With this type of analysis, you can find out who your audience is. It involves finding answers to questions such as “who are our visitors”, “where do they come from”, “how do they get here”, “why do they come”, “do they come alone or in group”, “through which information channels did they hear about our events or services?”, etc. This type of information is useful and can be helpful in shaping decisions concerning the exhibition policy, the marketing and advertising policy, the collection management or the development of a policy geared towards a certain target group.
In addition, it can help with taking decisions on, for example, opening hours, admission prices, range of services (restaurant, shop, lifts, etc.), exhibition themes, creating activities, responding to changing realities and trends and even how to strengthen the information provided in the context of an exhibition.
Example: Visitor profile Magritte museum (2010) [in Dutch or French].
In the commercial sector, audience and user profiles may be drawn up based on customer data. Based on these profiles, companies can tailor their marketing campaigns for maximum effect, by concentrating on certain segments that offer the greatest potential. In the case of museums, it is a question of creating “cultural profiles”.
Example: IPSOS-survey (2004) [in Dutch or French].
This type of research is very similar to what is done in the business world and measures the visitors’ degree of satisfaction with the services and products provided.
On the other hand, it is also possible to measure the visitor’s needs and wishes. Based on the data that is gathered, conclusions can be drawn which can also form the basis for optimising visitor satisfaction. In the studies carried out by the Visitors Observatory, this aspect often forms a part of a broader evaluation exercise or profile sketch of the visitors and users.
The majority of the satisfaction studies and evaluations are often still performed after the fact. Increasingly, however, evaluations within the visitor studies are being regarded as a process that forms an integral part of the project of developing an exhibition.
Depending on the time at which the research or the evaluation takes place, we can distinguish 3 types of evaluations:
1. Front-end evaluation
This type of evaluation takes place in the initial phase of the project development for an exhibition. It is used to gather information about the future target audience for the institution. It measures the desires, expectations, level of knowledge, impressions, etc. Front-end evaluations can be done using both qualitative and quantitative research.
Example: Knowledge survey KMMA 2010 [in Dutch or French].
2. Formative evaluation or try-out (+ remedial evaluatie)
A formative evaluation is carried out during the development stage of the educational segment. It is essentially a type of try-out for an exhibition or presentation in which the design, texts, and interactive elements are evaluated. The goal is then to determine what works well and what may be less successful, whether the texts are legible, etc. To what degree has the visitor learned something from the exhibition? What is the level of appeal of certain museum objects? Etc. Based on these analyses, adjustments can be made.
The Visitors Observatory is convinced of the value of this type of evaluation. After all, it is a way of testing how the concepts and ideas that have been generated effectively come across to the general public. The Observatory hopes to be able to develop further expertise in this approach in the future. Particularly qualitative research techniques such as in-depth interviews, group interviews, observation, etc. can be used in this context.
Example: Project signage KBIN [in Dutch or French].
3. Summative evaluation
This is the classic – and most frequently used - form of evaluation. The show or exhibit is already open for some time and the aim is then to determine to what extent the goals that were set are being met. The aim is above all to learn in order to enhance expertise for setting up exhibitions and to enhance the quality of future exhibitions.
Both qualitative (in-depth interviews, group interviews, observation) and quantitative methods (tracking & timing, surveys) can be used. .
Example: Evaluation of the exhibitions Fetish Modernity and Artists in Residence (2011) [in Dutch or French].
