|Day 1 – Thursday, 14. September||Documents and Materials|
|Welcome & Introduction
Christian Waltl (AT), KulturAgenda
Sasha Palmquist (US), Institute for Learning Innovation
Peter Keller (DE), Director General, ICOM
|Key Note: Oona Strathern (IE)
What does an increasingly individualised society mean for cultural institutions?
|Oona Strathern (PDF)
|Get connected – Sharing Stories
Mela Maresch (AT) & Kersten Kloser (AT)
|Day 2 – Friday, 15. September|
Reflections from the day before – Lisa Baxter and David Anderson in discussion with participants
|Key Note: David Anderson
Towards Cultural Democracy
|Case study presentations – Session 1
Marge Ainsley, Emma Parsons (UK), Towards an audience focus
Luisa Masserani (BR), A visitor study that help explainers
|Vienna Presentation Emma Parsons Marge Ainsley (PDF)
Case Study Session 1 (Audio):
|Case study presentations – Session 2
Luise Reitstätter (AT), Easy-to-read. Hard to Follow?
Charlie Trautmann (US), Grow your museum’s impact by (really) listening to your audience
|Luise Reitstaetter (PDF)
Case Study Session 2
|Key Note: Lisa Baxter (UK)
Experience Design and Strategic Value Creation
|Lisa Baxter presentation (PDF)|
|Lynn Dierking (US) in conversation with David Anderson (UK), Elisabeth Menasse-Wiesbauer (AT), Matthias Beitl (AT)|
|Connected Audience Exchange
On-site visits in small groups – Wiener Konzerthaus, ZOOM Children’s Museum, Austrian Museum of Architecture, Imperial Furniture Collection
Austrian Museum of Folk Life and Folk Art
|Day 3 – Saturday, 16. September|
Reflections from the day beforeCase study presentations – Session 3
Anna Elfers, Carlijn Diesfeldt (NL), Making public: audience research in public art projects
Vera Almanritter (DE), Attracting diverse audiences
|Anna Elffers & Carlijn Diesfeldt (PDF)
|Case study presentations – Session 4
Ryan Auster (US), Collaboration for Ongoing Visitor Experience Studies (COVES)
Dimitra Christidou (NO), Visitracker: A Tool for Visitor Studies
|Ryan Auster Connected Audience (PDF)
|Wendy Jo Coones’s (AT) & Lynn Dierking’s observations|
|Connected Audience Dialogue with Patricia Munro and Jeff Beeson (DE)
This brings together all thoughts, models, ideas, critical remarks and experiences of the last two days to try and formalise in a dialogical framework the role of cultural institutions and how they can create meaningful experience for the audiences of today and tomorrow
|Personas Workshop||AzW_Personas-Theory (PDF)
|Poster presentations||Deborah wassermann VOICES for Connected Community Conference 20170911 (PDF)
|John Falk (US)||Falk Connected Audiences 2017 v2 (PDF)
7 Modalities of Well-Being Related Needs- Falk (PDF)
Born 1959, Ph.D, University degree in theatre science and political science (Vienna University), post graduate training in museums communication.
Setting up of a regional industrial museum (“Lebendes Textilmuseum Gross-Siegharts”)
Project manager, cultural mediator, moderator, lecturer and consultant in lifelong learning and culture (especially museum education with adults and vocational training) and project coordinator in European funded cooperation projects.
Awarded with the Ludwig Sackmauer Prize for Arts Education“ (1995) together with T.E.A.m (Team EigenArt/museum) and with the Appreciation Award for Innovatve Cultural Education and Knowledge Transfer by the Province of Lower Austria (Special Award 2014)
Zoom Site Visit Facilitator
Sasha Palmquist, Ph.D. Senior Research Associate, Institute for Learning Innovation, Adjunct Professor Museum Studies Program, George Washington University US
Sasha Palmquist is a Senior Research Associate, Institute for Learning Innovation and adjunct Professor in the Museum Studies Program, George Washington University. Her work has focused on understanding how prior knowledge, interest, engagement and personal identity shape learning opportunities and experiences in out-of-school and informal learning environments like natural history museums, science centers, children’s museums, zoos, and amusement parks. Sasha has produced research that explored the impact of young children’s interest and knowledge on family learning conversations in museums. As a project evaluator, she has informed the process and the products of research and practice partnerships. For example, she utilized process evaluation in the My Sky Tonight project to identify strategies to improve communication between researchers and practitioners that support effective collaboration. In addition, Sasha has designed and executed studies that explored the development of scientific reasoning in the context of complex topics like evolution and investigated the challenges of developing and maintaining professional communities of practice climate change education.
Lynn D. Dierking, Sea Grant Professor in Free-Choice STEM Learning Science & Mathematics Education Colleges of Science & Education, Oregon State University US
Lynn Dierking is Director of Strategy & Partnerships, Institute for Learning Innovation and Professor, Free-Choice/Informal STEM Learning, Oregon State University. Her research focuses on free-choice, out-of-school learning (in after-school, home- and community-based contexts), with youth and families, particularly those living in poverty and/or not historically engaged in STEM learning across their lifetime. Dierking is PI of a US-NSF project, SYNERGIES: Customizing Interventions to Sustain Youth STEM Interest and Participation Pathways, studying and maintaining youths’ STEM interest and participation in an under-resourced community by taking an ecosystem approach and is co-PI of a US-NSF/UK-Wellcome Trust Science Learning+ Partnership project, ‘Equitable STEM Pathways.’ Lynn is on Editorial Boards for Connected Science Learning, Afterschool Matters and Journal of Museum Management and Curatorship. Awards include 2010 American Alliance of Museums’ John Cotton Dana Award for Leadership and 2016 NARST (international organization supporting research on science learning) Distinguished Contributions to Science Education through Research award.
Wendy Jo Coones, M.Ed., Department for Image Science ~ Department für Bildwissenschaften Danube University Krems
Wendy Jo COONES directs the Exhibition Strategies Division at the Department for Image Science at the Danube University in Krems, Austria. She received a fine arts degree in New Genres at the San Francisco Art Institute. After receiving an M.Ed. in Educational Research & Philosophy, she began working in museums as an exhibition developer and visitor researcher of international cultural and scientific exhibits.
Institutions where she has worked range from a Science & History Museum in Texas, a Space Science Center in California to the Max Plank Institute for the History of Science in Berlin. Since 2005 she has been on the academic staff at the Department for Image Science responsible for curricula development, teaching working professionals, and support of research initiatives. She is responsible for master of arts programs related to digital cultural life, its histories and futures and is currently primary coordinating staff for an EU-funded Erasmus Mundus European Master of Excellence program in Media Arts Cultures. An upcoming publication with DeGruyter Press as co-editor Museum and Archive on the Move includes her text Museum on Mars – re-define, re-auratize, re-territorialize.
The Connected Audience Dialogue at the end of the conference with Pat Munro and Jeff Beeson brings together all thoughts, models, ideas, critical remarks and experiences of the last two days. It will provide a platform for the collective wisdom of the conference to emerge.
In preparation for the design of the dialogue, interviews with all the keynote speakers and panel coordinators have been undertaken to inspire the dialogue’s design. During the conversation rounds, insights from the conference will be collectively discussed by the participants. This is not only an opportunity to share your learnings and insights with others but also to listen deeply for the new emerging wisdom from the entirety of the Connected Audience Conference experience.
After receiving a BA in Humanities from Swarthmore College (Pennsylvania, USA), Patricia Munro was awarded a Fulbright Scholarship in Latin America. She continued her studies at George Washington University (Washington, DC) where she received her MA with a concentration in Management. Patricia is an alumna of INSEAD’s Social Entrepreneurship Programme (Fontainebleau, France). Her book “Wegweiser Evaluation” presents a stakeholder-driven approach to impact assessment. Patricia is a co-founder and board member of World Café Europe. Her know-how as a facilitator has been used for strategic planning meetings, presentations, speeches and conferences throughout Europe and abroad.
Jeff Beeson, Chief Elignment Enabler, Ensemble Enabler
Jeffrey Beeson received a MBA from the Wharton School of Business, an MA in International Leadership from the Lauder Institute (Philadelphia, USA) and a BA in Economics from Haverford College. After his experience as a Senior Strategy Consultant with McKinsey and Bain & Company, he founded Ensemble Enabler. As a European-based consulting practice, Ensemble Enabler engages all major stakeholders who by collaborating with one another find innovative solutions for a company’s key business issues. He is a founding Board Member of World Café Europe and served as Senior Vice president for External Affairs / Board Member of the International Leadership Association (ILA).
Friday, September 15
Marge Ainsley, Emma Parson (UK) – “Towards an audience focus: how to use insight from audience research to inform decision-making in museums”
It is no longer acceptable to ‘guess’ the wants and needs of visitors. To be relevant and diversify audiences, museums must proactively seek to understand barriers and drivers through front-end, formative and summative research. In the UK, audience research is at the heart of audience development. Indeed, major funders like Arts Council England and the Heritage Lottery Fund expect it to fundamentally guide museums’ strategic planning processes and underpin change management.
Delivered by UK-based museum consultants Emma Parsons and Marge Ainsley, this fast-paced case study will draw on their practical experience of research, evaluation and audience development over the last 15 years. Including the Silverstone Heritage Experience – recently successful in securing over £9 million of Heritage Lottery funding and located at the world-famous racing circuit; The Wordsworth Trust, home of Dove Cottage in the Lake District; and silk-road storytellers Macclesfield Museums Trust, the duo will share their top tips of how insight can be used to inform decision-making. Marge and Emma will prove how specialist research skills can be developed and embedded ‘in-house’, and will share their innovative research methods toolkit, including prototyping. They will also help delegates avoid typical pitfalls by describing the challenges of audience research: what hasn’t worked and why. Whether you’re evaluating or planning your programme, this session will both inspire and inform.
Emma has worked as a consultant since leaving Imperial War Museum North in 2007 where she was Head of Marketing & PR for 6 years. Emma specialises in audience development and engagement, as well as strategic planning and evaluation. She brings a record of successful consultancy across the sector in audience development, business planning, strategic thinking, consultation and evaluation, and project management. Emma was also a Co-Director of Loud in Libraries CIC from 2013 to 2015. The company delivers audience development & engagement programmes for libraries, changing perceptions and diversifying users, and has won awards for innovation. She was a mentor and expert advisor for the Heritage Lottery Fund for 4 years and works with many HLF grant applicants. Emma’s previous clients include: Manchester Jewish Museum, Archives+ (Manchester City Council), Bolton Museum Service, The Wordsworth Trust, Maclaurin Gallery in Ayr, Curious Minds, Staffordshire Heritage & Archives Service, Pennine Lancashire Museums, Thackray Medical Museum, Museum of Science & Industry, Cumbria Museums Partnership, Arts Council England and The National Archives.
Marge is a well-respected cultural consultant and was previously voted one of the 50 best freelancers in the UK by marketing industry magazine, The Drum. She has worked in the sector for 15 years, launching her freelance business in 2008 which supports organisations in audience development, marketing, research and evaluation. Marge is a regular contributor to the Pro-Copywriters’ Network and takes on various copywriting contracts including interpretation, advocacy and PR projects. A member of the International Association of Facilitators and a trained Group Facilitator, she leads workshops, meeting and seminars for clients to ensure they reach their goals and achieve consensus. Her previous clients include: Manchester Museum, Creative People & Places (LeftCoast), London Transport Museum, National Museums Liverpool, Canal & Rivers Trust (HLF Samuel Oldknow), The Atkinson, Tottenham Hotspur FC (Museum). People’s History Museum, Dales Countryside Museum, Cumbria Tourism, John Rylands Library, Bradford Industrial Museum, Manchester Art Gallery, Children & the Arts and Macclesfield Silk Museum Trust.
Luisa Masserani (BRA), How a study with low income kid visitors to a hands-on exhibition in Rio de Janeiro (Brazil) can help training explainers
In Brazil, since 1990s, many hands-on science centers have been created. However, there is still a reduced number of visitor studies – and even less for children, which represent a significant part of the audiences of the museums in the region. Furthermore, the visit to hands-on science centers is hardly based in the mediation carried out by explainers. This study is the result of a partnership between the Museum of Life (in Rio de Janeiro) and the Oregon State University (US) and aimed to observe and analyze the behavior children and their peers (other children) express during their interactions in exhibits of a hands-on science exhibition called “Adventures through the human body”. The exhibition aims to evoke the curiosity of 5 to 8 years old children toward the human body. In this study, we looked at the level of engagement children and their peers (other kids) have when they visit a hands-on exhibition and to what extent do explainers influence the level of engagement of children. The results are helping us to (re)design strategies for training explainers in a science center, aiming to improve the experience of visiting a science exhibition.
Luisa Massarani has a background in Communication, with a master in Science Information (1998) and a PhD in Biochemistry (2001), both of them at the Federal University of Rio de Janeiro, and a post-doctorate in Science and Technology Studies, at the University College London and at the Free-Choice Learning Lab of the Oregon State University (US). She works on research, teaching and practice in Public Communication for Science and Technology, since 1987. She works at the Museum of Life (www.museudavida.fiocruz.br), a hands on science museum in Rio de Janeiro (Brazil) linked to the Oswaldo Cruz Foundation (Fiocruz), a key health research institution in Latin America linked to the Brazilian Ministry of Health. She was the director of the Museum of Life for four years (2009-2013). During that time she was able to increase the number of visitors by 30% and triplicated the number of visitors of short term and itinerant exhibitions. Since 2003, she is the Latin American coordinator of SciDev.Net (www.scidev.net), a gateway based in London aimed at science and development in developing countries. She is Honorary Research Associate do Department of Science and Technology Studies da University College London. She is a member of the scientific committee of the PCST Network, the international network for Public Communication for Science and Technology.
Luise Reitstätter (AT), Easy-to-read. Hard to Follow?
In 2016, the Salzburg Museum introduced a novelty within Austria’s museum landscape. It was among the first to equally integrate easy-to-read text panels in the exhibition rooms. The critic’s and visitor’s reactions were split, ranging from people who declared it a powerful innovation for an inclusive museum to others that sniffed at the strongly simplified “stupid” text versions. Based on this ambivalent reactions, the project “Say it Simple. Say it Loud” – a cooperation between Salzburg Museum and the University of Salzburg – took a two-fold approach to explore this strong gesture of visitor-orientation. First, a sociological analysis through hermeneutic discourse analysis, participant observation and a visitor survey: How do people use and value these easy-to-read texts in the exhibition space? Second, a specifically developed German language course within the special exhibition “Tell me Salzburg”. The course, offered to people who newly arrived in town, makes use of the easy-to-read texts at the level A2 and the exhibition itself. Being visitor-oriented not only towards the core cultural audience but towards people with different cultural backgrounds, the museum becomes a highly contested site – and a much more complex work place. This lecture is a combination of different voices within this symbolic battlefield offering insights into the work process and the evaluation results with statements from museum workers, language teachers, course participants as well as visitors. The case study consequently shows the difficulties of hegemonic power structures as well as the potentials of inclusive museum strategies and new intercultural readings.
Luise Reitstätter is a cultural scientist with a doctorate in Sociology and Cultural Studies. Her main research interests are contemporary art and social matters, museology and exhibition studies, as well as qualitative methods in empirical research. Having worked in the international art field for prominent institutions such as documenta 12 or the Austrian Pavilion at the Venice Biennial 2008 and 2008, she gradually shifted her work focus to the academic field maintaining a strong practice orientation. Recent collaborative projects include the Autumn School “Approaching the 3S. The Spatial, the Social, and the Sensorium”; the research and development project “personal.curator” on technology assisted art education; and the research and education project “Say it Simple. Say it Loud. Easy-to-Read Language as a Key to the Museum.” She also published a monograph on the exhibition as a potential sphere of action (“Die Ausstellung verhandeln”, transcript 2015).
Charlie Trautmann (US), Grow your museum’s impact by (really) listening to your audience
In 2008, the Sciencenter in Ithaca, New York USA began a multi-year effort to better serve its audience. The process began unexpectedly when a routine planning retreat of board and staff identified an acute (and unanticipated) need to clarify the museum’s audience and better understand how to serve it.
As a result, the museum undertook an 18-month period of community listening research that included hundreds of people in interviews and focus groups. Questioners asked about “what kind of community do you want to live in?”; “how might that be different from the way things are now?”; and “what would it take to make the kinds of changes needed?”
Ironically, “more science education” was never mentioned. Instead, a common thread was the desire to “build a community where every child could reach their potential.” In addition to this aspirational goal, the listening process also led to an understanding of the museum’s core audience as being children 0-14.
Building on these two findings, the museum developed an education framework, focusing on important life skills that would help all children reach their potential using science as the learning platform. The framework was summarized as the vision of “a community where every young person is empowered to use science in shaping a better future: for themselves, their community, and the world they will soon inherit.”
The framework identifies three developmental periods and goals for each:
– Age Name Educational goals – using science as the platform
– 0-5 Early Explorers Curiosity, Creativity
– 5-11 Young Scientists Confidence, Collaboration
– 11-14 Future Science Leaders Communication, Critical Thinking, Leadership
The Sciencenter followed up with a plan for new exhibits, educational programs, training of floor staff, a targeted fundraising campaign. The work has led to a 10% growth in attendance in the past three years, consistently high monthly customer service ratings, and frequent praise from community and governmental leaders.
Charlie Trautmann is Director Emeritus of the Sciencenter, a hands-on science museum in Ithaca, NY, USA, located about 350 km northwest of New York City. Charlie served 26 years as Executive Director through 2017 and was responsible for strategic vision, organizational leadership, and resource development. He is also an adjunct professor of Civil & Environmental Engineering at nearby Cornell University.
Charlie’s work has centered on developing the most effective ways to connect youth with science, with the goal of promoting civic science literacy and empowering youth to create a better future for themselves, their community, and the world they will soon inherit. His efforts have involved dozens of exhibitions, programs, and collaborations, along with large-scale projects involving thousands of volunteers.
He currently serves on the board of the Association of Children’s Museums and has served on the board of the Association of Science-Technology Centers, both based in Washington, DC. He also serves on many local educational, professional, and civic boards. Under his leadership, the Sciencenter has received the prestigious international Roy L. Shafer Leading Edge Award for Innovative Business Practices three times in the past decade and is the only museum to have received this award more than once.
Charlie has received three Alexander von Humboldt fellowships from Germany and is currently on sabbatical at the Rachel Carson Center for Society and Environment in Munich, studying how museums can make best educational use of the first five years of life, particularly in connecting children to the environment.
Charlie presents regularly at museum conferences and has published over 100 articles in the fields of education, non-profit management, and engineering. He holds a BA degree in physics from Amherst College, MS degrees in geology and engineering from Stanford University, and a PhD in engineering from Cornell University. His wife Nancy is Director of Education at the Cornell Lab of Ornithology.
Saturday, September 16
Anna Elffers, Carlijn Diesfeldt (NL), Public Works Utrecht
Public Works is a public art project in and around Utrecht Central Station. Point of departure
is the firm belief that art can play a crucial role in this place of transition, as it invites the
public to look differently at their surroundings. The project (2016) builds on the large-scale
public art exhibition Call of the Mall (2013) that took place in the same area. In that project
audience research was important, not in its traditional use as a summative evaluation, but as
a tool to evaluate, discuss and adjust the chosen (artistic) approach during the project.
Research took place at different moments, providing food for ample internal discussion
about the desired impact and target groups. A conclusion was that the format of the
exhibition and the labelling of the works as ‘art’ was not a prerequisite for audience impact.
As a consequence the objective to try to make audiences experience the works as part of an
exhibition was left behind in the follow-up project Public Works. In not presenting the works
as an art exhibition anymore, the big question was whether or not it would be possible to –
without much communication and interpretation- let the works ‘make’ their own audience
out of those quickly moving passers-by. The research method was also further developed, in
introducing a more covert method we called ‘listening research’ to be able to find the answer
to this big question. The methodology, the results and how they informed decision-making
will be shared in this presentation.
Anna Elffers (1975) studied Cultural Sociology at the University of Amsterdam and graduated
in 1999. She continued her studies in San Francisco where she received a Graduate
Certificate in Arts Administration. Since 2000 she works in the field of arts and culture. Until
2006 she worked as an assistant to audience researcher Letty Ranshuysen and as a
marketer, market researcher and educator in different cultural organizations. Since 2007 she
works as a lecturer in Arts & Audiences at Maastricht University and as a freelance audience
researcher and advisor for different cultural organizations in the Netherlands, like museums,
orchestras, theatres, arts councils and foundations and municipalities.
Carlijn Diesfeldt (1978) studied Arts & Sciences at Maastricht University and has been
organising art projects in the public domain since 2003. Working as a curator she is
specialised in developing ways to present contemporary art in diverse social and urban
contexts such as a suburb (Beyond Leidsche Rijn 2004-2009), a country side (Land Art
Contemporary 2011), a shopping mall (Call of the Mall 2013), a station area (Public Works
2016) and a science park (Zero Footprint Campus 2017). Not only do the art works relate to
the specific public domain, they are also in dialogue with the specific audiences using these
spaces. The art creates impact by interacting with the location and the people.
Vera Almanritter (GER), Attracting diverse audiences
It was barely a decade ago that cultural management in Germany recognized migrants and their
descendants as an important audience segment in the strategic planning of cultural institutions. Since then, empirical audience research has focused on this issue. However, it is clear that many cultural institutions are still facing difficulties in dealing with the subject practically.
Two fundamentally different approaches to this topic can be identified in the framework of empirical audience research: a focus on social milieus within the so-called `population with a migration background´and a focus on their different national or ethnic roots. The aim of the authors dissertation was to discover if either information about milieu affiliation or origin is more important for successfully developing audience development strategies aiming at the population with migration background.
The empirical survey conducted by the author was based on a milieu study by the market research company SINUS that explained the way of living of people with migration background. In the framework of the authors survey people belonging to a specific migrant-milieu (`intellectualcosmopolitan milieu´, which is most attracted by cultural offerings) were intensively interviewed. A total of 54 qualitative face-to-face interviews with people with migration background originating from countries of the former Soviet Union and Turkey were conducted. The participants were questioned about their perception of the thematic field, their individual consuming behavior concerning cultural offerings and indications for specific visiting barriers for the other milieus. The findings can be used to develop a guideline for cultural sectors that provides specific suggestions for successful intercultural audience development strategies.
Vera Allmanritter received her Master in Arts and Media Administration at the Free University of
Berlin. Since 2015 she has been research fellow at the Department of Cultural Policy at the University of Hildesheim. In 2016 she was research fellow at the Jewish Museum Berlin. Between 2009-2010 she was coordinator of the Center for Audience Development at the Free University of Berlin. Vera has also been working as an independent Cultural Manager since 2007. She is recognized for her research, publications and teaching in the fields of Management, Cultural Marketing, Visitor Research, Audience Development, and Empirical Research methods. She holds lectures on these subject areas at various universities and has authored numerous publications. In spring 2017 her doctor thesis was published (title: “Audience development in a migration society”).
Ryan Auster (US), Collaboration for Ongoing Visitor Experience Studies (COVES)
The Collaboration for Ongoing Visitor Experience Studies unites science centers in a common effort to better understand visitors’ experiences within and across institutions.
Science centers want to understand their visitors – who visits, why, what they do, etc. – but they also have larger questions: “How do we compare to others?” While several institutions had previously been studying their visitors’ experiences individually, the infrastructure to support collaboration across science museums had been lacking. COVES now provides a system to connect institutions in collecting comparable data while offering flexible solutions for answering questions unique to each institution. We like to say that COVES is “by museums, for museums,” because the governance group is composed of individuals spread across several science centers in varying roles, and because we resist the notion that an external consulting firm can do a better job understanding our visitors than we can.
We currently have 19 institutions participating in 16 states, representing organizations that attract fewer than 10,000 visitors a year and those that draw well over a million a year. One of our primary goals is to offer evaluation capacity building opportunities to smaller institutions with limited experience conducting visitor research by leveraging capacity where it currently exists. We’ve developed unique reporting strategies to provide participants with data that can truly be used to inform institutional decision-making, as well as better inform the field.
COVES is growing: our goal is to evolve into a collaboration funded by its participants and capable of supporting any/all interested science centers.
Ryan Auster is a Senior Research & Evaluation Associate for the Museum of Science in Boston, MA, United States. Specializing in the design and execution of quantitative research studies, he is primarily responsible for developing instruments, conducting statistical analyses, and producing reports for technical and non-technical audiences alike. Currently, Ryan is most heavily involved in the secondary analysis of data dealing with middle school interest in science, evaluating a new curriculum for computational thinking in early grades, and serves as Principal Investigator of the IMLS-funded Collaboration for Ongoing Visitor Experience Studies.
Ryan holds a bachelor’s degree in Economics from Davidson College, NC, a master’s of Education from National-Louis University of Chicago, and is currently completing his doctoral degree in Measurement, Evaluation, Statistics, and Assessment at Boston College. Prior to the Museum of Science, Ryan was a Teaching Fellow at Boston College and at Research Assistant at the TIMSS & PIRLS International Study Center. When not thinking about statistics, Ryan can usually be found on a bicycle.
Dimitra Christidou (NOR), Visitracker: A Tool for Visitor Studies
Institutional change takes time. Seven years ago, during the early stages of the collaboration between the Department of Education, University of Oslo and the National Museum also in Oslo, Norway, views on the value of audience development among the museum staff members were conflicted and underdeveloped. Throughout our ongoing collaboration and exchange of knowledge and practices, these views have significantly changed.
Among the most significant developments during our partnership has been the design of Visitracker, a tablet-based research tool which bridges research with practice. Visitracker is used to conduct surveys in the form of questionnaires, and track and analyze real time observations of individuals and groups in a museum gallery. Visitracker is the result of discussions between the museum and the researchers, a tool created to address the needs of the museum team informed by the current developments in the museum research. As such, the research team holds intensive discussions with the museum partners and the programmers at the University of Oslo which inform the development of new features for Visitracker, complementing the existing methods for data collection.
Apart from assisting in the design of Visitracker and conducting regular and robust visitor studies, the National Museum leads the sharing of practices and knowledge with a large network of museums in Norway. This has a tremendous potential impact on the development of audience development in the cultural sector in Norway.
Dimitra Christidou is a postdoctoral fellow at the Department of Education, University of Oslo. Dimitra is a member of the project ‘Cultural heritage mediascapes: Innovation in knowledge and mediation practices’ led by Palmyre Pierroux and funded by the Norwegian Research Council. In collaboration with the National Museum, Dimitra leads the Visitor Research group, which explores the relationship between museum spaces, collections and visitors, and designs methods and tools to conduct visitor studies.
Dimitra holds a PhD in Museum Studies from the University College of London, funded by the Greek State Scholarships Foundation (I.K.Y.). After receiving her PhD, Dimitra worked as a researcher and project manager at the Nordic Centre of Heritage Learning and Creativity (NCK), a Nordic Baltic center for learning through cultural heritage, located in Östersund, Sweden. She has also working experience as a museum educator and museum evaluator both in Greece and in the UK.
You can choose from 4 different site visits/workshops:
Audience Insight Research in Support of Organisational Change Management
The Wiener Konzerthaus is one of the leading concert halls in Europe and sells more than 500,000 tickets per season. It organises about 550 concerts and events encompassing a broad range of art forms and music genres ranging from symphony concerts and chamber music to world music, Jazz, literature, silent films with live music, as well as pop.
International stars such as Lang Lang, Joshua Bell, Mariza, Winton Marsalis, John Malkovich or Hilary Hahn regularly perform at the Wiener Konzerthaus.
The wide variety of events means catering to diverse audiences with different needs and expectations – both in terms of the programming and communication. As part of an organisational process of change – ranging from an even stronger focus on artistic excellence as well as relevance and accessibility for all, internal re-structuring, re-branding and an ISO certification for quality management – a recent visitor and non-visitor study is helping shape the way forward for the organisation.
This workshop will give insights into this process, share key learnings and also touch on the challenges that were encountered.
Facilitator: Lisa Baxter
Kerstin Glasow has worked in arts marketing for more than thirteen years. Currently she is Head of Marketing and Communications at the Wiener Konzerthaus in Vienna where she oversees the concerthall’s marketing, PR, digital and branding strategies as well as market and visitor research, evaluation, audience development and partnerhips. Before moving to Austria, she worked for leading arts organisations in London for eight years, focussing on museum marketing, among others at the Courtauld Gallery and the Courtauld Institute of Art. In her role at the Art Fund, the UK’s national fundraising charity for art, Kerstin took the strategic lead on liaising with the Art Fund’s network of 680 museums and galleries, promoting their collections and exhibitions to art lovers across the UK. With her team she developed a ticketing app for UK museums as well as the first crowdfunding platform for museums and galleries, Art Happens, which so far has raised hundreds of thousands of pounds. Prior to this, Kerstin was responsible for all marketing and PR activities at the Baden State Museum in Karlsruhe, Germany.
Since 2015 Katja Frei has been working as Senior Project Manager of the Music Education Department at the Wiener Konzerthaus in Vienna where she develops and executes music education projects for every age group. After graduating as a violinist (diploma degree for orchestra and teaching) in 2004 Katja worked at the Oldenburgische Staatstheater and the Hamburg Symphony, among others. From 2010 she contributed to the work of the Hamburg music project for children and young people “The Young ClassX”, which was initiated by a company (Otto Group) and established in close cooperation with the Ministery for Schools and Vocational Training. In 2011 she assumed the position of project manager for this non-profit-organisation until August 2015. In 2012 Katja finalised her Master of Music for music management and music education at the Hochschule für Musik Detmold and has since then been guest speaker at several music academies and universities such as the Hochschule für Musik und Theater Hamburg, the Hochschule für Musik Detmold, der Hochschule für Künste Bremen or the Anton Bruckner Privat University Upper Austria.
Rico Gulda was born in Zurich, Switzerland. He grew up in Munich, Germany, where he began his piano studies with his Japanese mother Yuko. He then continued with legendary German virtuoso Ludwig Hoffmann, later with Prof. Noel Flores in Vienna, and his father, the late pianist-composer Friedrich Gulda. Initially embarking on a career as instrumentalist, he performed internationally with orchestras such as the Verdi Orchestra Milan, Mozarteum Orchestra of Salzburg, National Orchestra of Belgium, Czech Philharmonic of Brno, Radio Orchestra Svizzera Lugano, Sinfonia Varsovia, Bruckner Orchestra Linz, New Japan Philharmonic, Vienna Virtuosen, touring through Europe, USA and the Far East. Since summer 2013, he heads the department of Artistic Planning and Dramaturgy for the over 600 self-promoted concerts at the Wiener Konzerthaus, striving towards artistic and organisational excellence. He is also Artistic Director of the renowned Festival Oberösterreichische Stiftskonzerte.
Hofmobiliendepot – Imperial Furniture Collection
Evaluation of strategy and visitor experience
The Hofmobiliendepot invites participants to discover one of the largest furniture collections in the world and its special exhibition on “Maria Theresia”. This session is about getting to know the museum as a visitor and subsequently debating with staff and management whether the current strategy and positioning meets the needs of their potential target audiences.
Facilitator: John Falk
Ilsebill Barta – Head of Department II/6 – Curatorial and Scientific Affairs / Federal Ministery of Science, Research and Economy
Markus Wiesenhofer, Assistant to the Director / Strategy & Development
Josefa Haselböck, Marketing Manager for Imperial Furniture Collection and Sisi Museum, Imperial Apartments and Silver Collection
Markus Laumann, Head of Operations, Imperial Furniture Collection
ZOOM Children’s Museum
A learning and flexible organization
Children’s museums are special museums: they define themselves more by their target group – children – than by their collections. Accordingly, the focus is on the visitors. This naturally means that Children’s museums must get to know and understand their own target groups and then design their programs to meet their needs and interests.
The ZOOM Children’s museum boasts more than 20 years of experience in developing museum programs for kids and families. In the past 5 to 10 years the interests of the public have expanded considerably and now present a differentiated spectrum. ZOOM is an adaptive and flexible organization with well-developed mechanisms of practical self-evaluation accompanied by supporting research. This enables it to respond to the changing needs of its target audience and address current issues. The workshop draws on this long-term experience to present and discuss examples.
Facilitators: Lynn Dierking & Sasha Palmquist
Elisabeth Menasse, Director
Born 1954, studied history, psychology and philosophy at the University of Salzburg. Ph D in history, researcher and lecturer in the fields of history of childhood and history of science at the Universities of Klagenfurt and Vienna. 1997-2002 coordinator of the research-programme “Xenophobia” in the Austrian Federal Ministry of Science.
Since 2003 director of ZOOM Children’s Museum in Vienna. From 2003-2011 board member of the European Children’s Museums Association Hands on Europe.
Christiane Thenius, Head of Marketing and ZOOM Science
Christiane Thenius studied Classical Archaelogy, Ancient History and Cultural Management. After working as archaeologist, she was part of the concept team of the re-opening of a small museum on ancient roman archaelogy in Lower Austria.
Since 2000 she has been working at ZOOM Children’s Museum. From the very beginning Thenius is involved in the Marketing and PR and responsible for the digital collection of the museum. She co-developed hands-on-exhibitions for children on the research-method of Archaelogy and on the topic of Greek Antiquity. Since 2003 she puts a special focus on science communication for children and organises science lectures for children.
Christian GANZER, Head of Exhibition
Christian Ganzer (*1973 in Lienz, Austria) is Head of Exhibition at ZOOM Children‘s Museum in Vienna. In 1995, he started as a mediator und a workshop constructor part-time at ZOOM while studying sculptory at the University of Applied Arts in Vienna. In 2001 he became Head of ZOOM Animated Film Studio and changed 2010 to the current position .
He developed hand’s on exhibitions covering the topics construction culture, life in the Middel-Ages, the pros and cons of plastics and the world of visual and acoustic orientation of people in the environment.
Austrian Museum of Architecture (A zW)
How to set up Personas – and what to do with them (Workshop)
What do you do with all the statistics and data you have gathered about your (potential) visitors/users? You could transpose them into personas, i.e. constructed and thus fictitious but nonetheless useful profiles of (potential) visitors/users. They will tell you about their needs and expectations and help you tailoring your offers – be they exhibitions, hands-ons, digital or interactive exhibits, websites or any other communication instrument.
Personas are archetypical user representations based on quantitative and/or qualitative data gained from visitor research. Their main purpose is to identify and to “embody” typical user needs, expectations and behaviours. Personas then become examples of (stereo)typical profiles for whom the offer is developed, a reference to cling to during the design process, the definition of strategies, the implementation of innovative ideas and so on. Therefore, the personas method is an effective communication tool, a way of making research data tangible and understandable and a help to develop more user-oriented products and services.
This workshop will provide the participants with an introduction to the personas method and its implementation by creating personas together.
Katherina Ritter, Programme Coordinator
* Introduction to the personas method
* Introduction to the workshop data
* Creating personas (hands-on activity)
* Presentation and discussion of results
Stéphanie Wintzerith PhD is carrying out evaluations and visitor studies for museums and other cultural institutions. She graduated at the European School of Management (Paris-Oxford-Berlin) and holds a master in Ethnology (Strasbourg, France). She earned her doctoral degree in Sociology at the University of Karlsruhe (Germany) in 2006, working on the international cooperation of museums and its intercultural dimension.
After two years as scientific director of the Centre of Evaluation and Visitor Research at the Badisches Landesmuseum in Karlsruhe, Stéphanie set up as a freelancer in 2008. She has been working on visitor research and evaluation projects ever since with a strong focus on international assignments. She has also contributed to several publications and is giving the online course dedicated to evaluation in the museOn programme (University of Freiburg). Stéphanie is an active member of ICOM, currently serving on the board of ICOM CECA.
Werner Schweibenz PhD studied information science at the University of Saarland, Saarbrücken. Since 2007 he works for MusIS (MuseumsInformationsSystem), a branch of the Library Service Centre (Bibliotheksservice-Zentrum). MusIS coordinates the digital object documentation of the State Museums of Baden-Wuerttemberg.
In 2000, he thought his first seminar on personas in the context of a research project sponsored by the Deutsche Forschungsgemeinschaft. Since then he works with personas in different fields such as Web design, accessibility and technical communication. In 2008 he started to deal with personas as a communication tool in the context of audience research for museums.
Oona Strathern, Author & Trend Consultant
What does an Increasingly Individualised Society Mean for Cultural Institutions?
Megatrends are the key to understanding how we will live in the future. Individualisation, Globalisation, Urbansiation and Silver Society are just a few of the key forces that are shaping our society. Demands on individuals, cities and cultural institutions are bigger today than ever before: not just in terms of technology, but also in terms of our longer lives, meta-mobility, and our desire for connectivity. This talk explores the needs of an urban individualistic society, of the so-called pro-agers and the young global generation.
CV: Oona Strathern born in Ireland and grown up in London worked for more than 20 years as a trend consultant, speaker and author. As well as writing about building and living in the future she worked on many studies and reports for the Zukunftsinstitut. As a trend consultant she worked for international firms such as Unilever, Beiersdorf, Philip Morris and the Deutsche Bank. Her speech customers range from architectural conferences to universities, the building industry and the interior design branch. She divides her time between Germany, London and the Future Evolution House in Vienna which she built with her husband Matthias Horx. Her passion is architecture and design, city development, socio-demographic change, and our evolving relationship to smart technology.
Prof. Dr. John H. Falk, Director, Institute for Learning and Innovation, US
Why Visitors’ Motivations and Individual Needs Matter
How do we broaden and diversify who visits museums and other cultural institutions? John Falk believes that answering this critical but complex question begins with appreciating the simple truth that people use their leisure time as a way to maximize their personal well-being. In this talk he will describe how all people continuously strive to achieve well-being through a never-ending process of trying to satisfy their physical, relational and reflective self-related needs. The reason some people choose to visit places like museums is that they believe that these visits will enable them to satisfy these self-related needs; the reason others do not visit is because they do not share this expectation. Thus if we as museum professionals better understood why people do or not see museums as good places for satisfying self-related needs, as well as better understood which needs in particular the public hopes to satisfy during a visit, then we could improve the likelihood that a particular museum visit was satisfying for that person. In addition, we could also develop more robust strategies for expanding the numbers of people who viewed these settings as places capable of meeting their leisure-time well-being goals.
CV: Dr. John H. Falk is internationally acknowledged as a leading expert on free-choice learning; the learning that occurs while visiting museums, zoos, aquariums or parks, watching educational television or surfing the Internet for information. Dr. Falk has authored over one hundred fifty scholarly articles and chapters in the areas of learning, ecology and education, more than a dozen books, and helped to create several nationally important out-of-school educational curricula.
He serves on numerous national and international boards and commissions and has been Associate Editor of several internationally prominent journals. Before joining the faculty at Oregon State University, he founded and directed the Institute for Learning Innovation where for twenty years he oversaw more than 200 research and evaluation projects involving a wide range of free-choice learning institutions. He also worked as an early child science educator at the University of Maryland and spent fourteen years at the Smithsonian Institution where he held a number of senior positions including Director, Smithsonian Office of Educational Research. In 2006 Falk was recognized by the American Association of Museums as one of the 100 most influential museum professionals of the past 100 years.
In 2010 he was further recognized by the American Association of Museum’s Education Committee with its highest award, the John Cotton Dana Award for Leadership. In 2013 the U.S. Council of Science Society President’s gave Falk their Educational Research Award for his outstanding achievement in research that improved children’s learning and understanding. Falk earned a joint doctorate in Ecology and Science Education from the University of California, Berkeley.
David Anderson OBE, Director, National Museum Wales, UK
THE CONNECTED MUSEUM
A Museum Catechism
Q. Who is this gallery development for?
A. It is for the Curators of the British Museum.
Q. Our public funding will be severely reduced next year. How should we save money?
A. We should close Front of House [the public galleries] so that we can continue to research our scientific collections.
Q. What do the public want?
A. The public does not want to be educated.
Q. What kind of museum are we?
A. We are the last true museum in the United Kingdom.
Towards Cultural Democracy
These statements are all derived word for word from real conversations that I have had within the last 10 years with fellow museum professionals, including national museum directors, in the United Kingdom. They reflect a philosophy – or perhaps a faith? – that remains strong and well-embedded in the museum sector in the United Kingdom. It should be taken seriously.
I have spoken to a number of recently retired museum directors from Europe and North America who have tried to achieve a radical change of culture in their organisations towards audiences (which, of course, need not at all mean a change of culture against collections). Several of these have expressed disappointment that, after their departure, under new leadership, the organisational culture of the museum rapidly returned to its former position. They have wondered what else – if anything – they could have done to foresee and prevent this?
I will say little about this issue in relation to my current institution, Amgueddfa Cymru – National Museum Wales. Time there will tell. But I will use the benefit of hindsight to reflect on my experiences at the two national museums where I previously worked as Head/Director of Learning.
The first was the National Museum at Greenwich, London, where a major exhibition project reset staff responsibilities and relationships within the organisation. The second was the V&A, where a brave and visionary Director, Elisabeth Esteve Coll, left a lasting legacy of radicalism that continued in one form or other for a decade and more, and several of the young staff she appointed took her experience at the V&A into new roles as leaders of other institutions.
So much for the lessons of the past. What should we do now to develop space for audiences in museums, in policy and practice?
CV: David Anderson was born in Northern Ireland, grew up in England, and studied Irish History at Edinburgh University. After first working as a history teacher in a state school, he began his museum career as an educator at the Royal Pavilion and Museums, Brighton, before moving to the National Maritime Museum in Greenwich, and then the V&A, where he was Director of Learning and Interpretation until 2010.
As Co-Director from 2004 of the Exhibition Road Cultural Group, a partnership of the V&A and other national museums, universities and cultural institutions, he made a significant contribution to the re-development of the area as London’s first cultural quarter. In 2010 he joined Amgueddfa Cymru – National Museum Wales as Director General.
David Anderson is a Board member of Creative and Cultural Skills and a member of the Advisory Committee of British Council Wales. He has written many articles on museums and cultural policy, a UK government report on museums and learning, and two children’s books.
At Amgueddfa Cymru, he has overseen the transformation of St Fagans Museum to become the National Museum of History for Wales, and the development of new programmes and research on the role of museums in society, including initiatives to redress the impacts of poverty on children through cultural participation.
Lisa Baxter, Director, The Business Experience, UK
Experience Design and Strategic Value Creation
Going beyond the transactional to build stronger relationships
This talk will explore some of the institutionally entrenched blindspots that inhibit visitor-centricity and can result in a profound loss of relevance, unfulfilled audience development potential and disappointing revenues. Lisa Baxter will harness different definitions of the word ‘blind spot’ to explore the limitations of current audience development practice and introduce new frameworks and competencies that can enhance audience development capacity. Delegates will be able to recognise their own personal and institutional limitations in a way that brings fresh understanding and inspires action.
The key points the talk will make include:
- The holistic visitor experience is our core value offer and needs to be crafted with the same skill and attention to detail as a technician, an artist, a designer, a surgeon.
- Value is in the eye of the beholder, not the creator, therefore audience insight is essential in crafting appealing, valued and relevant experiences.
- To create that value and achieve relevance, we need to overcome our institution egos and operate from a deeper understanding of our visitors and communities.
- Audience research needs to be brought into the very heart of an organisation as part of the total quality management of the holistic visitor experience.
- Qualitative research is a key skill that museums must learn and embed rather than allowing it to reside purely in the hands of the expert, treated as a luxury rather than a necessity.
- We need to look beyond segmentation to humanise our marketplace and develop an empathic approach to designing visitor experience, and thus, public value.
- Visitor experience design is a pioneering strategic audience development tool that cuts across institutional silos making visitor experience and audience development professionally relevant to everyone.
The talk will include an introduction to the Strategic Value Creation framework and the specific design tools that will equip cultural institutions to shape visitor experiences that are appealing, meaningful and relevant for 21st century visitors. All key points will be underpinned with practice examples at major cultural institutions internationally
CV: Lisa was educated at the University of Warwick and holds a BA (Hons) in Theatre Studies and Dramatic Arts, and an MA in European Cultural Policy and Administration. Prior to establishing The Experience Business in 2012, Lisa worked in the arts and cultural sector for nearly 20 years, in strategic marketing, qualitative research, brand and audience development. Lisa is the Founder/Director of The Experience Business, a pioneering UK-based consultancy working nationally and internationally with forward-thinking arts and cultural organisations to re-imagine and re-vitalise their value offer for 21st century audiences.
A Fellow of the Royal Society of Arts, Lisa is recognised as one of the UK’s leading qualitative researchers specialising in audience experience. Published work can be found in The Audience Experience: A Critical Analysis of Audiences in the Performing Arts (Ed. Radbourne, J, Glow, H and Johanson, K. ) and Marketing the Arts: Challenging Convention. (Ed. O’Reilly, D and Kerrigan, F.). Since launching The Experience Business in 2012, Lisa has delivered transformational programmes for a wide range of clients including the National Football Museum (UK), National Coal Mining Museum (UK), Imperial War Museum North (UK), Technorama (Switzerland), Melbourne Arts Centre and Australia Council for the Arts. She is regarded as an inspiring and creative thinker; and has delivered many talks and workshops around her innovative thinking and practice nationally and internationally including Auckland, Belfast, Cape Town, Helsinki, London, Melbourne, Oslo, Reykjavik and Sydney.
General Cancellation Policy
Effective from 1st January 2018. Please note these ‘Terms and Conditions’ may be subject to change without notice.
1.1. Before booking onto a programme, please ensure you have read the course/programme content, to ensure the programme will meet your professional development needs and that you are able to meet pre-requisites, where stated.
1.2. Upon receipt of your booking confirmation (per email) or filled in booking form, and subsequent payment your place(s) will be confirmed.
1.3. Important note: KulturAgenda’s acceptance of your booking brings into existence a legally binding contract between us on these terms and conditions. Any term sought to be imposed by you in any purchase order or correspondence will not form part of the contract.
2. Fotos taken
2.1 During all our events we take fotos and videos which we use for marketing and documentation purposes.
3. Payment Terms
3.1. The Participant is liable to KulturAgenda for the programme fees. The programme fees are due on the day of submission of the application, or, if an invoice for the programme fee is requested by the participant at the time of submission of the application, within 14 days after the date of such invoice issued by KulturAgenda (except early bird bookings where programme fees are due at the exact deadline). If an application is rejected by KulturAgenda after payment of the programme fee, the fee as paid will be refunded in full.
3.2. If the Course Fees has not been received by KulturAgenda in full by the due date, the Institute may exclude the Participant from the programme.
3.3. At this point KulturAgenda accepts payment from individuals and organisations by bank transfer only. A payment in cash at the location is only possible when this is specified in the programme.
3.4. All payments must be made in Euros and are inlcusive of 19% VAT (German Sales tax). Any currency conversion costs or other charges incurred in connection with the payment are to be paid in addition to the programme fees. No deduction from the programme fees for such costs or charges may be made.
4. Cancellation and Amendment of Courses
3.1. Some programmes have minimum required attendance levels and KulturAgenda reserves the right to cancel or postpone the programme if the minimum required number of participants has not been reached
4.2. KulturAgenda reserves the right to
4.2.1. Change the course content and structure
4.2.2. Change the programme venue
4.3. KulturAgenda will endeavor to inform participants about cancellations, postponements and amendments to the programme with as much notice as possible.
4.4. If the programme is cancelled by KulturAgenda, course fees received will be refunded in full.
4.5. If the programme participation is cancelled by the participant the following rules apply unless otherwise stated in the course outline:
|Calendar days notice before the start date of the programme/event||Cancellation Fee|
|30 calendar days or more||50 € (exc. VAT) administration fee|
|Between 15 and 30 calendar days (inclusive)||50% of registration fee|
|Between 1 and 14 calendar days (inclusive)||No transfer available. No refund given.|
|Failure to attend||Treated as late cancellation and no fee will be transferred|
European Museum Leadership Programme
Sunday (evening) November 26th to Thursday November 30th, Ljubljana, Slovenia
Society is changing rapidly which not only has implications for the public role of museums and cultural institutions but also affects the way we experience and see them as part of our cultural framework. More than ever, leadership competencies are necessary to run and lead teams that make museums relevant to society and drive forward necessary change.
In a series of sessions this programme will introduce young European museums and cultural heritage professionals to the complex concept of self-, team- and institutional leadership helping them to explore their own competencies and leadership skills through self-reflection, discussions and group activities. International guest speakers and the leadership programme team will present best practice models and case studies. During the sessions participants will also have the opportunity to discuss the challenges in their own organisations.
Who is it for?
This training programme is for young museums and cultural professionals who have either recently been appointed to a management post (director or head of a department) of a museum or a cultural institution or who are aspiring to become leaders in their institutions.
Applicants should have already staff responsibility and should be under the age of 45 (exceptions are possible).
We are happy to accept also applications from outside of Europe.
- Intensive 4 day programme
- Small team of international experts
- Mix of experts’ inputs, discussions and workshops
- Evening after-dinner talks
- Group stays together in a hotel close to the programme venue
- Starts on Sunday evening and finishes on Thursday 5pm
Programme Fee and Accommodation
Fee: 950 € programme fee plus ca. 300 € for 4 nights Full Board (superior single room) in a 3-star hotel (Hotel Park – Booking Form) two minutes from the venue
Limited spaces (18 – 20 maximum);
Venue: National Museum Slovenia, Metelkova, Ljubljana, Slovenia
Travel to and from Ljubljana needs to be arranged individually. Our hotel partner can provide a taxi service to and from the airport which can be booked through the Hotel Park – Booking Form hotel booking form (25€ one way).
Jeff Beeson & Christian Waltl (a KulturAgenda event©)
Christian Waltl, director KulturAgenda (AT)
Tel: +43 650 5545165
or post your application to:
Dr. Wutte Strasse 14, 9020 Klagenfurt, Austria