About Analytics, Conversions and On-Site Surveys

Recently, I have given a lot of thought to conversions. A static website may attract a lot of traffic, but unless there is an initial CTA (otherwise known as “call-to-action”), that traffic may be of no use at all.

According to a recent study by Bain & Company, around 80% of companies say they are customer centric, yet only 8% of their customers seem to agree with this.

When it comes to online shopping, this gap is evident.

You already have my contact info, and you know exactly what I bought – why not use that information and ask me for my opinions on-site, as well as at least some feedback about the online store and my purchase experience, or at the very least the product you just sold me?

As we all know, around 90% of all online experiences begin with a search engine. Proper SEO and SEM are, naturally, of a very high importance when it comes to attempts to increase the conversion rate.

Also, to be more precise, conversions only take place when targeted traffic meets the relevant offer. It all starts with knowing who is your target audience – and with knowing what they need or want.

It is highly recommended to begin by asking the right questions.

  • Who are the target customers? And what is their ongoing life situation?
  • What do they want? And what is the biggest pain point related to that?
  • What are the exact needs of the customers that aren’t being met right now?

Surveys can be used to significantly increase conversions by directing visitors to the correct pages on site. It all starts simply by asking questions related to customers and their specific needs, or feedback on whatever is displayed on the current page being browsed.

Qualitative research can offer more insight than anything else for coming up with conversions. Whereas quantitative figures tell you “what, where” and “how much”, the qualitative information tells you “why”.

The primary goal of qualitative research on-site is to gather an in-depth understanding of a website user’s behaviour, and the main reasons for that behaviour.

It makes sense to first inquire the user’s intent – to dig into what exactly is the specific problem they were solving by visiting the site in question. Moving forward, the next relevant questions might be, for example, what mattered to them when choosing the product or service, what kind of comparisons did they do prior to purchase, or how many and which other sites they looked at, and so on. It might also make sense to ask about friction – fears, doubts and hesitations the users experienced before making the purchase.

Your basic Google Analytics tools help you in defining your questions and in placing the surveys on site.

With Google Analytics tools, it is easy to spot the exact:

  • Best performing content (Which pieces of content work best? Try and get a clear view on this one!)
  • Best converting keywords (Which keywords rank? Aim to rank better for these and similar words.)
  • Best converting landing pages (Where is the incoming traffic landing on – and does it convert?)
  • Best converting traffic sources (Where exactly is your traffic that converts visitors coming from?)

To best avoid bounce and churn rate increase, I suggest giving the conversion surveys as well as their placement on your site a lot of thought. Less is more.

Exit surveys, annoying pop-ups and prompts to subscribe to another newsletter are proliferate. With Google Analytics tools, you can easily target the relevant customers with your on-site surveys – it does not matter if they converted, or did not yet.

About Purchasing Artworks Online

One of my favourite hobbies is collecting prints. This hobby has so far revolved around the excellent online service of Saatchi Art, http://saatchiart.com. In case you are not familiar with this online gallery and art store, I suggest having a look!

I currently own four limited-edition prints of artists featured at Saatchi Art.

Having been employed by the Finnish National Gallery as a Digital Planner for 2,5 years until the end of last year, I got to see world-class exhibitions being prepared close by. The exhibitions of the Finnish National Gallery regularly feature contemporary artists such as Ernesto Neto and Mona Hatoum last year, not to mention big and lesser known names of modern art, such as Amedeo Modigliani or Alice Neel.

The Finnish National Gallery broke all-time visitor records in Finland last year! The number of visitors last year in its three museums, the Ateneum Art Museum, the Museum of Contemporary Art Kiasma, and the Sinebrychoff Art Museum, exceeded 700 000 people by far. In a small country inhabited by approximately 6 million people, that’s not too bad for a museum institution!

But let’s not forget, that Finland has a very lively and original, more marginal contemporary art scene.

A very cool online gallery, accessible for all, called Tabulaland, emerged in Helsinki a few years back. You can have a look at the featured artworks of this excellent gallery online at http://tabulaland.com.

This gallery, owned by Aiju Salminen, is smaller than Saatchi Art by far, and mostly features Finnish artists. Acquiring an original by such Finnish contemporary artists as Anssi Kasitonni is easy via Tabulaland! You can place an order through the online store, or alternatively, contact Aiju for assistance. Purchasing an original artwork from a remote country such as Finland has never been easier.

Contemporary art has a notorious reputation of being hard to “get”. I certainly do not get where the hard part is here, and I am not sure it matters if you “get” or miss the point in an artwork – if you enjoy viewing it, be the artwork placed in a gallery space or at home.

I wish more people would enrich their lives by visiting art exhibitions, as I certainly enjoy this hobby myself.

NB. The original copyrights of the artworks in the above post photo taken by me at the Helsinki Art Museum HAM belong to the Finnish artist Robert Lucander.

On the Transformative Potential of Art Online

So I took part in a seminar exploring the potential of digital art collections organized by the Finnish National Gallery yesterday.

Many of the talks given in the event seemed to echo the industry expert Jasper Visser’s words: “the future of museums is about attitude, not technology”. I could not agree more.

I think the same goes for many private sector’s most successful companies now embracing digitalization and the multi-channel digital customer experience. Attitude matters.

The excellent keynote speakers in this seminar were Merete Sanderhoff from the Statens Museum for Kunst in Copenhagen and Jussi Ängeslevä from the University of Arts in Berlin.

One of the best takeaways of the seminar was a complimentary copy of the book “Sharing is Caring – Openness and Sharing in the Cultural Heritage Sector”, edited by Sanderhoff, as well as getting a glimpse of Art+Com Studio’s (https://artcom.de/) mind-blowing large-scale digital installations in various exciting museums around Europe.

In her presentation, Sanderhoff stated that the facilitation of the re-use of digital cultural heritage, mainly images of artworks, is now one of the core tasks in the SMK, permeating the organization on all levels.

With the collections of any art museum being vast in comparison to which part of them can be shown at the physical site (in the case of the SMK, for example, approximately 1%, and in the case of the FNG, around 2%), focusing on the display of the digital material online and its creative re-use should indeed be a priority on all levels of any museum organization.

Ängeslevä introduced the seminar crowd to some of Art+Com team’s fantastic – and in some cases phantasmagoric – large-scale digital installations, while strongly emphasizing that attempting to construct any such installation requires a lot of “focus” and “attitude” and must incorporate “a meaning”.

This, to me, is most evident in the case of the “Evolutionary Stairs”, an installation in Moesgård Museum in Højberg, Denmark, where, descending a staircase in the museum, our ancestors are being displayed as wax figures, and in the case of the “Micropia”, a museum of microscopic life, in the Natura Artis Magistra zoo in Amsterdam, Netherlands.

Being two very different projects, what these installations have in common is the agenda to help the viewer better understand themselves and their surroundings. A simple agenda, yet a very powerful one.

After the seminar, I visited Kiasma’s ongoing “Demonstrating Minds” –exhibition, as well as Jani Leinonen’s exhibition “The School of Disobedience”, finally, as there is only one week left to explore it.

Leinonen’s gravestones of various global brands being on display in the museum’s uppermost floor, in conjunction with the beggars’ signs seemed to me as some of his most touching work, with the various cereal box works (like “The Choice Is Yours”, 2011) still being the absolute personal favourites of mine.

In the “Face to Face” exhibition, Stiina Saaristo’s “Scarlet”, 2004, and Aurora Reinhard’s “Cosmetics & Accessories”, 2008-2012, seemed to be exploring similar themes as Leinonen’s seminal work.

In the likewise interesting group exhibition “Demonstrating Minds”, Tom Molloy’s “Protest”, 2010 came through to me as one of the most powerful works, while there were many other excellent works dealing with current global political issues, especially the crisis in Middle-East, on display.

Art certainly inherently wields the power to help us better understand ourselves and our surroundings.

However, in order to start being and remain accessible for anyone interested in exploring it, art quite obviously needs to be presented in a beautiful, enticing online environment and thrive in the form of quality images and open data, available for re-use by the general public, creatives and others.

This kind of meaningful content is what matters, as most technological innovations are usually about “just another device”, designed to display some interesting data or some other interesting content in.

What makes all the difference is the attitude of art museum professionals.

In the book “Sharing Is Caring”, Jasper Visser states that “every organization grounded in society should understand their implications on society and vice versa”. Furthermore, he states that when “implemented naively”, technology “may amplify existing inequalities”.

So can art museums effectively act as a catalyst of an increased level of awareness of global issues and thereby help individuals be the change they want to see in the world?

I think it is only by having quality content available online that art museums can start catering globally for transformative experiences, the kind that make art itself so powerful – the experiences of increased understanding of ourselves and our environment.