In the previous article, I discussed various activities carried out by American cultural and educational agencies, highlighting their proficiency in information and media management. In this section, I will delve into specific strategies employed by these U.S. agencies, providing a comprehensive overview of the propaganda machinery in the United States.

More than any other nation globally, the United States wields unparalleled influence in the realm of information and communication. Americans have harnessed this power to conduct communication campaigns in service of their country and to engage in psychological warfare against opposing forces. To Americans, information and media serve as potent tools—a means of salesmanship, career development, and even as sharp weapons for the aggressive ruling class. In the eyes of the American populace, the information and media landscape resembles a bustling marketplace, while for those seeking personal and professional growth, it acts as an expansive playground.

While my previous discussion centers largely on advertising, this section will pivot towards a different facet—informational and social media. Surprisingly, even in a modern nation like the United States, a form of advertising persists that one might think had become obsolete. I am referring to the practice of posting flyers on walls, lampposts, and other public surfaces. During my walks through the streets of New York and Washington, I encountered these flyers at nearly every turn—intersections, street corners, traffic lights, and utility poles. These mass-produced sheets of paper contain a wide array of information, ranging from advertisements for educational classes, house rentals, lost pets, retail goods, to the most striking of all—news about the victims of the September 11 disaster.

Local residents informed me that New York, particularly lower Manhattan, had never been informed with flyers to such an extent before. Thousands of people had tirelessly copied pictures and information about their missing loved ones and posted them wherever they could in the city's streets and alleys. These flyers typically provide brief yet specific details, such as identifying features like birthmarks and scars, height, physical condition, place of work, along with the latest image of the missing individual. This demonstrates the Americans' unwavering commitment to achieving their goals, utilizing any available means and methods to disseminate information. Americans are proficient in employing a wide spectrum of methods, from the most rudimentary and time-honored, like posting flyers, to the most cutting-edge techniques, with each method yielding tangible results.

In contrast, our country has sometimes struggled to adopt modern methods due to a tendency to dismiss traditional ones. There have been instances when discussions arise about phasing out slide films or reconsidering the relevance of mobile information teams, as some believed these methods no longer had a place in the era of television and video. Having interacted with numerous art organizations in our country, it is apparent that our art managers often lack a profound understanding of the significance of information and communication, as well as the requisite skills in these areas. This represents a stark contrast to American art units, where information and communication constitute integral components of their organizational structure and operations. They excel in both types of information—technical details for organizing public events and promotional information for self-promotion.

During my time at Brighton University, I participated in a captivating roundtable discussion on information and communication in marketing. Professor Martin Su-luman initiated the discussion by emphasizing the importance of providing information to art troupes wishing to perform at the Anderson Arts Center. Mr. Stiv Maclin, the Technical Director of the Center, requires this information to prepare for performances and to generate press coverage. Effective press coverage plays a pivotal role in introducing art troupes to the public. As an example, Vietnam's Thang Long puppet troupe performed in the United States. Initially, American audiences knew very little about this group. However, through press coverage, Americans gained insight into the troupe's plays, which focused on rural life and the intricacies of puppetry. Additional information highlights the author as a folk artist, the theater's location in Hanoi, and its reputation based on prior international performances in countries such as France and Italy— all of which garnered high praise. This information, coupled with images of the endearing puppets, succeeded in drawing audiences to the theater. It is crucial to remember that information serves a dual purpose—not only informing but also captivating and engaging the audience.

"We understand the importance of helping people understand the art you bring to them. One notable aspect about Americans is their eagerness to gather through the press. Therefore, it is imperative to provide the press with as much information as possible. Alongside articles and photographs, you should also consider using tapes, video discs, CD-ROMs, and the Internet for dissemination. Keep in mind that marketing isn't solely for the benefit of the art unit or the director but mainly for the art itself, aiming to captivate and excite the audience. When using photographs for informational purposes, ensure they are dynamic, portraying actors actively engaged in performing arts rather than in passive portrait poses.

Professor Su-lu-man introduced today's main speaker, Mr. Stivov D. Mallin, as follows:

"Mr. Stivov D. Mallin serves as the Technical Director at the Anderson Art Center, part of Binh-ham-ton University in the state of New York. His current role includes overseeing the technical requirements of three stages within the Anderson Center. This includes consultations with artists and their representatives to ensure adequate technical support and understanding of performance requirements, covering aspects such as sound, lighting, stage design, setup, and safety for each show. Mr. Stivov is affiliated with the Actors' Equity Association (AEA) ), the Society of Sound Engineers (AES), and the United States Institute of Theater Technology (USITT)."

Without further ado, Mr. Stivve D. Mallin proceeded with his presentation:

"As the hosts welcoming performing groups, it's crucial that we receive comprehensive information. We are partners in these performances, and therefore, we need to be aware of the group's performance facility requirements, including sound, lighting, backdrops, stage, and props. For instance, prior to the arrival of your Thang Long group, we had hosted a Greek theater troupe performing on a water stage. We engaged in meticulous discussions regarding the water stage's water levels and stage weight, resulting in an adjustment from an initial expectation of a 20 cm water level to a more reasonable 5 cm, still meets artistic requirements. This reduction not only eases the stage's weight but also leads to various cost savings. Drawing from our theater experiences, we provided prompt guidance and gathered sufficient information to ensure the successful organization of the Thang Long troupe's performance. (I've noticed that Americans tend to use modest phrases like 'Not bad' instead of strong praise like 'Very good' or 'Excellent.' It's important to interpret this as a positive assessment. )"

Mr. Stivuv D. Mallin continued, presenting a diagram detailing the stage's lighting arrangement:

"This diagram illustrates the lighting arrangement for the stage. Please do not forget to provide us with detailed specifications regarding your lighting, backdrop, and stage size requirements. For example, regarding lighting: how many lights are needed, their capacity, layout, and placement. contrary, the performance venue must also furnish information about its stage and technical facilities to the art unit."

Mr. Giero Litone, an Englishman working with the FORD Foundation, added:

"If you intend to share photos to introduce art in another country, ensure that the photos align with that country's cultural context. We faced a dilemma when organizing a performance for a Korean art troupe in London. Ignoring our advice, our Korean friends sent portrait photos of the actors, believing that such images had a strong advertising impact in Korea. However, these photos held no significance for Londoners as they did not recognize the faces in them. Those portraits failed to inspire artistic appreciation. Consequently, the performances attracted very much few screens, leading to a misstep."

Everyone burst into laughter, appreciating the British friend's humorous style of speaking. This tall, slender man, with his ruddy complexion, clean-shaven face, and composed demeanor, spoke sparingly but provided captivating insights.

Mr. Stivve D. Mallin continued with another example:

"We also welcomed a Russian Federation group to London in 1992-1993. Initially, they sought out smaller organizers with modest ticket sales expectations, around 300 spectators per show. Gradually, as they performed and promoted their art, they expanded to larger organizers. Their persistence in cultivating the market paid off, and today, the Russian Federation's art troupe boasts a substantial audience, selling 2,000 tickets per performance."

Sharing these stories from England, Korea, and the Russian Federation, Mr. So-ti-o D. Mallin turned around and emphasized:

"American organizers are renowned as the most efficient in the world. The theaters in America boast excellent technical systems and highly skilled staff. Wwith adequate information, they can orchestrate outstanding performances. This is exactly why British art troupes are fond of touring in the United States."

The information session at the University of New York also left an indelible impression on me. The speaker, Professor Dan Martin, delivered a presentation on the integration of technology into artistic endeavors, covering a range of topics, including cutting-edge issues related to online culture. Standing at a towering two meters and possessing a weighty presence, the professor had a responsive voice and a concise, articulate manner of presentation. Demonstrating a deep understanding of the subject matter, the professor often speaks with conviction:

"America has been engaged in a debate about the utilization of the Internet in daily life. The American benchmark is that if 10 million people use a product or service, it is considered market-worthy. Given the Internet's capacity to reach 10 million users within just six months, it's considered a tool of enduring value. However, it's important to emphasize that the Internet is a tool, not a panacea. It complements existing marketing efforts rather than replacing them. Integrating the Internet into your existing marketing strategy is essential. The Internet drives traffic to your website."

Professor Martin firmly believes that Americans have harnessed the Internet, the most potent tool for globalizing, to its fullest extent. Americans have conducted research, made predictions, and arrived at these conclusions: Internet access doubles every 100 days. By the year 2003, there will be over 500 million Internet users worldwide. Computers will become more human-like. Networks will become ubiquitous, connecting everything. Websites will become "smart," possessing deeper insights about users and their preferences. Entertainment will become increasingly digital. Computer processing speeds will continue to double every 18 months. The Internet economy will constitute the largest segment of the global economic framework.

Citing a series of forecasts regarding information technology, computers, and wireless technology, Professor Dan Martin underscores the imperative for artistic endeavors to leverage the Internet's strengths. He elaborated:

"By leveraging the Internet in art marketing, we can achieve effectiveness based on the AIDA principles—Attract attention, Create interest, Generate desire, and Prompt action. The Internet facilitates change in audiences, guiding them from ignorance to knowledge, understanding, belief, and ultimately, the decision to take action. In essence, the Internet helps art units meet their marketing goals: audience development, audience retention, audience expansion, and audience enrichment. In the context of art and culture being referred to as an industry, audience loyalty holds tremendous significance. The Internet can cultivate a loyal art audience. We can utilize the Internet to reach university students and high-income individuals, expand global networks, and establish extensive international art distribution networks. Currently, websites constitute the primary marketing tool for art units. Arts managers must establish a network, connecting people through diverse avenues: audience engagement, partnerships, collaborations, and funding sources. When disseminating information online, arts managers should be prepared to answer the audience's fundamental questions: Who? When? Where? Why? and How? Information and communication about art to the audience should encompass not only text but also include images, audio, video, interactive data, and communication tools."

The professor proceeded to explore several other valuable aspects of organizing information for art marketing, including audience service, generating public interest, and accessing new markets. He advocated creating avenues for audience responses, allowing recipients to comment and engage actively. The professor delineated the four "laws" of Internet marketing:

1. The Law of Pull and Push: Attract your audience to your website with compelling content and subsequently deliver high-quality information to them regularly through email. (I couldn't help but think of reactionary propaganda agencies, which have effectively employed this method—I consistently receive unsolicited emails with objectionable content, necessitating effort to remove them.)

2. The Dead-End Law: Create multiple layers of information to entice readers. Users often skim through the first layer and gravitate toward more enticing deeper layers of content. The initial layer of information is of paramount importance since many readers merely browse websites, seeking attractive content in subsequent layers. You must offer readers compelling reasons to explore your website in two ways:

• Create a search engine and establish a linking mechanism that allows readers to seamlessly navigate to relevant websites when searching for information.

• Crucially, tailor your content to suit your target audience.

3. The Law of Giving and Selling: Pay close attention to what readers need and provide it to meet their needs effectively. Begin by offering something for free online to capture their interest, and then transition to selling complementary offerings.

4. The Law of Trust: Building trust is paramount. In the United States, it has become increasingly challenging to discern the true origins of certain websites. They could belong to a reputable company or be the creation of a 14-year-old hacker. To instill trust in your website and prevent fraud, it's essential to display complete contact information (address, phone number, etc.), images of your location and team, and program details.

The professor delved into strategies for marketing art through various viral email messages that can self-propagate or stimulate online sharing. For instance, an email with the message: "Please read this letter, this article, and pass it on to your friends." This approach can potentially spread your message to an unpredictably large readership.

The professor then shifts the focus to e-commerce promotion, stating:

"E-commerce offers numerous benefits, including customer convenience, expanded reach, the creation of new distribution channels, enhanced marketing capabilities, and cost savings. Presently, people feel more optimistic and inclined to make purchases when shopping online. The art industry has embraced a new avenue, selling tickets online. It is estimated that by 2002, online ticket sales will capture a market share of 10 billion USD. Online ticket sales cost significantly less than selling through intermediaries; for instance, selling airline tickets through an agent costs 8 USD, whereas online sales cost only 1 USD. The same applies to banking transactions: traditional methods involving staff cost 1.07 USD, while automated processes cost just 0.01 USD. Online advertising also offers cost advantages—direct advertising costs 500 USD per 1,000 people, newspaper advertising costs 17.5 USD per 1,000 people, and online advertising costs 1.75 USD per 1,000 people. By promoting e-commerce, we have the opportunity to expand our customer base without incurring substantial additional costs. The art industry should actively engage in e-commerce. To leverage e-commerce effectively, arts managers should feature online samples of artworks, create virtual tours, conduct artist interviews, provide information on booking tickets, offer incentives for frequent ticket buyers, track ticket purchases, reward loyal audiences, and encourage them to sell more tickets. Online sales also facilitates the collection of customer data, including buying habits and preferences, enabling better customer understanding and satisfaction, ultimately resulting in increased sales."

Regarding the organization of online information and communication, Professor Dan Martin emphasizes the importance of factors such as the speed of the transmission line, users' proficiency levels, software utilization, and customer expectations. He mentioned that IBM, a famous American computer company, had to revamp its website to prioritize visitors' requests and rectify design errors. This results in an 84% decrease in Help button usage and a 400% increase in sales revenue during the first week.

The professor also introduced the Ten "Rules" of online culture:

1. Manage Your Image (of Your Organization): Maintain consistency in your online presence to ensure recognition. Just as the golden arches on a red background signify a McDonald's restaurant, maintaining a consistent online identity is crucial.

2. Simple Instructions: Clearly guide visitors by providing navigation instructions and prominent links to the "Home" page. Maintain uniformity in the placement of essential elements, such as tool buttons, on all pages. Prioritize information based on readers' needs rather than personal preferences. Avoid confusing customers with excessive creativity that sacrifices clarity.

3. Avoid Time Wasting: Conciseness is key. Eliminate redundant or irrelevant information. Embrace the mantra, "Cut! Cut! and Cut!" to maintain concise content.

Keep your products fresh

Users expect information to be updated regularly. Assign personnel to maintain and update the website. I recently visited the website of a symphony orchestra and found an advertisement for a program from September 2001, which was clearly outdated. Record the date when information was last updated on the website (e.g., Updated on September 11, 2001).

Give

Visitors anticipate receiving something from web pages, whether it's information about your organization, intriguing facts, entertainment, links to other information sources, or other enriching content. So, provide them with content they'll find appealing.

Content, content, content

Offer abundant information in a format that conveys positive news. Don't just disseminate news; also gather information (such as member details or registration for access to specia l information/services) to ensure there's a "value exchange."

Be interactive

In a web culture, people don't merely read; they want to interact by clicking on various elements. Therefore, include links, sample guides, surveys, and content search tools, as well as contests and competitions. Incorporate contact options such as "contact us," "comment," and "email." Arrange these elements so that visitors can easily access the information they seek without losing track of the topic.

Follow the "7 +/- 2" rule

Some websites provide valuable information but present it in lengthy articles, requiring users to continuously scroll down the screen. It's essential to break down information into regulating sections, catering to users' preferences for detail. Organize information from general to specific and from abstract to concrete. The "7 +/- 2" rule implies that a single page should not contain more than 7 distinct sections. This approach ensures that information remains concise, reduces the risk of information overload, and empowers visitors, making websites more user-friendly.

Promote your website

Establish reciprocal links between your website and numerous other websites. Register your website's address with search engines and promote it extensively. We'll delve further into this topic.

The rules will change

If you assert that "performance and business activities will remain unchanged," you might find yourself unable to continue those activities tomorrow. Be proactive and adapt intelligently, as everything can change.