. This is unsustainable. Additionally, a lot of that licensed content will go away and streaming services melt away. So Netflix will have to fundamentally adapt.
  4. Is The Solution To Ringing Phones In Theatres A “Cellphone Prison”? Some believe so, and some theatres are locking up phones as patrons arrive. It’s effective sure. But does it address the wrong problem? People forget to turn their phones off, so aren’t effective reminders better? Evidently not.
  5. Eliminate Library Fines, Increase Returns: Will public library users return books on time if they aren’t under threat of overdue fines? Turns out yes. The Chicago Public Library dropped fines and found the return of late books increased by 240 percent. “It’s a big piece of evidence countering a major argument used by those arguing against ditching overdue fines for library books.”

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WALLACE FOUNDATION AUDIENCE RESOURCES

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This article and video are part of a series describing the early work of some of the 25 performing arts organizations participating in The Wallace Foundation’s $52 million Building Audiences for Sustainability initiative. Launched in 2015 in response to concerns about a declining audience base for a number of major art forms, the endeavor seeks to help the organizations strengthen their audience-building efforts, see if this contributes to their financial sustainability, and develop insights from the work for the wider arts field.


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Analysis showed that while the company’s core audience bought several tickets each year, even tending to schedule their May and June around opera season, newcomers behaved differently.




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In line with the community’s spirit of innovation, Seattle Symphony is using audience research to help target and woo recent transplants.





Denver Center Theatre Company is Cracking the Millennial Code...One Step at a Time
The average single-ticket buyer at the Denver Center Theatre Company is 50 years old and the average subscriber is 63, despite the fact that millennials, a group often defined as people born between 1981 and 1997, compose the largest age group in Denver. Since 2010, the Denver Center has been engaged in an iterative process of experimentation, evaluation and refinement to help reverse this trend.



The Party’s Still a Hit: The Isabella Stewart Gardner Museum Builds on its Millennial Momentum

That ongoing research has revealed areas to adjust, as well as successes. Soon after the re-opening, for example, the team partnered with a local music school, taking the opportunity to hold 45-minute concerts in Calderwood Hall. But in part through survey results, it realized the approach didn’t work. [read more]



Austin Ballet’s “Familiarity” Problem And How It Learned To Connect With New Audiences



“Encouraging people to attend the ballet more often was less about increasing their familiarity with productions and more about bridging an uncertainty gap. “Familiarity is about information,” notes Martin, “whereas uncertainty about how an experience will feel is much more personal. You can give somebody a lot of information but that’s not necessarily going to reassure them that they’re going to belong in that audience.”

How the Contemporary Jewish Museum
Expanded its Reach



​​​The Contemporary Jewish Museum in San Francisco moves to a larger space and secures a nine-fold increase in family visitors of all backgrounds.

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