 OK. So, my name is Jane. I work for an organisation. Our remit is to help arts and heritage organisations reach audiences on digital platforms. I'm not going to talk about Culture24. If you want to find out about us as an organisation and what we do, the site for that is wearkulture24.org.uk. You can go and look that up. I'm not going to talk about digital as a tool for artists to use in a creative sense. I'm not going to talk about digital in terms of preservation, as a tool for preservation collections, that kind of thing. I'm going to talk about it from the perspective of how I encounter digital in the organisation I work for in terms of online promotion and marketing, audience development, publishing, and trying to understand what success means in that kind of world. I'm going to reflect on today's themes from that perspective. Reflect on the search for new business models and what I see about really being as a search to diversify our income streams. Obviously, the need to do that comes from all the funding cuts we know about. But it seems important to me to think about the fact that when you're talking about public sector, successful business models are not just about money. It's about value and it's about engagement. The business model that's successful is are you getting the most value and engagement out of what you're doing. I think that the challenge is really to explore how digital can do that better. I'm really, really skeptical about new business models. I don't think there are very many new business models at all. I think a lot of the things that we have talked about in this context are really new channels for distribution, new channels for marketing, new ways of packaging stuff for audiences. I don't think they're new models. There's a kind of insinuation in the structure of events like this and often in a lot of policy around that somehow digital is a formula for new business models and that somehow it's a solution or somehow it's some kind of silver bullet that's going to solve your problems. I really don't buy that at all. It's not an answer to find missing income. It's not an answer for lack of engagement in what you're doing. It's not an answer to lack of impact. It's a tactic. It's a tactic to deploy that helps you deliver what it is that you're trying to do and hopefully if you can deploy that tactic well it will help you to deliver it better. I think that the confusion about that and disentangling that is really important for us trying to work out how we diversify our incomes and what we're actually trying to do. I see organisations all the time thinking about how do they get a digital strategy? How do they get a social media strategy or how do they build an iPhone app? Sorry to antenna. But if the answer is an app, what is the question? I just don't get it. I think we have to get over this idea of digital as simply being something separate. It's a part of the way that we deliver what we do. Part of our core mission and our overall strategy, where it should be part of that. We need to get to a place where we're guided by the knowledge of what is it that we're doing and who is it for, who cares and why do they care. If we can do this, if we can use digital from that starting point of our core mission, not from a specific digital mission that's separate, then our success online will be vastly improved. And it was interesting, Nicole, all your stuff around the lab. The lab is obviously the playground for all that stuff to happen, but then you take it back to the real world, you take it back to the client, to the business case, and it's deployed there. There's no quick fix, there's no like, oh well, Ford needs an app. No, they don't. They need a solution to whatever it is they're trying to do. And I think that, for me, that was what came out very strongly from Nicole's work and I think that's something that we can all get a lot out of. Now getting that off a right online, getting the content pitch to the right audience, I see as the biggest challenge for the cultural sector. And it's a problem that is not just ours, it's a problem that we share this problem online with all the other brands and everything else on the web. And it's a tension share. I think this is the problem that we all are really facing that the cultural sector really needs to get its head around when it comes to online. Because the truth about the web is it is not, cultural institutions are actually nowhere. It's dominated by sport and weather and porn actually, although you never see the stats for porn, but it's actually 12% of the web. It's dominated by gaming and cultural institutions are just not in this world. So I've been looking, I'll say something that might surprise you, but I did a project called Let's Get Real. You can read the report, download from our website. It's about how you evaluate online success. But we did some stuff with HitWise and we looked at, we took 40 of the biggest cultural brands in the UK. So lots of the big museums, lots of the big theatres. And we looked at their traffic. And HitWise, you can look up what it does, but it's basically a sort of service that tracks visitors on the web. It only tracks UK domestic traffic. But if you take the 40 biggest brands and you look at their, add all their web traffic together for one month, what percentage of the overall traffic to the sites of the UK do you think that would be? You think that would be good, would 1% be good? It's less than that, it's 0.04. It's really, really, really small. We've got to be real about that. This is where collaboration comes in. I think that there's two things we can do about attention share. One of them is to do niche. You go deep into a subject, go deep into an audience segment, and you can't invent this. It has to actually be real. You genuinely have to have the inside track into whatever it is that you've got. You've got to have the object or the interview with the artist that people want to hear or the play that's on trend or whatever it is. You have to really have that. Some good examples of some niche stuff that's kind of slightly out of this group, but it's a really nice thing. National Library of Scotland has done some fantastic stuff, overlaying historical maps onto real maps for walkers, walking communities. So I'm out walking, here I am. All look, this is the map of what was here and I can see the two things together. There's loads of really nice stuff around individual theatres and arts organisations doing things with exhibition websites or in social media channels for theatre performances or bands. You guys will have seen a lot of this. You get loads of examples and there's lots of it. There's almost a kind of recipe. If you get it right, you can make it work and people like it if you get the content right and you get the audience right and you get that match. We did a project recently, some of you may have seen, called Connect 10, which is part of museums at night where you were bidding to win a contemporary artist to come to your venue to put on the museums at night event. It was all about creating a real connection between the artist and a venue. It was about getting the local community, the venue engaged with their local community, then learning about how they might use social media to sort of motivate people. It was a call to action to vote. We were blown away at 20,000 votes, but it was all around local champions and starting conversations between venues and their audiences who were already in a network. That's the kind of niche I'm talking about, where you find something that really matters to somebody and they talk to their group of people who already care. The other approach to attention share, which needs collaboration, is partnering with... Who else on the web has bigger attention share than you? It's kind of obvious marketing, people try and do this all the time. When in digital terms, that means taking content out from your own institution to where audiences are in other places. We culture 24 do this already and there's quite a nice example of it. We've got a partnership with the BBC where we're using our database to collect information from museums and galleries about what they're doing. It's kind of crowdsourcing their exhibition events. That's the kind of basis of our business model, if you like. It's getting organisations to put their information into our system. We moderate and filter that information based on BBC editorial policy. We tag it based on their board cost output and then it flows through us as the collaborator, the catalyst, if you like. It appears on the things to do website. It's eyeballs on the BBC site from something. We're providing a role in the middle where organisations can get their activities seen by people and an audience that they could possibly reach themselves. That's just one example. It's been a long process to set that up. Obviously it's based at the moment around the BBC's broadcast output but there's no reason why as time goes on that can't become a wider digital offer. The fact that we have a central database of activities and events and resources means that we're able to take that data and share it with any number of third parties. What about tourism services? We're starting working with some European funding looking at how we can take that data and apply it into existing tourism services. But there's loads of other people who might be interested in that. When you actually start to think how could we pull things together centrally? How could we get stuff together that might interest people? Who are the people that have the audiences that I want? The commercial sites like Pin Interest or Art Finder, which some of you may know about, they're all really interesting people that get our information embedded and related to what they're doing. The list is endless. There are always people who have got more attention to share the new, more money, more marketing spend, more reach. That collaborating in that sense is a good way to try and address some of that attention share. But there's challenges. There's a challenge that we've seen in a lot of the research work we've done. In our own work, as culture 24, there are challenges in trying to do that because you have to actually get outside of your box of your institution. You have to get over your own brand. You've got to stop thinking, it's me and I've got to label it and it's all got to be culture 24. And all the data that flows to BBC has got to be labelled and everything I give it to TripAdvisor if I work with them, they've got to know it comes to me. No, they don't. I really don't think that's the case. I think that we've got to get over some of these brand stuff. And we've got to be prepared to be more open about sharing. And I think this comes back to the sort of where is the value in the business model. It's in the engagement. So if by sharing information what you get back isn't necessarily money, what you need to get back is evidence that that data that you're sharing is having some impact in someone else's channel. So what you need back is the stats. And that's often a problem because there are no models for doing that. So we give data to people and we say, OK, tell us who's looking at it and say, we can't tell you that because we're not allowed to do that. That's a problem. And that's a problem that as this model develops and it needs to develop because I don't think we're going to suddenly have lots of money to develop our brands and have the attention share that the BBC or the likes of them have. We're going to need to work out how we negotiate those relationships and how those collaborations become about demonstrating the value and not just about the money. So I don't think it's about new business models but it certainly is about change and it's about a change in the past and that change requires openness and an open approach to data and sharing. And at best it's entrepreneurial but it requires you to be risk tolerant. And crucially you need to try and embrace the inevitability of making mistakes. There's been a bit of talk about that this morning and I'm a really, really big fan of failure. I really think it's totally underrated and I'm a really big fan of people taking really tiny little steps a little bit at a time and kind of do something really simple. The big things are huge and often out of reach but there's lots of little things that we can do. You can plan it, you can act on it and you can evaluate it and you can see if it works and then that becomes an iterative process of learning. And they could be simple things like like-minded organisations and I've got a thing about this and I keep going on about it, but like-minded organisations linking to each other's online stuff. Why don't you do it? I don't know why you don't do it. So you've got a group of organisations in a city who are all dealing with independent theatre or gallery or contemporary art and they're not linking to each other. Why not? It's the same audience. It's bonkers and we're all publicly funded. We should all be doing the little simple things and if you could get over your brand long enough to do that, you could act on it and you could evaluate it and you could see if it works and if it doesn't work, then take it off and don't do it and I'm not talking about links on related links pages. I'm talking about content on home pages that says if you're in, you know, wherever you are, if you're in York, down the road there's a really cool thing you might like too and then down the road it says, oh did you know that up the road they're doing that? Because that's how we can build some of this together. And it's easy to learn from and it's easy to evaluate and it's small and it's easy to do and doesn't cost lots of money. So we need to be open about mistakes we've made and we need to avoid some of the mistakes that we've made in the past mistakes in duplications of systems mistakes in reinvesting money and things that already exist in new services. We need to think about the lack of usability of the things that we've got we need to think about the lack of clear audience definition for the things that we've got because what I've seen is organisations in the physical spaces totally getting segmentation so you don't plan a theatre show or an exhibition not knowing who the target audience is for that show but people build websites for everybody and that's just a myth that everyone will look at your website they won't, it will be a segment. So we need to be honest about the fact that content antenna touched on this a little bit and it is a very real point content that was created in systems years ago wasn't meant to be shared and now people are having to share and it's like oh my god it's awful and it's all thumbnails and it's not written in English and no one's going to understand it this is kind of more a museum-y problem and there's a big constraint on the legacy of technical systems big investments in things so they hold on to things that don't work that are not fit for purpose and it's really hard to step away from that and kind of think well couldn't we just do it in WordPress and see if that worked and then just pull out just a little bit and say well this is all the stuff that people live in within 50 miles and here's some other stuff that's nearby anyway so in the cultural sector in the culture sector in the public sector failures are kind of status symbol I mean you don't get people who are successfully doing startups who don't have a series of failures behind them that they're all kind of going oh that was great I lost so much money but this next one's going to be it this is great and then they do it and they're learning and they're moving on and no self-respecting entrepreneur is without that but there is this huge financial justification around success with public funding that is a real problem I think when you're talking about digital so there's a lot to do and I think by working together we can have it that was me, thank you