The Future of Museums - Digital as a dimension of everything by Marc Sands from Tate (UK)

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MARC SANDS (UK)
Tate, Director, Media & Audiences

Marc Sands is the Director of Audiences and Media at Tate. His mission is to make Tate thrive online across media and new media. He builds social networks for his institution while strengthening the social relationship between Tate and their audiences. He has revamped and relaunched Tate's website.

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  • Just because we have a shiny new website and great social media website numbers does not mean we’re done. It means we’ve climbed the foothills.
  • The digital team have achieved a lot but the next phase will involve everyone.
  • As marketing becomes more content lead and learning becomes more about participation lead, in some cases it is hard to see where marketing ends and learning begins. Participation, interactive, engagement
  • Increasingly we’ll be asking people across the organisation to interact with audiences: curators, archivists, learning professionals. Once this happens the brand will be created by the mass of their voices, not by advertising and stories in the press.
  • The opportunity for Tate to become a global brand for arts content and community. How: Be of the web not just on the web: - create great digital content with lasting value - be real people not a corportate voice - be out there fishing where the fish are - allowing audiences to rebroadcast and exploit our content via new copy right licences. - be a navigator as well as an authority: more beyond our own programme, collate and link to other’s content, highlight things of interest across the web
  • Not covered: content steams focus here is the new, the changing and the transformational
  • You will see a commit to digitisation all collections. This is achievable. Albeit with some obvious restrictions around copyright and other legal matters. Archive digitisation infrastructure funded by the HLF. Through same UI as the artworks. This is technically very, very challenging. Most people would just have two different sections of their website. But we’re doing it. Why? Single search box. Link artworks and artists and archive items. One day soon, you’ll be able to pull out your smart phone in front of a painting and if we have the sketches or letters or other material, you’ll be able to see these right there and then, all linked together. Turning the pages In Archive spaces at Tate Britain. If you’ve not see these there is one in the foyer of the British Library.
  • We’re now world leaders in online collection research and our approach is way more ambitious that most other galleries. There are vast amounts of content being published here. Word counts vs The Remberance of Things Past vs Harry Potter. £0.5 funded and a further £1.7m applications in. 4 infocus texts complete(ish) In focuses and short texts: Christie’s funding £400,000 Henry Moore: Henry Moore Foundation £150,000 ARTIST ROOMS: University of Edinburgh In focuses: American Terra Foundation application in £255,000 Performance: AHRC application in £300,000 Empire: AHRC £1,280,000 JMW Turner: 11,000 texts complete. Existing budgets. Top up funding in autumn Constable Research Network: HLF application in Totals: £550,000 funded £1.7m applications in
  • Left, Cleveland Art Museum. Gallery One - interactive + App with image recognition, overlaid with information Large interactive touchscreens to explore collection. $10m dollars and took 5 years
  • Information is everywhere. What will distinguish us going forward is the stories we tell and the ways we do it. Out attitude. Centre of discussion around art. We now own our media channels. They enable us to talk and broadcast our stories. We can continue to produce content around an exhibition throughout the run and link to it from emails and social media posting. We need to get these channels all working better together through co-ordination.
  • (This is the first research project blogging) We need to show our passion for art and for work. If we do this, we will engage people because our enthusiasm will shine through. We already see the first successful implementation of this. But it needs to happen everywhere, not just from those places where people see the potential. We’re asking curators and other professionals to start blogging and are putting in place resources to support this. One day this is will be fundamental to people’s jobs not an add on.
  • (This is the Tate Collectives Tumblr account - running an introduction to sound art) It comes as no surprise to any of us that marketing and communications have quickly adopted social media. Its a great tool for them and their work. But where it gets really interesting is how might social media revolutionise learning? Not that’s really interesting area to think about.
  • (left learning features of archive digitisation) The collection is the heart of the website. We want to add learning and participation features throughout enabling audiences to comment, make collections (curate), upload their own material and
  • 37% of tickets sold online. This could and should be a lot higher. This is how people are used to buying tickets these days not because this is cool but because it is reduces operating costs.
  • This is the Tate Etc app. We have a yet to have a breakthrough digital product. We like almost every other app developer have yet to be profitable. Promotion of the Tate Images picture library in the Art & Artists pages have resulted in doubling sales. The biggest immediate opportunity is much broader promotion of the online shop across the website. We plan to deliver this as soon as possible, beginning with something quite simple. +targets
  • Autumn 2013 Tate Britain web app with free content over the TB wifi Next upgrade wifi at other sites then 2014 roll system to other sites The ambition is to sell tours directly to visitors for the blockbuster shows (where tours are profitable). Thus both developing the content and owning the distribution channel. Tate App with paid for tours Seek partner/funding for hardware to loan to visitors
  • The challenge here is more in communication than in design and technology. As you know we need to reposition ourselves as a cause and then begin fundraising October 2014 audience fundraising online campaign for TM2
  • If you buy a product from an online retailer you’ll know that you get follow up emails, personalised messages, recommendations and so on. Some of these are really good and really effective. You’ll know the ones as they are the ones where you’re still subscribed to the emails. At Tate data is held in multiple locations and personalisation and segmentation involves hand-cranking customer records out of one system and ingesting them into another. We need a transformation project here. This project will force us to collaborate on our messaging and to therefore work differently. This is a good thing. It should bring together ecommerce, membership, patrons, fundraising, marketing and communications together.
  • Digital will no longer be the business of one department in one corner of the organsiation It will be everywhere. Because only if it is everywhere will we deliver a great digital products and services We’ll need a programme of organisational change British Library, US National Archives, Smithsonian Institution. We already start to see this happening: digital roles emerging around the organisation. Eg Digital Marketing Manager. In the future all Marketing Managers are Digital Marketing Managers. Is this a retooling of the whole organisation? Yes.
  • Many of our ambitions are cross departmental. Digital new ways of working both vertically and horizontally. We are not great at working in this way but we will have to become great. We need to recognise that this networked activity will and challenge hierarchies.
  • This is a big change and it will need leading. We’ll need a new governance model to help us navigate a rapidly changing digital landscape, competing demands for resources and conflicting priorities. Head of Digital Transformation Was going one way now coming back.
  • We will have to learn not just to negotiate this new landscape but to embed it into our culture
  • The Future of Museums - Digital as a dimension of everything by Marc Sands from Tate (UK)

    1. 1. The Future of Museums Digital as a dimension of everything
    2. 2. lent VIII  1966 © Carl Andre/VAGA, New York and D
    3. 3. urgeois Maman 1999 North Landscape Tate Modern O
    4. 4. The Unilever Series: Louise Bourgeois Maman 1999 12 May – December 2000 Turbine Hall, Tate Modern  
    5. 5. : Anish Kapoor Marsyas 2002, Turbine Hall, Tate Modern ©
    6. 6. The role of museums through an analysis 40 leading UK museums and galleries Mission Statements
    7. 7. Exhibition & Museum Attendance Figures 2011 THE ART NEWSPAPER, APRIL 2012
    8. 8. Exhibition & Museum Attendance Figures 2011 THE ART NEWSPAPER, APRIL 2012
    9. 9. Exhibition & Museum Attendance Figures 2011 THE ART NEWSPAPER, APRIL 2012
    10. 10. © Some rights reserved by Peewubblewoo
    11. 11. Digital Strategy 2013–15: Digital as a dimension of everything
    12. 12. 1) Digital is not just a louder megaphone. It is a different way to do everything.
    13. 13. 2) Where content, design and technology meet is where the magic happens. Collaboration is critical.
    14. 14. 3) As digital permeates everything, boundaries between activities will continue to blur.
    15. 15. 4) Once digital tools empower staff, radical openness will quickly follow. Tate will have many voices.
    16. 16. 5) Digital is becoming normalised in our audiences’ lives. We can be the digital presence for art lovers.
    17. 17. Through embracing digital activity and skills across the organisation, Tate’s ambition is to use digital platforms and channels to create and nurture the most engaged arts community enjoying the richest, deepest arts content found anywhere and to maximise the associated revenue opportunities.
    18. 18. Through embracing digital activity and skills across the organisation, Tate’s ambition is to use digital platforms and channels to create and nurture the most engaged arts community enjoying the richest, deepest arts content found anywhere and to maximise the associated revenue opportunities.
    19. 19. Plan 1: Digitisation http://www.armadillosystems.com/ttp_commercial/
    20. 20. TextText Plan 2: Research publications http://www.tate.org.uk/art/research-publications/camden-town-group
    21. 21. Plan 3: Digital gallery experiences http://www.clevelandart.org/galleryone
    22. 22. Plan 4: Editorial centre
    23. 23. Through embracing digital activity and skills across the organisation, Tate’s ambition is to use digital platforms and channels to create and nurture the most engaged arts community enjoying the richest, deepest arts content found anywhere and to maximise the associated revenue opportunities.
    24. 24. Plan 5: Blogging across the organisation http://www.tate.org.uk/context-comment/blogs/
    25. 25. Plan 6: Social media beyond marketing http://tate-collectives.tumblr.com
    26. 26. Plan 7: Learning and social collections
    27. 27. Through embracing digital activity and skills across the organisation, Tate’s ambition is to use digital platforms and channels to create and nurture the most engaged arts community enjoying the richest, deepest arts content found anywhere and to maximise the associated revenue opportunities.
    28. 28. Plan 8: Paperless, self-service ticketing
    29. 29. Plan 9: Digital products and e-commerce https://itunes.apple.com/gb/app/tate-etc.-magazine/id563240421?mt=8&ign-mpt=uo%3D2
    30. 30. Plan 10: Multimedia tours to users’ devices http://www.mona.net.au/theo/
    31. 31. Plan 11: Digital fundraising http://www.indiegogo.com/teslamuseum
    32. 32. Plan 12: Customer relationship management
    33. 33. Through embracing digital activity and skills across the organisation, Tate’s ambition is to use digital platforms and channels to create and nurture the most engaged arts community enjoying the richest, deepest arts content found anywhere and to maximise the associated revenue opportunities.
    34. 34. Plan 13: Staff skills and engagement https://digitalscholarship.jux.com/668322
    35. 35. Plan 14: New ways of working and collaborating
    36. 36. Plan 15: Governance, leadership and management
    37. 37. Key performance indicators Content Visits Repeat visits Depth of journey Dwell time Community Comments Reuse Shares Followers Revenue Sales Customer data Donations Efficiency savings
    38. 38. Through embracing digital activity and skills across the organisation, Tate’s ambition is to use digital platforms and channels to create and nurture the most engaged arts community enjoying the richest, deepest arts content found anywhere and to maximise the associated revenue opportunities.
    39. 39. lent VIII  1966 © Carl Andre/VAGA, New York and D

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