 Tēnā koutou. Nā mihi nui ki te mana whenua, tiātiāwa, nāti tō rangatira, nāti tama me hapū koutou o te wanganui o tara, ko Esther Tōbana hau, ko Haurekia hau ki ora and welcome to all the data, the spark, all excess pass in volume. Mainei mese Esther Tōbana, nā i wahanu tō projekti timu wahanui o te wanganui o te wanganui. Along with my colleagues Victoria Travis and Tania Wilkinson, who couldn't be here today, but must be mentioned. Nils and I are fully cognisant. This is 2.45 in the afternoon. It's the last speaking of the conference and our title includes the tantalising phrase, all the data. So your presence is greatly appreciated. Nils, do you want to introduce yourself as well? Kia ora koutou. My name is Nils. I'm the Digital Experience Manager in passing at the Auckland Museum and happy to talk to the second part of this presentation, which is all the data. So see you soon. So we wanted to share with you our experience of adding digital collectible content to a large-scale tune pre-execution. This talk will give you all the data, what worked, what didn't work. But first off, I'm going to describe to you what the exhibition volume was all about. Volume Making Music in Aotearoa was a partnership project between us, Auckland Museum, and New Zealand Hall of Fame Trust, which is comprised of APRA and Recorded Music New Zealand. It was an ambitious project, the first ever major exhibition to tell the story of popular music of New Zealand. Volume closed this year at Auckland Museum in May and opened in October of the previous year. A really important point I want to make about volume is that Auckland Museum does not have a music collection and nor do we have a music curator. This was, from the outset, a community-based project. And probably the best way to illustrate that is the show included a whopping 183 objects, one from our collection. And the rest was us literally going into musicians' homes and finding their lyrics, their clothing, their memorabilia, their journals and their stories and retrieving them from their wardrobes and taking them into the museum. So I think it's probably our team's best example so far of community-based development. And who was it for? The exhibition was developed for an audience we define as independent adults, anyone from 15 and up. But we also had a focus audience of 15 to 25-year-olds, a very elusive audience for museums. You know, these people are out making music and going to gigs, not walking in our door. But we knew if there was ever a show to get them in there, it would be one, this one, about music. And because we were working so hard to get those young folk in the door, we flipped the chronology. We told the story of New Zealand's music from today. We started in the 2000s. When young people worked in the door, they saw their music contemporaries first. And then as they wound their way back through the 1950s, they were getting into touch with less familiar content, content their parents or their grandparents might be having a moment with. So just to be clear that it was starting in the 2000s and it went decade by decade back through to the 1950s. Oh, there's a bank. So there we have the 2000s, Lord. 1990s with a big guitar story for any guitar fans out there. We had 10 guitars from iconic musicians around New Zealand. 1980s, 70s. You'll see a Spideyans costume right there in the far right. And 1950s and 60s, which we combined for the purpose of this exhibition. Anyone wondering about the pink fluffy suit who that belonged to? That was Andrew Fagan from the Mokkas. The project team fell deeply in love with this object for the course of the project and affectionately termed it the Pink Yeti. And Andrew was said to have worn it each night on tour, sweating profusely, never once washed it but would dry it over a heater each night, ready for the next day and the next performance. You can see why we love it. So the exhibition contains, as I said, 183 objects from the community. Over 400 photos. There's a beautiful photo there of Chris Knox with his TAC four track for any flying nun fans. Probably the biggest collection of New Zealand music photography ever sourced in Aotearoa. And a large number of participatory experiences. This was an exhibition about making music. So we wanted to put visitors at the centre of the music as consumers but also provide them with opportunities to have a go at making some. The exhibition was packed with both analogue and digital experiences. For example, you can see here two young visitors learning how to play ten guitars on the ukulele. One point I really want to make clear is that the exhibition's interpretive intent was established from the outset. Imagine that. The level of planning and consideration of the overall visitor experience, the pacing of all the interactives and what we wanted to achieve was very, very clear to us. We had some cool ideas about participatory experiences. We thought they were cool and that included some digital ones. But we didn't have all the answers. So we did an RFP out to a range of digital providers and asked them to respond to some of our cool ideas. And also if they had any of their own. And it's fair to say every one of them came back with this idea of collectible content into Spark. So early on in the project we'd always thought about this idea. Wouldn't it be cool if you could take away some of the stuff that you'd seen in the show, but it surpassed our wildest digital and budditary dreams. About halfway through the development of volume we partnered with Spark. And this enabled us to add this digital layer. Our team had a, I think healthy, nails you might disagree, amount of skepticism about collectible content. We didn't want to just give people labels. They don't want labels to take home. We wanted content that was worthy of collecting. We wanted to add more depth. It's not just the question of can we collect it, but why is a critical decision that we need to ask ourselves. So we worked with Spark and satellite media to identify existing things in the show that we could collect and also develop some brand new ones. I think the beauty of the arrangement is that our intent for the show was matched with Spark's. They didn't just want to slam their logo all over the exhibition. They wanted to enhance the visitor experience. Their presence was an imposition in the show and we tested that actually with some of our VMR research and the findings were supported there. People didn't feel like it was an obvious slamming in of Spark if fitted with our own framework. So this is how it works. We developed an all-access pass, a card, on a lanyard. And each visitor was given a lanyard at the entrance of the exhibition which you can see up there by a visitor host. So a key part of this process is that we all know visitors do not read labels and you cannot rely on text to communicate an experience like this. You need to have a human there, encouraging them and explaining the process. We also knew, we knew, that not everybody would want to engage with our all-access pass and that was fine with us. It wasn't key to the exhibition experience but if there was an interest or an inclination about it that we wanted to make sure they were fully supported to participate. So each pass contains an NFC chip and each night at 3am they would be digitally wiped clean ready for the next day and the next visitor. So they were essentially recycled. So it's pretty simple. A visitor walks through the gallery and when they want to take something away they swipe their pass across a censor station. You can see one up there on the far left. It makes a beep and it's safe to the lanyard. And at the end of the exhibition which you can see on the far right, they swipe for a final time again supported by a visitor host and they enter their mobile number or their email and all their content is sent to them almost immediately. So I know what you all want to know really is what on earth were they collecting. So first off, tiny little image there to represent the first experience which was when you're yet to even get into the exhibition proper so you've just been handily lanyard and you're invited to step on to a hot pink carpet remembering we're a partner of Spark and this is their brand colour. This is the pink carpet moment as if you're a superstar at the Grammys about to pick up a whole raft of awards. It's also a photo moment that you can have with your family and friends. Once inside the exhibition there's full films made with young emerging musicians you might recognise Wellingtonians your own stair up there on the screen we also work with Louis Baker from Wellington Ray Zabeza, hip-hop artist from Hamilton and Campbell from Auckland so four young emerging artists making music in our museum so we filled them after hours in various beautiful locations in the museum on our rooftop in our Māori court in our grand foyer doing acoustic performances of brand new songs. So when visitors arrive in the exhibition the first thing they see actually is young emerging talent in New Zealand but you probably don't want to stand there and watch 20 minutes of film music videos so you can tag it and take it home and watch it at your leisure. Once inside the 2000s we recreated a recording studio. So this is the desk on here is Dave Dobbins actual recording desk and we worked with Satellite Media to create a guided experience where the visitor becomes the producer. So we worked with DJ Sevilla for any MiFM fans and created a video that talked through how to layer up a classic shafu song called Fade Away. So you literally put your fingers on the dials and move the levels up to you've got the right level for the bass, the drums, the vocals. Once you've mastered the track you get to swipe, take away the professional version and also a photo of yourself in that sweet studio with DJ Sevilla. This was what we did is created some Spotify playlists one in every single decade so we worked with musicians, known musicians and asked them what was their favourite music from the given decade. So this one here is Lady Six from the 2000s so she put together her 10 to 12 favourite tracks from that decade and any visitor could take home and listen to what Lady Six was listening to. We're getting there. So 90s DJ Vijay so you couldn't learn the basics of beat matching and adding visuals to music and then take a photo of yourself. The 1980s one of our most popular experiences of all was where you could put your face on the cover of the iconic New Zealand music magazine Rip It Up. The fun bit was being able to choose your own genre and associated graphics whether you were alt fan, a pop fan, a rock fan and the look and feel of the cover would change depending on your choice. I think it's worth mentioning here that for all of these stations you could retake your photo as many times as you wanted until you are happy. A really important point for our consumers and secondly you can tag multiple lanias at the same time so if I'm there with three friends and we take a photo together as DJs we can get those photos together and don't have to recreate each time. In the 1980s we worked for the filmmaker Paul Castley and created five short documentaries one to represent each of the decades and they feature all the artists and all the objects or not all but many of the objects that feature it outside in the physical space. So these were each six to nine minutes long and surprisingly many visitors did sit down and watched them all in one go which totally surprised us. We know people's intention spans in museums is like three to minutes for a film so credit to them, they watched them but also many people tagged them and Nils will show you later how many people took them home and watched them in their fall so that was pretty exciting for us. This is a poster it's like a pokey idea you press the button and you get a random word generated to give you a band name so mine for example was Esther and the Shalty Kumra bandits and then I get to plaster my poster with my name all over the streets of Auckland and lastly fifties and sixties we recreated the Come On studio set don't know if any of you remember Come On hosted by Peter Sinclair was virtual go-go girls dancing in men in suave suits playing the guitar and sorry the takeaway here was you could sit down as this woman's doing take a photo of yourself and then we put that on one of the performers and made a little archive film which was super fun I think embarrassingly we're going to show my one at the end of the show so that was it and now what you've actually come for the data. Right thanks Esther Well over the course of the exhibition we could capture a lot of data more than we've ever managed to capture before for an exhibition interactive so they gave us a lot of stuff to work with and just really explore what sort of insights we could generate from it in the first place there's probably two points of difference worth pointing out comparing it to what Amos was talking about with the Bug Lab data. So first and foremost we were lucky enough for our supplier satellite to crunch all the raw logs for us so we didn't actually have to do that we just got the final cleaned up numbers which was really helpful and secondly due to the mechanism of these personalised tagging laniards we could actually have something that was closer to a website session because we actually could pinpoint it back to a single user or group of single users which meant that it was kind of a bit more known territory in terms of how do you interpret that kind of data because it was a bit more like a website session making it a bit easier for us to make sense of it Anywho that gave us a really good understanding of how visitors use the pass during and after their visit after the visit importantly so in the following let's have a look at some of those numbers first we must have a look at the overall attendance just to kind of set the scene so over the course of those 30 weeks we attracted a total of 270,951 visitors and typically then what happens is that we overlay those over time and see look at the spikes similar to what we saw for bugs and try to make sense of those spikes so the obvious ones here are the school holidays, summer break and Easter and then there was this really ominous one in the middle there that we couldn't make any sense of at all because it just didn't fit the pattern until we pulled in the precipitation levels for Auckland which happened to be just the same and just happened to be a rainy day and people thought let's go to volume, it's nice and dry and have a good time with the museum so that was that riddle solved for us but in terms of uptake of the past once they made it into the exhibition of course we were very interested how they would use it so looking at our analytics we could see that over 98,000 visitors had picked up a pass and tagged at least one item in the show so that means that we had a 47% engagement rate of those visitors who made it to the show and had something with it however we actually assumed that that number is a bit higher because anecdotally we've seen lots of groups especially families sharing passes and doing stuff together with a single pass so that number is probably a bit higher but we don't have any concrete figures on that but those were our engages right now of those 98,000 there's about 66,000 registered their pass at the end of the experience by completing a valid registration so in total numbers that means that we had a 67% conversion rate which is equivalent to 32% of all visitors who made it to the show and we were very happy not to say stoked as with those figures and in our opinion there's two really two main reasons for the success firstly visitors had to return the pass before they were actually in the show and they were encouraged to do so by a visitor host who then encouraged them to sign up and register the details so it was very much a visitor host led experience we didn't just leave it up to good luck but more importantly the registration kiosk were placed at the very end of the show and this meant that visitors felt they had already invested through their engagement and created cool content that they now saw value of which was worthwhile for them to take with them so if we had front loaded that whole process which is a bit tedious you get people to punch in their stuff and it takes wherever, what would I do that I don't even know what to expect at the time they've done all of that and spent all that time they knew what they were going to getting so they were happy to put in their details and we're also really excited to see that over 11,000 people actually return to the exhibition at least once to collect more content so even though that meant that they had picked up a new pass because they had to give their old one back for the left they still use the same unique identifier email address or the mobile number which then allowed us to pair their new acquisitions with their existing collections and provide us with this figure now, all of that activity resulted in a beautiful big dumb number which is just too good not to share because across all the stations within the exhibition we tagged around about half a million items by visitors and probably some staff too going to be honest and there's no way for us to tell how many staff actually staff tags are collated within that number but still pretty compelling number and all of these were stored all these tagged items in this personalized website that Esther mentioned and visitors got sent that link after registration and that website proved to be in hindsight a really, really good tool for us to generate additional insight on how attractive that collected content actually was to our visitors because those analytics gathered from that website were actually quite complementary to our on-site stats from the actual tagging part so let's let the cat ride out of the bag out of those 68% converted engages so those who had completed the registration after using a pass an amazing 83% proceeded to access their personal mobile site through the supplied link now that was the ultimate conversion goal that we had for the use of the pass and it's an exceptionally high figure so let that sink in 83% especially when we compared it to our benchmark which is the Coupa Huot nothing less spot the Coupa Huot pen which in 2016 I'm happy to report tracked a post-visit website retrieval rate of 28% so again very happy with that number it's just too good not to share right so in total numbers we had about 77,000 visits to the mobile site itself which includes return visitors and looking at the GA we can see that all that activity resulted in 643,000 page views and this is important because we can now tell that on average visitors looked at about eight different things bits of content that they had collected during their sessions and they spent two and a half minutes on the mobile site which is significantly higher than they spend on mobile devices on our normal website that means that the content on their site was attractive enough to make them stay so they liked what they got basically which is great and they liked it enough to come back which is reflected in the number of return visitations there at 36% also not an exceptionally high result but a solid one that we're also quite happy with but did they like it enough to share it on the rail well we don't really have hard facts on that or stats on that rather what was they could share their ever popular selfies directly from that website and we have some stats from that that we can pull in so we do know that 6% of the content was shared to Facebook from the sharing buttons that much but we had some predefined hashtags that we could then monitor and see what people were sharing and where which gave us a rough idea even though of course they could share stuff privately on WhatsApp or without using hashtags but we still got a good idea of what they were sharing on Instagram and Facebook it doesn't look that much actually take it as it is but what was the most popular content the big $1 million question so what we did is we then took those two data sets put them together in this rather traditional looking data visualisation so what we can see here in blue is the number of tags in the exhibition and in red the equivalent number of online visits of those collected things on the website and another simplicity it's still quite powerful because it allows us to pick up any peculiarities and ask some more questions really and that's where the journey starts so comparing those two values also gives us a conversion rate so the percentage of visitors who actually looked at the stuff they had collected giving us a really good idea of what actually was attractive to them so what was it then the number one is not this no bug unfortunately don't have anything sexy like that it was the rip it up cover with 20,000 tags and 23,000 visits which is an 80% conversion rate followed by the DJ photo booth which is another piece of unique selfie content selfies work tracking at 63% and then and that was really kind of a pleasant surprise for us as you know museum people because it actually is related to some content and not necessarily vanity were the music dock holes that Astrid mentioned and that's of course because people were interested in the content but they didn't have those 30 minutes to invest in the exhibition to watch all those dock holes so they just could swipe them and take them with them so 42% of those people collected them actually looked at them later on but because that was a content thing and we liked content we looked into that a bit closer and had the YouTube stats that we could pull in for that so what we can see here is that the Balkamana traffic was generated in the first month and there was only really very very little access to those videos in the long tail and to reckless down even further to watch duration of each video and percent so each video has its own color and that's kind of the 100% there so you can see that most of the videos were watched to their in the full length in the first month but then only the 90s one was watched and nothing else so we can explain that first part was the stakeholders industry people, early engages other show specifically looked at all the content then had a post-vote experience looked at the videos and had a great time but with the 90s bit it's a bit more difficult I mean we do know that the 90 section from the other VMR that we did was the most popular section in the show however that doesn't really explain why only the 90s video was watched so maybe it was shared on a blog or on his Facebook page maybe DJ Severe shared it on his Facebook and people came back to watch it not sure one last thing that we picked up on YouTube which is really nice to see was that over 50% watched those videos at home on their computer or their TV which is quite nice for us to know because it means that they wanted to see the thing in its full glory and actually went through the effort of going home bringing that link up again loading it up, sitting down, watching the thing which is really great because it shows a deep engagement with that content not just oh I've got some content here but it's actually making the effort of consuming it now there are a few kind of weird odd ones outliers this one is a particularly interesting one of tags in the exhibition by far so we had some 220,000 tags for those things but they also at the same time achieved the lowest conversion rate of all digital interactives that we were monitoring and the only explanation that we could come up with is that visitors were getting into the swing of tagging things oh I can tag this, can tag that and that's really easy to tag to listen to that stuff later on but compared to the other things that were on the floor like selfies the playlists and the collection of those playlists didn't actually require a lot of engagement so people didn't really have to do much there was no emotional investment meaning that the intrinsic value to the visitors was probably perceived as a bit lower so they didn't actually bother to go look at that stuff again however, those ones who did looking at the Spotify playlist so we don't actually have Spotify stats but we can see the public playlist 255 followers on average on each of those playlists so those people who made it to those playlists actually liked them enough to be wanting to listen to them again the tool poster was another one because it had a reasonably high number of tags but a quite low number of visitation and we really wondered what that would be and for starters obviously it doesn't have a selfie moment in it so it's one lesson that we've learnt but we found another explanation once we overlaid the data on the floor plan and unfortunately we didn't have breadcrumbs which would have been great so we had to make do with my rather clumsy attempt to overlay the physical data to the special plan which you can see here but the poster designer which is there happened to be located just next to the popular pop band Interactive so people were queuing up to play those instruments and it was always long queues so we think what happened is that visitors designed and collected their poster to pass on time but they weren't really too interested in the content itself it's just kind of like oh you'll just want them waiting and see what happens what the map also did is it captured our interest around DJ Severe and his mixing desk because that one was interesting because the VMR told us that this by far by far was the most popular interactive in the entire show to our visitors which is merit in that actually the highest tagging access conversion rate of 94% so we can see in analytics that it was super popular and people were interested in it but at the same time it's the lowest number of tags of all taggable interactives in the show so we wonder why is that so we think there's a couple of reasons again for that what could be firstly was the first self-led tagging activity in the space so visitors didn't you might not have really gotten the hang of it yet and the whole idea of tagging was a new thing to them but it was also the only experience where visitors were actually asked to tag two things during the process so they could collect the song that they had remixed or the good version of it in the middle of that experience and then towards the end we would ask them to stick around a bit longer and have the selfie moment with DJ Severe but we think that that timing was off so people were actually just expected to sit there too long to actually see that especially as cues were lining up before the thing and encouraging people to move on quickly so I think that's probably one of the reasons or the biggest reason why people actually didn't even see that prompt coming up which brings me to the key insight so key takeaways interpretive planning make sure any collectible content is inextricably linked to your interpretive plan it's not about collecting for the sake of it provide the platform instead of asking visitors to use their own device we give them something and also not only using their own device but in our museum which has a time storage Wi-Fi we gave them something really simple that they could just wear thirdly use people and by that I mean visitor hosts use them as the means of explaining how a piece of tech works don't use text labels for geography matters sort of stating the bleeding obvious but stations and strong sightlines and content in strong sightlines gets used and everything else doesn't and also think about your pacing don't load everything at the front don't load everything at the end make it a well-paced visitor experience in terms of digital collectible content so if the visitor has done something in the exhibition to help generate the material they're invested and they'll bother to revisit it post visit and lastly selfies always matter it's very simple if you're in the photo then it will be a winner in the last session if you weren't here that's very true speaking to the geography point that Esther has made that leaves us with this so we know that the visitors loved it 93% said yay super awesome so what we do it again is the big question and the big answer is we are doing it again so the experiment continues in our newly opened pokano one learning gallery which you should really come and check out if you haven't seen it yet normal learners can collect things onto a little collection card which is not an NFC card making it cheaper but an optical scan is sort of more like your New Zealand check-in process also means that it will be easier for us to scale that if we want to so we could print that same barcode on the ticket and then it could use the ticket to scan it so we're actually pulling back a technology layer a barrier and it's future proof that and it is a very different purpose so it's not necessarily aimed at the general public so it's part of an educational programming offer so we offer that to schools as part of a package so it has a very different target audience at the same time but our goal really is to gather more data to complete the picture for us to kind of approach this from the very other end of the spectrum so we have those volume high-engager types here where's the sweet spot in the middle and if we find that what does it mean, should we scale will we scale is it going to be as successful as the infamous selfie so watch the space thank you