How the Pandemic Changed Nonprofit Video Forever

Total Page:16

File Type:pdf, Size:1020Kb

How the Pandemic Changed Nonprofit Video Forever How the Pandemic Changed Nonprofit Video Forever An analysis of social media videos from 778 nonprofits Far too often we rely on gut instinct when making decisions in the nonprofit sector. The team at Tectonic Video is providing organizations everywhere with actionable intelligence they can use to drive engagement and fundraising—something that is more important now than ever.” Andrew Means FOUNDER OF DATA ANALYSTS FOR GOOD Table of Contents 05 Introduction 07 Methodology 08 Data Set 1 1 Key Findings 35 Top 100 Nonprofits 40 Nonprofit Rankings by Category 43 About Tectonic HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 3 Introduction When the COVID-19 pandemic sent the U.S. into lockdown in early 2020, nonprofits were forced to quickly answer critical questions. How do we continue to deliver our programs despite socially distancing? How do we raise funds when we can’t hold events or meet with donors in person? How do we advance our mission despite profound uncertainty? As the old saying goes, necessity is the mother of invention. Within days of shelter-in-place orders being issued in mid-March, nonprofits were inventing new ways of delivering their programming, raising funds for their work, and engaging their communities. The tool they used was social media videos. Examples of their innovation are as diverse as their missions: • Museums created videos about their collections • Symphony orchestras livestreamed concerts • Literacy nonprofits read books aloud to children • Organizations serving developmentally disabled adults created exercise videos • Zoos gave behind-the-scenes access to their animals • Religious organizations offered daily prayers My team and I were profoundly inspired by the nonprofit community as we compiled this report. This is our second annual analysis of how nonprofits use video on social media, and we’re excited to share trends, valuable insights, and interviews with experts to help nonprofits create more engaging videos for the remainder of the pandemic, and in the years to come. If you missed last year’s report, we shared which social media channel was growing the fastest for nonprofit video (Instagram), which types of content were most engaging on social media (Animals & Cuteness), and whether video post frequency and engagement correlate with audience size (they do!). In this year’s report, we’ve identified5 Key Learnings to help nonprofits make better videos. Let’s dig into the data. Doug Scott FOUNDER, TECTONIC VIDEO HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 5 Methodology This report is based on the Nonprofit Video IndexTM, our proprietary data set of 778 nonprofits selected at random from a database of more than 10,000 501(c)(3) organizations. With the help of a social media analytics company, we collected one year’s worth of video post data from each nonprofit’s Facebook, Instagram and Twitter account to identify trends and establish benchmarks. For this year’s report, we studied the same nonprofits and applied the same methods as last year to learn if the COVID-19 pandemic affected how nonprofits created social media videos. The Index measures nonprofits’ video post engagement rate (calculated by adding together likes, comments, favorites, retweets, shares, and reactions per video post, and dividing by audience size). We focus on the engagement rate for three reasons: 1. Nonprofits want to create videos that their followers react to, comment on and ultimately share with their friends and followers. 2. Algorithms determine which content is prioritized in social media feeds. Although each channel’s algorithm is different, and their exact ranking factors are secret, each channel says that their algorithm values engagement over everything else. The more engaging your videos are, the more likely they will be distributed to more of your followers who will share them with their friends and so on, providing you with the opportunity to reach millions of prospective fans, donors and partners. 3. By focusing on engagement rate we’re able to identify the most engaging video posts, regardless of audience size. To better quantify engagement, we developed formulas and algorithms for each channel that weigh various types of engagement in accordance with that social media channel’s known value system (for instance, Facebook values comments more than shares and likes). It should be noted that our ranking of nonprofits is based solely upon their video posts on Facebook, Instagram and Twitter, and not on their social media accounts in general, nor any video assets that aren’t posted to their social media accounts. NOTES GIFs on any platform were not included. Videos uploaded as Instagram Stories were not counted. A minimum threshold of video posts and followers was determined per channel. HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 7 Data Set The Nonprofit Video IndexTM is a cross-section of nonprofits from diverse categories, annual revenues and follower sizes. Categories • Animals • Arts, Culture, Humanities 778 Jan 1 – Dec 31, 2020 • Community Development Nonprofits included One year of video • Education* in the Index post data • Environment • Health** • Human & Civil Rights • Human Services • International 67k+ 82.5M • Research & Public Policy Total video posts Total followers of analyzed Index nonprofits Facebook, Instagram 10 Categories & Twitter A diverse cross-section The most important of nonprofits channels for nonprofits * Colleges and universities not included ** Hospitals not included 8 HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER Video Posts by Category man Services , Environment , ealth , Commnity Development , International Animals , , Research & Pblic Policy , Edcation , Arts, Cltre, manities , man & Civil Rights , HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 9 Breakdown of Nonprofits in the Index 1M+ Min – 2K 1% 15% 100K – 1M 2K – 10K 10% 41% AUDIENCE 50K – 100K SIZE 7% 10K – 50K 26% 100M+ 4% $50 – $100M $0 – $5M 6% ANNUAL 47% BUDGET $15 – $50M 14% $5 – $15M 29% 10 HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER Key Findings After analyzing tens of thousands of video posts, we’ve uncovered 5 Key Findings to help your nonprofit create better videos. 01. The number of video posts and amount of audience engagement increased dramatically during the pandemic. The number of video posts from nonprofits across categories increased significantly, irrespective of operating budget, audience size, or production capabilities. At more than 60%, Facebook saw the biggest increase, followed by Instagram at 33% and Twitter at 29%. Total Video Posts by Channel 2020 vs 2019 Facebook 40,947 2020 25,506 2019 Twitter 14,998 2020 11,632 2019 Instagram 11,116 2020 8,362 2019 This increase correlates with the COVID-19 pandemic. As much of the U.S. sheltered-in-place back in March and April, the number of video posts skyrocketed, and video post levels have remained elevated ever since. 12 HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER Total Video Posts by Month (Cross-Channel) 12,853 11,889 8,479 8,001 8,211 7,885 7,520 7,159 7,422 7,242 5,734 4,935 JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC Interestingly, the increase in video posts didn’t result in significant audience growth.While audiences on each channel did increase, and Instagram repeated its rapid growth for the second year in a row, overall audience size didn’t increase in proportion to the increase in video posts. Total Audience Size 2020 vs 2019 Facebook 47M 2020 46M 2019 Twitter 22M 2020 21M 2019 Instagram 13M 2020 11M 2019 HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 13 But audience engagement did increase significantly from the previous year. This can be partly attributed to the increase in total video posts; yet audiences engaged with nonprofits’ videos overall more in 2020 than in 2019. Total Engagements 2020 vs 2019 Facebook 32.5M 2020 25.9M 2019 Twitter 9.7M 2020 7.7M 2019 Instagram 3M 2020 1.8M 2019 With the pandemic still raging across the U.S. and mass vaccination campaigns just ramping up, we expect to see elevated levels of video posts and heightened audience engagement throughout much of 2021. Takeaway Nonprofits are posting significantly more videos on social media because of the pandemic, and their audiences are engaging at heightened levels. With a return to “normal” still a long way off, nonprofits will continue to rely on video to further their missions throughout much of 2021. 14 HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 02. Livestreaming has transformed the nonprofit video landscape. Livestreaming on social media, specifically Facebook Live, exploded in 2020. Of the top 100 most engaging video posts on Facebook, 51 were livestreams. And livestreaming accounted for a significant number of top engaging videos on Instagram and Twitter as well. Top 100 Most Engaging Video Posts on Facebook LIVESTREAM HOW THE PANDEMIC CHANGED NONPROFIT VIDEO FOREVER 15 This increase in livestreaming is a significant change from the previous year when only a couple of the top 100 most engaging video posts on Facebook were livestreams. We believe there are four reasons for nonprofits’ adoption of livestreaming: 1. Nonprofits are uniquely positioned to convene people on social media. A nonprofit’s clients, staff, volunteers and donors have deep relationships with each other, and when they were unable to gather in person because of social distancing, nonprofits exercised their convening power to bring these individuals together through livestreamed events on social media. 2. When nonprofits were forced to cease in-person operations due to social distancing protocols, some programmatic, marketing and development staffers had newfound capacity to pivot their responsibilities and create videos for social media. Livestreaming requires no special equipment or technical expertise, providing an opportunity for various nonprofit staffers to create livestream videos. 3. Livestreaming is a communications medium that can be utilized for numerous purposes, and nonprofits invented ways to livestream program delivery, marketing, advocacy and fundraising.
Recommended publications
  • Copyright by Patrick Warren Eubanks 2019
    Copyright by Patrick Warren Eubanks 2019 The Report Committee for Patrick Warren Eubanks Certifies that this is the approved version of the following Report: “There’s No Guidebook for This”: Black Freelancers and Digital Technologies APPROVED BY SUPERVISING COMMITTEE: S. Craig Watkins, Supervisor Kathleen McElroy “There’s no Guidebook for This”: Black Freelancers and Digital Technologies by Patrick Warren Eubanks Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2019 Abstract “There’s no Guidebook for This”: Black Freelancers and Digital Technologies Patrick Warren Eubanks, MA The University of Texas at Austin, 2019 Supervisor: S. Craig Watkins Freelancing has become increasingly common in a variety of industries due to the continued economic restructuring of post-industrial capitalism. While writing has traditionally been a precarious profession characterized by low pay and intermittent work, once secure forms of employment, such as newspaper work, have experienced a precipitous decline within the past few decades. As the number of writers engaged in standard employment contracts has sharply decreased, an increasing number of individuals must engage in freelance work to earn a living as writers. While all freelance writers face precarity at the hands of digital media outlets due to exploitative and unstable labor and business practices, black freelancers experience distinct forms of precarity, such as a lack of access to professional networks and mentors. This report aims to identify the ways in which digital technologies allow black freelancers to insulate themselves from the risks inherent to the digital media ecosystem, ending with recommendations for education systems, digital media organizations and freelancers seeking to promote equity in digital publishing.
    [Show full text]
  • Download the Print Version of Inside Stanford
    First-year medical students arrived last month for STANFORD orientation. Page 4 INSIDE Volume 7, No. 16MEDICINE September 14, 2015 Published by the Office of Communication & Public Affairs Scientists home in on origin of Study: Math anxiety relieved in children human, chimp facial differences who get tutoring © 2015 MESA ScHUmacHER By Krista Conger By Erin Digitale The face of a chimpanzee is decidedly Anxiety about doing math different from that of a human, despite problems can be relieved with a the fact that the apes are our nearest rela- one-on-one math tutoring pro- tive in the primate tree. Now researchers gram, according to a new study at the School of Medicine have begun to from the School of Medicine. The pinpoint how those structural differences tutoring fixed abnormal responses could arise in two species with nearly in the brain’s fear circuits. identical genetic backgrounds. The study, published Sept. 9 in The key lies in how genes involved in The Journal of Neuroscience, is the facial development and human facial di- first to document an effective treat- versity are regulated — how much, when ment for math anxiety in children. and where the genes are expressed— “The most exciting aspect of our rather than dissimilarities among the findings is that cognitive tutoring genes themselves. In particular, the re- not only improves performance, searchers found that chimps and humans but is also anxiety-reducing,” said express different levels of proteins known the study’s senior author, Vinod to control facial development, including Menon, PhD, professor of psychia- some involved in jaw and nose length try and behavioral sciences.
    [Show full text]
  • Cognition Table of Contents
    BRAIN INJURY ASSOCIATION OF AMERICA | Volume 15, Issue 1 theChallenge! COGNITION TABLE OF CONTENTS MARCH 2021 4 BIAA Launches New Brain THE Challenge! is published Injury Awareness Campaign by the Brain Injury Association 4 of America. We welcome 6 Self-Awareness Issues After manuscripts on issues that are Traumatic Brain Injury important to the brain injury community. Please send submissions in a standard 8 Understanding Social and Microsoft Word® document to Pragmatic Communication [email protected]. Following a Brain Injury For information regarding 10 Brain Injury and Deficits advertising in THE Challenge!, in Initiation please visit biausa.org. Association Staff & Volunteers: 12 BIAA Awards Marianna Abashian Second Annual Grants Sarah Augustoski Through Research Fund Greg Ayotte Robbie Baker 16 Honor Roll of Donors 6 Christine Chen Stephanie Cohen 20 Lance and Laura Trexler: Susan H. Connors Investing in the Future of Tiffany Epley Brain Injury Research Dianna Fahel Stephani Kelly 22 Advocacy Update Heather Matty Carrie Mosher 24 State Affiliate News Mary S. Reitter Rula Tareq 28 News & Notes Subscriptions: 30 Upcoming Webinars Send address changes to [email protected] Copyright © 2021 BIAA All rights reserved. No part of this publication may be reproduced in whole or in 20 part without written permission from the Brain Injury Association of America. Email requests to [email protected]. Publication designed by Eye to Eye Design Studio, LLC [email protected] 24 Please recycle this issue. 2 FROM MY DESK y the time this issue of THE Challenge! reaches your doorstep, the Brain Injury Association of America (BIAA) will have launched a new three-year B campaign celebrating March as Brain Injury Awareness Month.
    [Show full text]
  • Piya CV 071112
    CURRICULUM VITAE Piya C. Sorcar [email protected] | [email protected] 460 S. California Avenue, Suite 303, Palo Alto, California 94306 EDUCATION Stanford University Ph.D., Learning Sciences and Technology Design 2009 M.A., Learning, Design and Technology 2006 University of Colorado at Boulder B.S., Information Technology 2001 B.A., Economics, summa cum laude 2001 B.S., Journalism & Mass Communication, with honors 2001 PROFESSIONAL EXPERIENCE Adjunct Affiliate, Center for Primary Care and Outcomes Research at 2012 – current Stanford University School of Medicine; Center for Health Policy at Stanford University Freeman Spogli Institute for International Studies Visiting Scholar, Stanford University Department of Communication 2012 – current Founder and CEO, TeachAIDS, Stanford, CA 2009 – current Founding Board Member, Board of Directors, XRI, Palo Alto, CA 2006 – current Director of Marketing, Manick Sorcar Productions, Arvada, CO 2003 – 2005 Economic Research Analyst, Analysis Group, Denver, CO 2002 – 2003 Associate/TiE Coordinator, iSherpa Venture Capital, Denver, CO 2000 – 2001 Publicist, NBC Denver 9News, Denver, CO 1997 – 1998 Research Assistant, IBM, Denver, CO 1997 Consultant for Education Videos, Manick Sorcar Productions, Arvada, CO 1990 – 2003 Rule of Twenty-One (2003): Bronze Plaque, 51st Columbus International Film Festival, Animation The Woodcutter’s Daughter (1999): Finalist, 40th Annual New York Festivals, Best Children’s Program The Sage and The Mouse (1993): Silver Medal, 36th International Film Festival, Best Children’s
    [Show full text]
  • The Global Expansion of Digital-Born News Media
    DIGITAL NEWS PROJECT 2017 The Global Expansion of Digital-Born News Media Tom Nicholls, Nabeelah Shabbir, and Rasmus Kleis Nielsen Contents About the Authors 5 Acknowledgements 6 Executive Summary 7 1. Introduction 9 2. Business Models and the Pursuit of International Scale 14 3. Distribution Strategies and the Embrace of Platforms 16 4. Global Expansion and Brand Licensing 18 5. Editorial Strategy and Brand Identity across Countries 21 6. The Challenges of Working Globally 24 6. Conclusions 27 List of Interviewees 29 References 30 THE GLOBAL EXPANSION OF DIGITAL-BORN NEWS MEDIA About the Authors Tom Nicholls is a Research Fellow at the Reuters Institute for the Study of Journalism at the University of Oxford. Main research interests include the dynamics of digital news and developing new methodological approaches to studying online activities using digital trace data. Most recently he has been using large-scale quantitative methods to analyse the structure, scope, and interconnectedness of government activity online, the effectiveness of electronic public service delivery, and the Internet’s implications for public management. He has published in various journals including Social Science Computer Review and the Journal of Information Policy. Nabeelah Shabbir is a freelance journalist, formerly of the Guardian, who specialises in pan- European journalism, global environmental coverage, and digital storytelling. Rasmus Kleis Nielsen is Director of Research at the Reuters Institute for the Study of Journalism, Professor of Political Communication at the University of Oxford, and serves as editor-in-chief of the International Journal of Press/Politics. His work focuses on changes in the news media, on political communication, and the role of digital technologies in both.
    [Show full text]
  • Teaching Taboo Topics Through Technology
    Teaching Taboo Topics Through Technology Piya Sorcar Clifford Nass 485 Lasuen Mall Stanford University Stanford, CA 94305 Phone: +1-650-796-9139 Email: [email protected], [email protected] Stanford University October 2009 Chapter for Handbook of Research on Digital Media and Advertising 1 Table of Contents 1 Introduction to Teaching about Taboo Topics 1.1 Laws and Norms 1.2 Taboos 2 Challenges in Teaching about Taboo Topics 2.1 Comparing Teaching Difficulties 2.1.1 Why is HIV/AIDS more difficult to teach about? 2.2 Previous and Existing Educational Approaches to Teaching about Taboo Topics 2.2.1 Existing Campaign Exemplars 2.3 Framework for Evaluation of Curricula Relating to Taboo Topics 3 Case Study Background: HIV/AIDS Education in India 3.1 The Challenge and Opportunity 3.2 Identifying the Source of the Taboo Topic 3.3 Previous Attempts at HIV/AIDS Education 3.4 Cultural Challenges 3.5 Why Technology and Not Teachers 4 Constructing a Technological Solution 4.1 Foundation for Education Software 4.2 Developing a Coherent Conception: The Fan Effect 4.3 Balancing Social Acceptability with Accuracy and Efficacy 4.4 Identifying Socially Acceptable Graphics 4.5 Application of The Media Equation 4.6 Mnemonic Devices as Learning Tools 4.7 Voice Properties and Gender Concurrence 4.8 Cultural Embeddings 5 Discussion & Analysis 5.1 Comparison of Case Study to Framework for Evaluation 5.2 Success of Interactive Teaching AIDS 5.3 Theoretical, Empirical, and Methodological Contributions 5.4 Scalability and Diffusion of Innovation 5.5 Conclusion Bibliography 2 1 Introduction to Teaching about Taboo Topics This chapter discusses the challenges of providing education about topics that are considered taboo but must be taught to protect public health and welfare.
    [Show full text]
  • Pivot to What? the Metajournalistic Discourse Surrounding Facebook‟S “Push to Video” Trevor Hook December 2020 Dr. Ryan Th
    PIVOT TO WHAT? THE METAJOURNALISTIC DISCOURSE SURROUNDING FACEBOOK‟S “PUSH TO VIDEO” TREVOR HOOK DECEMBER 2020 DR. RYAN THOMAS PIVOT TO WHAT? THE METAJOURNALISTIC DISCOURSE SURROUNDING FACEBOOK‟S “PUSH TO VIDEO” Dr. Ryan Thomas Prof. Ryan Famuliner Acknowledgements I would like to thank my chair Dr. Ryan Thomas and committee member Ryan Famuliner for their invaluable assistance in the completion of this master‟s project. Their help was vital in completing a project which has been undertaken in, as said many times elsewhere, an unprecendented time. TABLE OF CONTENTS Introduction ................................................................................................................... 1 Literature Review .......................................................................................................... 4 Facebook, Algorithms, and Journalism ......................................................................... 4 Facebook as an Irregular Gatekeeper ............................................................................ 6 The Philosophical Fault Lines between Facebook and Journalism ................................ 7 Facebook‟s Impact in the Practice of Journalism ........................................................ 11 Metajournalistic Discourse ......................................................................................... 13 Research Question...................................................................................................... 14 Method ........................................................................................................................
    [Show full text]
  • Media Relationships to Identify Topics of Interest and Create a Plan to Infiltrate
    The art & science of earned-first storytelling 300 hours of video Average of 6,000 uploaded to YouTube tweets per second every minute 95 million Instagram 4 million Facebook photos and videos likes per second posted each day 3 Filter bubbles result from personalized searches when a website algorithm selectively guesses what information a user would like to see based on information about the user (such as location, past click behavior and search history). The implication is that brands need to generate targeted, quality coverage that can pierce the filter bubbles around their audience. Forget the 24/7 news cycle. Welcome to the “garbage-fire news cycle” – where one tweet lights the world on fire. The result is a real-time stream of flashpoints that are: • Instant • Heated • Flooded with content • Fueled by Google-able context • Often ill-informed or steered by opinion . 9 . More people get news from their phones than ever — 72% of American adults in 2016 versus 54% three years ago. More than half (51%) of consumers say they use social media as a source of news each week. ROUGHLY Remembered the Less than path/platform half recalled where they found name of the the news story news outlet Q10b/cii_2016. Thinking about when you have used social media/aggregators for news, typically how often do you notice the news brand that has supplied the content? Notice = those who always or mostly notice the brand “Facebook is essentially running a payola scam where you have to pay them if you want your own fans to see your content.
    [Show full text]
  • Made with Creative Commons MADE with CREATIVE COMMONS
    ii Made With Creative Commons MADE WITH CREATIVE COMMONS PAUL STACEY AND SARAH HINCHLIFF PEARSON Made With Creative Commons iii Made With Creative Commons by Paul Stacey & Sarah Hinchliff Pearson © 2017, by Creative Commons. Published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0. ISBN 978-87-998733-3-3 Cover and interior design by Klaus Nielsen, vinterstille.dk Content editing by Grace Yaginuma Illustrations by Bryan Mathers, bryanmathers.com Downloadable e-book available at madewith.cc Publisher: Ctrl+Alt+Delete Books Husumgade 10, 5. 2200 Copenhagen N Denmark www.cadb.dk [email protected] Printer: Drukarnia POZKAL Spółka z o.o. Spółka komandytowa 88-100 Inowrocław, ul. Cegielna 10/12, Poland This book is published under a CC BY-SA license, which means that you can copy, redistribute, remix, transform, and build upon the content for any purpose, even commercially, as long as you give appropriate credit, provide a link to the license, and indicate if changes were made. If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. License details: creativecommons.org/licenses/by-sa/4.0/ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. iv Made With Creative Commons “I don’t know a whole lot about non- fiction journalism. The way that I think about these things, and in terms of what I can do is. essays like this are occasions to watch somebody reason- ably bright but also reasonably average pay far closer attention and think at far more length about all sorts of different stuff than most of us have a chance to in our daily lives.” - DAVID FOSTER WALLACE Made With Creative Commons v vi Made With Creative Commons CONTENTS Foreword xi Introduction xv PART 1: THE BIG PICTURE 1 The New World of Digital Commons by Paul Stacey 3 The Commons, the Market, and the State .
    [Show full text]
  • Media Moments 2019
    MEDIA MOMENTS 2019 Sponsored by Written by MEDIA MOMENTS 2019 I CONTENTS III Introduction from What’s New in Publishing IV Sovrn: Helping publishers thrive V Foreword from the writers Media Moments 2019 1 M&A Mergers and acquisitions are shaping the media landscape of the future 5 READER REVENUE Publishers are joining the race for reader revenues, but there’s no silver bullet 9 DATA & ADVERTISING First-party data empowers publishers to experiment with personalisation and better ads 13 TRUST Publishers begin the hard climb to earn back widespread public trust 17 PRINT Print publishing remains relevant but continues its search for a long-term rationale 21 MULTIMEDIA Welcoming the calm after the storm in multimedia investment from publishers 25 PLATFORM Platforms offer olive branches with subscription initiatives and news payments to tempt publishers back 29 OPPORTUNITIES FOR 2020 Beyond news: new opportunities for publishers to connect with audiences 33 APPENDIX MEDIA MOMENTS 2019 II INTRODUCTION as 2019 the year publishers finally got their mojo back? Jeremy Walters It would seem so – M&As are on a tear, digital subs @wnip Wshow no signs of hitting ‘paywall fatigue’, and new reve- nue channels are emerging with potent force. As if to illustrate the point, BuzzFeed’s CEO Jonah Peretti re- marked at SXSW that the company generated over $100 million in revenue last year “from business lines that didn’t even exist in 2017.” Peretti added that he expects to see a similar revenue pattern in 2019. But perhaps the biggest change is that publishers are looking after their own interests first.
    [Show full text]
  • Theories of Change in Learning Experience (LX) Design
    3 Theories of Change in Learning Experience (LX) Design Keith Bowen, Karin S. Forssell, & Soren Rosier Designers’ theories about how people learn are the keys to impactful educational design. While much effort and attention is appropriately paid to usability in the development of educational tools and materials, the centrality of learning theories is often underappreciated. Learning theories, in combination with considerations of usability, form coherent theories of change. Theories of Change frame how designers expect to shift learners’ knowledge, skills, and abilities. They play out in the features included in digital learning tools and in the activities chosen for learners in technology-enhanced experiences. They are critical to recognizing whether a design is effective. The clearer the theory, the more specific and measurable the indicators; and reliable, focused measures are key to ensuring that a design is working as planned. Additionally, good measures can transform data into launchpads for design iteration. Aligning learning theory, design, and measures, however, is easier said than done. Through illustrative cases of two learning projects, this chapter gives readers useful frameworks and intuitions to approach this process. Designers will be better prepared not only to create effective experiences, but also to communicate their impact to a range of stakeholders including learners, teachers, buyers, and funders. Author's Note All three authors contributed equally to this chapter. Names are in alphabetical order. 1. Introduction Theories about how people learn should drive the process of designing learning experiences. Those theories that designers hold about how learning happens help them to frame their early investigations into a specific learning problem, their successive iterations in learning design, and their repeated testing with targeted learners.
    [Show full text]
  • Building Resilience in the Brain Injury Community TABLE of CONTENTS
    BRAIN INJURY ASSOCIATION OF AMERICA | Volume 14, Issue 2 theChallenge! Building Resilience in the Brain Injury Community TABLE OF CONTENTS JULY 2020 The Emotional Impact of Honor Roll of Donors THE Challenge! is published 4 › 16› by the Brain Injury Association Social Distancing of America. We welcome 20› Nine Ways to Support manuscripts on issues that are 8 Caregivers Share Experiences, BIAA from Your Home important to the brain injury › Struggles, and Advice community. Please send Advocacy Update submissions in a standard 22› Tips for Financial Caregivers Microsoft Word® document to 11 › During the Coronavirus [email protected]. 25 State Affiliate News Pandemic › For more information regarding News & Notes We've Been Here Before 29› advertising in THE Challenge!, 12› please visit biausa.org. Upcoming Webinars 15 Strive and Thrive with the 30› Association Staff & Volunteers: › Council on Brain Injury Marianna Abashian Sarah Augustoski Greg Ayotte 6 27 Robbie Baker Christine Chen Stephanie Cohen Susan H. Connors Tiffany Epley Dianna Fahel Stephani Kelly Carrie Mosher Mary S. Reitter Rula Tareq 8 Subscriptions: Send address changes to [email protected] Copyright © 2020 BIAA All rights reserved. No part of this publication may be reproduced in whole or in part without written permission from the Brain Injury Association of America. Email requests to 14 15 [email protected]. Publication designed by Eye to Eye Design Studio, LLC [email protected] Please recycle this issue. 2 FROM MY DESK ore than 3 million children and adults in the United States have been infected with the coronavirus, and more than 130,000 people have Mdied.
    [Show full text]